The Greatest Era of Entertainment #706-1156
Author: 白色十三号
Date: 2026-01-10T18:17:46+00:00

Chapter 697: Solving Two Films’ Needs

Ronan frowned in confusion. “Eileen Zhang?”

This must be the English name of a Chinese or Eastern woman, but no matter how hard he searched his memory, Ronan couldn’t recall any female writer by that name.

James Schamus quickly explained, “She was an Eastern female writer from decades ago.”

Ronan slowly shook his head. “I have some knowledge of Eastern culture, but I’ve never heard of her.”

Ang Lee thought for a moment, then switched to Chinese. “James is talking about Zhang Ailing.”

At the familiar name, Ronan instantly understood. “I know her—fame comes early, right?”

“Right,” James Schamus nodded. “That’s her.”

Ang Lee was curious. “James, which of her novels or stories caught your interest?”

Though James Schamus hadn’t answered yet, Ronan already had the answer in mind.

Zhang Ailing and Ang Lee were directly connected by one name—Lust, Caution.

James Schamus spoke the name aloud: “Eileen Zhang’s short story Lust, Caution.”

Ang Lee had clearly read this work; his brows furrowed slightly. “This one?”

James Schamus knew Ang Lee’s concerns and understood that the most critical aspect of the project was investment. He immediately turned to Ronan. “Mr. Anderson, would you be interested?”

Ronan had watched Lust, Caution many times, though not the entire film—just the highlight clips, which were absolute viral sensations online.

The female lead had paid a heavy price for her role, with rumors even suggesting that her intimate scenes with the male lead were unscripted.

If true, it would be the ultimate dedication to art—a sacrifice not everyone had the courage or opportunity to make.

But Ronan’s impression of the film wasn’t good; in fact, it was rather poor. And in North America, the market for it was practically nonexistent…

“Is the novel set in the East?” Ronan asked Ang Lee. “Is the film adaptation also an Eastern story?”

Ang Lee replied, “Lust, Caution is an Eastern novel.”

James Schamus added, “The film adaptation can’t stray from the novel.”

Ronan smiled. “I’m afraid I’ll have to say no.” He was direct. “James, perhaps we’ll have a chance to collaborate in the future.”

James Schamus was surprised. He glanced at Ang Lee and said, “What if Ang directs it?”

He knew Ronan held Ang Lee in high regard.

But Ang Lee was tactful. “James, you’ve never discussed this project with me, and I haven’t agreed to direct it.”

He was equally direct. “Sorry, James, I’m not interested in Lust, Caution.”

The failure of The Hulk had taught Ang Lee enough lessons. Now, with Relativity Entertainment as a strong backer and Ronan’s full support for Eastern directors, why would he wander elsewhere?

Could any other company offer the same trust as Ronan or the same level of support as Relativity Entertainment?

James Schamus didn’t know what to say. Ronan set down his knife and fork. “I’ve finished eating. I won’t disturb you two any longer.”

With that, he walked toward where Anne Hathaway was seated.

“Ang?” James Schamus asked, confused. “We’ve worked together for years…”

Ang Lee raised a hand, stopping James Schamus from continuing. “Ronan advised me not to take The Hulk, but I did, and look what happened?”

James Schamus was one of the screenwriters for The Hulk, so he was well aware of the issues surrounding the film.

Ang Lee continued, “The support Relativity Entertainment gives me is beyond what I could have imagined before.”

James Schamus sighed, speared a piece of beef, and chewed it forcefully before swallowing. “Looks like I’m not getting anything out of this trip.”

Ang Lee consoled his old partner. “You’ll find the right investor. If all else fails, you can try the other side of the Pacific.”

James Schamus nodded. “That’s the only option left.”

Ronan wasn’t aware of Lust, Caution’s market performance, but logically, its North American box office would be poor. Maybe it would find an audience in the East.

The Eastern market was just entering a phase of rapid growth, but its overall size was still small. Coupled with restrictive import quotas and unfavorable revenue-sharing terms, the project wasn’t promising for Hollywood investors.

If Shai Entertainment were to invest in it alone, the film wouldn’t pass the Big Scissors’ approval.

Unless they partnered with an Eastern company to make a co-production.

But that wasn’t appealing either—operational difficulties and limited market expectations.

There was also the fact that Ronan didn’t have a good impression of Lust, Caution.

Of course, the super-concentrated highlight version was an exception.

Ronan didn’t stay long in Minnesota. After spending the weekend with Anne Hathaway, touring nearby attractions, he returned to Los Angeles.

Ang Lee’s crew would also return to Los Angeles for post-production after wrapping up filming.

To give Ang Lee ample time for post-production, Embassy Pictures applied for Brokeback Mountain to premiere at the Venice Film Festival in late August or early September. Securing a spot in the competition section wasn’t an issue. Using Venice as a starting point would kick off the awards season campaign.

This year’s awards season was too late for Brokeback Mountain, but Embassy Pictures still had many strong contenders.

Chris Gardner himself had signed with Embassy Pictures and would fully participate in the promotional campaign for The Pursuit of Happyness in December.

Undoubtedly, this was a massive opportunity for Chris Gardner and his company.

If the film performed well and gained widespread attention, Chris Gardner’s reputation would soar. As a stockbroker and investment firm, he would undoubtedly attract more clients.

Another key film being promoted was Crash.

After the Toronto International Film Festival, Embassy Pictures had devised a detailed promotional and awards campaign, set to launch in early October.

Los Angeles, this super-metropolis where multiple ethnicities coexisted, saw countless conflicts and disputes arising from racial issues every day.

Even without deliberate collection, there were countless cases of this nature.

Thanks to Ronan, Embassy Pictures’ online promotional efforts led Hollywood, and over the years, they had built a powerful internet marketing team.

Among them, a small team was dedicated to Crash, primarily tasked with spreading news of racial discrimination incidents in Los Angeles online. Their goal was to make racial discrimination in Los Angeles a mainstream media topic by the time awards season arrived.

Once this topic gained traction, Crash’s opportunity would come.

If Los Angeles could see a few more Black Lives Matter movements, that would be ideal.

Hollywood’s film operations, staying within legal boundaries, were relentless.

Though Relativity Entertainment started late, it was in no way inferior to the Big Six, showing every sign of surpassing them.

Ronan also had people further gathering materials, hoping for some results.

As long as public opinion could be ignited, Ronan firmly believed in the powerful influence of Hollywood’s Black and white liberal communities.

“Minor conflicts happen all the time, every day,” Garcia-Rodriguez said to Ronan in Embassy Pictures. “But over the years, many have become desensitized, thinking it’s no big deal. So, to spark public outrage, we need a major event.”

Ronan asked, “Would a celebrity incident work?”

“It could,” Garcia said. “If a celebrity publicly expresses such views or is involved in a related incident, given the current social climate, public opinion would explode.”

He was doubtful. “But nowadays, such celebrities are rare.”

Thomas suddenly interjected, “What if we manufacture one?”

Ronan immediately waved his hand. “This area will become even more sensitive. We can’t be directly involved. You must be careful.”

“Are we just supposed to wait?” Thomas asked, somewhat helpless.

Garcia thought for a moment. “Have the online team keep an eye on this. Small incidents add up; eventually, something will explode.”

Thomas nodded. “We still need a catalyst.”

Ronan calmly said, “There’s still time before awards season. Be patient.” He added, “This will also help The Pursuit of Happyness in its bid for the Oscar for Best Actor.”

Thomas punched his fist. “This wave of public opinion could solve the needs of two films.”

“But we must be careful not to let others benefit,” Ronan asked. “What’s the situation with Ray?”

Thomas replied, “Production budget is seventy-five million dollars, distributed by Universal, starring Jamie Foxx. It’s set to release at the end of this month, the weekend before Halloween, same as our Saw II. The feedback is clear: Jamie Foxx is aiming for the Oscar for Best Actor.”

He thought for a moment and added, “Director Taylor Hackford wrote the script as early as 1987 but couldn’t find investors until last year.”

Ronan directly said, “After the film’s release, remind everyone through the media that Jamie Foxx is a singer and comedian.”

Will Smith was inherently at a disadvantage at the Oscars, so this would at least level the playing field between Jamie Foxx and Will Smith.

Frankly, Jamie Foxx winning the Oscar for Best Actor was a minor upset.

Perhaps his identity as a Black actor played a crucial role.

As October arrived, Embassy Pictures released another film. DreamWorks Animation’s Shark Tale opened in 4,218 theaters across North America, grossing forty-nine million five hundred seventy thousand dollars over the weekend.

Embassy Pictures’ collaboration with DreamWorks Animation was once again a success.

In just ten days, Shark Tale’s North American box office surpassed one hundred million dollars.

With the back-to-back successes of Shrek and Shark Tale, Embassy Pictures fully demonstrated its distribution capabilities in animated films.

At this time, DreamWorks Animation was rivaling Pixar, firmly securing its position as the second-largest animation studio in Hollywood.

Chapter 698: Business is Business

Glendale, DreamWorks Industrial Park, animation studio office area.

Ted Elliott, the production manager for the Shrek series, strode down the hallway and arrived at Jeffrey Katzenberg’s office, knocking lightly on the door.

“Come in.” Jeffrey Katzenberg’s voice rang out, and Ted Elliott pushed the door open.

Katzenberg put on his glasses and asked, “Ted, what’s up?”

Ted Elliott handed the report in his hands to Katzenberg and said, “Three pieces of good news. Shark Tale has surpassed one hundred million dollars at the North American box office, and the overseas response is also good; Shrek 2 has ended its North American theatrical run with a final North American box office of four hundred fifty-eight million nine hundred seventy thousand dollars; Embassy Pictures has paid the third installment of box office and merchandise revenue share, fifty-nine million dollars.”

These were indeed good news. With the first two installments, DreamWorks Animation had already recouped all its investment in Shrek 2, and this time it was almost pure profit.

There would be more shares to come.

“Not bad.” Katzenberg was generally satisfied. “Ted, your project team has done an excellent job.”

Ted Elliott smiled. A bonus was to be expected.

The intercom on the desk rang, and Katzenberg picked it up. The secretary announced, “Mr. Spielberg is here.”

Katzenberg said, “Go to the reception room.”

He hung up the intercom and looked at Ted Elliott. “Continue pushing forward with the sequel production.”

Ted Elliott quickly agreed and then took his leave.

Katzenberg went to the adjacent reception room, where Spielberg was already waiting.

“Morning, Steven.” Katzenberg greeted casually, sitting on the sofa next to Spielberg, and asked, “What brings you here today?”

Spielberg said, “I heard Shrek 2 has ended its theatrical run.”

After David Geffen led the music and gaming departments out of DreamWorks, although DreamWorks Pictures and DreamWorks Animation became increasingly independent, they still belonged to the same company. In terms of shares and investments, Katzenberg and Spielberg were intertwined.

Moreover, David Geffen’s voluntary departure and the clear division of responsibilities had reduced conflicts between Spielberg and Katzenberg.

The two now managed their respective domains and rarely interfered with each other’s territories.

Katzenberg said, “The box office is excellent, and the profits are substantial.”

Spielberg, however, said, “Nearly half of the revenue from this film has gone into the pockets of Relativity Entertainment’s Embassy Pictures.”

The reception room fell silent.

“How much is this revenue?” Spielberg’s question broke the silence.

Katzenberg slowly said, “Including box office and merchandise, Embassy Pictures’ current revenue is close to two hundred fifty million dollars, and as time goes on, with the increase in DVD and television copyright markets, as well as other merchandise sales and licensing, this figure will continue to grow.”

Spielberg was a nice guy, but he was also a businessman. “Embassy Pictures has taken too much.”

Katzenberg remained relatively calm. “Embassy Pictures has a higher share of overseas box office and merchandise revenue. The share of offline merchandise is half, which is the industry norm.” He actually had no complaints about Embassy Pictures. “Compared to the Big Six companies, Embassy Pictures’ conditions are quite generous.”

Spielberg shook his head. “This revenue should belong to DreamWorks.” He didn’t need to beat around the bush with Katzenberg. “Jeffrey, DreamWorks’ distribution channels have been established.”

Whether it was the animation studio or the live-action film department, they were all part of DreamWorks, and both had investments from the two.

Katzenberg said, “Steven, I understand what you mean. So, during the initial negotiations, I insisted on signing only a short-term distribution contract with Embassy Pictures.”

It wasn’t like before; DreamWorks had gradually perfected its own distribution channels. The value of the production company had instantly increased, and it was no longer a dispensable burden in Katzenberg’s eyes.

The success of the two Shrek films had also made Spielberg fully recognize the strength of DreamWorks Animation. He didn’t want to lose the animation studio after losing the music company. He earnestly said, “Jeffrey, when the contract expires, return to DreamWorks.”

This was in the interest of both parties. Jeffrey Katzenberg had already made mental preparations and said, “It will. DreamWorks Animation originally belonged to DreamWorks.”

Initially, due to his relationship with Ronan, after investigating Embassy Pictures, he chose Embassy Pictures as the distributor.

But ultimately, what determined the future direction of DreamWorks Animation was not friendship, but interest.

Spielberg, having been in business for many years, was also a seasoned businessman. “Jeffrey, can we extend the production time of Shrek 3 until after the distribution contract with Embassy Pictures ends?”

“These little tricks won’t work.” Katzenberg recalled the relevant clauses in the contract and could only show a bitter smile. “In the contract with Embassy Pictures, there are relevant clauses. During the contract period, excluding the Shrek series, including the recently released Shark Tale, Embassy Pictures will also distribute Madagascar and another animated feature film in production. The contract will only end after all three films are released.”

Spielberg instantly caught the key point. “Excluding the Shrek series?”

“Who could have predicted that Shrek would be this successful?” Katzenberg couldn’t help but regret. “The animation studio signed over the distribution rights for the entire series and related derivative films to Embassy Pictures.”

He emphasized, “Now that I think about it, Ronan Anderson’s vision and cunning are truly extraordinary!”

Spielberg felt a wave of frustration, suddenly feeling that from the acquisition of Artisan Entertainment’s distribution channels, everything he had gotten was what Ronan Anderson had left behind.

Similarly, Spielberg was also frustrated.

Two top figures in Hollywood sat in the reception room, momentarily speechless.

But in their minds, the same person appeared—Ronan Anderson.

Was it easy for DreamWorks, including both the animation studio and the live-action film production, to create a blockbuster series? After finally producing the Shrek series, Ronan Anderson had taken nearly half of the pie.

Previously, DreamWorks was limited by distribution, and there was nothing they could do.

But now that the distribution channels were complete, Ronan Anderson had set insurmountable obstacles in advance.

Although DreamWorks and Relativity Entertainment were on the same side in the big picture, they were also competitors.

Spielberg asked a few questions about the contract and found it extremely difficult to resolve. He decided to bring up the second main purpose of his visit today. “DreamWorks is now fully developed, and the distribution channels are becoming more complete. The most critical factor restricting DreamWorks’ development is only one thing left.”

Katzenberg could vaguely guess what Spielberg was going to say and remained silent for the time being.

Spielberg said, “Jeffrey, let’s work on taking DreamWorks public and raising funds!”

This DreamWorks was not just Spielberg’s live-action film production company; it also included DreamWorks Animation!

Katzenberg also had the idea of taking DreamWorks Animation public. Pixar had gained crucial funds through its IPO, and Steve Jobs had also entered the billionaire ranks for the first time.

If DreamWorks still didn’t have complete distribution channels, Katzenberg would only try to separate DreamWorks Animation and take the opportunity to clean up his and Spielberg’s power and investments in both areas, thereby completely shedding the burden of DreamWorks Pictures and achieving independence.

To this end, he had even formulated a relevant plan.

But after DreamWorks acquired Artisan Entertainment’s distribution channels, everything changed.

The current DreamWorks was no longer the DreamWorks of the past.

“I agree to go public.” Katzenberg said, “But we need to discuss the specific operations in detail.”

The two talked for the entire morning and even had a rare working lunch together. In the afternoon, just as Spielberg was leaving, Sanford Panitch from Sony Columbia Pictures came to visit.

Katzenberg was well aware that this was all due to the Shrek series.

Sanford Panitch was here for the movies and didn’t hide this fact. “Mr. Katzenberg, I am here on behalf of Sony Entertainment. Sony Entertainment is very interested in DreamWorks Animation, especially the Shrek series.”

To avoid a verbal dispute, Katzenberg directly brought up Embassy Pictures. “I’m sorry, the distribution rights for the entire Shrek series have already been signed over to Embassy Pictures.”

Sanford Panitch, of course, knew this, but Sony Entertainment had its own ideas. “You could change the distribution rights for this series to…”

Katzenberg raised his hand to stop him from continuing. “Mr. Panitch, you should go talk to Embassy Pictures, talk to Ronan Anderson, not come to DreamWorks. Only if they agree, can we talk about other things.”

Sanford Panitch frowned slightly.

Katzenberg, on the other hand, said, “I remember that Sony Entertainment has always had a good relationship with Ronan Anderson and Relativity Entertainment.”

Sanford Panitch smiled and said, “But business is business.”

Katzenberg unconsciously nodded. Actually, thinking about his dealings with Ronan Anderson, business had always been business.

Sanford Panitch suddenly said, “Mr. Katzenberg, Sony Entertainment has another idea.” His voice seemed to lower. “I don’t know if Mr. Katzenberg is interested in leading DreamWorks Animation to join Sony Entertainment?”

“Join Sony Entertainment?” Katzenberg had never had such thoughts.

“Yes, join Sony Entertainment.” Sanford Panitch said, “Sony Entertainment does not have a professional animation production company and is willing to hand over all business in this area to Mr. Katzenberg.”

A little later, Ronan and Marc Randolph walked into the headquarters of Sony Columbia Pictures.

Chapter 699: The Unchanging Business Theme

In the conference room of Sony Columbia Pictures, Howard Stringer, representing Sony Entertainment, glanced at the silent Ronan before picking up a pen to sign the contract.

Marc Randolph, representing the newly renamed Netflix, signed his name on another copy of the contract.

Then, both parties exchanged contracts and signed them once more.

The licensing agreement was officially concluded, and Howard Stringer shook hands with Marc Randolph.

Applause erupted in the conference room.

Ronan joined in the applause along with everyone else.

Since acquiring the film library of Artisan Entertainment, Relativity Entertainment and Netflix had never stopped searching for more content. They had already reached agreements with DreamWorks, Universal, and Warner Bros., securing internet usage rights for the film libraries of these three companies.

With Netflix’s rapid development and the explosive growth of its DVD sales and rental business, negotiations with other companies had become significantly easier.

This year, Netflix’s rental business had fully surpassed Blockbuster’s, and anyone with a bit of foresight could see that Netflix, representing the future, would defeat the old-fashioned Blockbuster—it was only a matter of time.

The vast market of online rentals was also tempting.

Thus, Netflix naturally transitioned from being unable to buy copyrights to having many companies proactively approaching them for internet licensing.

Following Ronan’s instructions, all internet licensing negotiations were bundled with DVD and online streaming rights.

This was also part of the final preparations for Netflix’s streaming media business, expanding its content library.

While new releases attracted attention, old films also had a large audience.

Unlike the early days when Netflix had minimal business and licensing required high upfront fees, all companies negotiating with Netflix now focused on backend revenue sharing.

Netflix’s rapidly growing business volume made it unreasonable to demand high upfront fees with low backend shares.

Almost all licensing negotiations involved no upfront fees, with both parties primarily focusing on backend revenue sharing.

Netflix’s three major businesses—social sharing, video and image sharing, and DVD sales and rentals—were profitable only in the latter.

However, the first two effectively drove user numbers for the third, forming an organic whole that could mutually reinforce each other.

Moreover, once Netflix’s streaming media business launched and stabilized, and preparations for going public began, Ronan planned to orchestrate a major move to further expand Netflix’s influence and boost its stock price.

Ronan had Robert Iger and Marc Randolph assemble a team of elite personnel to prepare for this.

If everything went according to plan, Netflix’s influence would spread worldwide!

Howard Stringer approached Ronan and said, “I thought you would be the one signing today.”

Ronan smiled and replied, “Marc Randolph is the Chief Executive Officer of Netflix.”

“Rumor has it that you only spent fifty million dollars to buy Netflix?” Howard Stringer asked.

“More or less,” Ronan reminded him, “but the total investment in Netflix, before and after, has been several hundred million dollars.”

Netflix’s development was far from easy. Relativity Entertainment had not gained any profits from Netflix; all of Netflix’s profits had been reinvested into new businesses.

Howard Stringer, however, couldn’t help but envy, “But Netflix will bring you rich returns.”

Ronan followed his words, “I hope that day comes soon.”

Howard Stringer added, “In the competition between Netflix and Blockbuster, Sony Entertainment stands with Netflix.”

Ronan said, “Thank you.”

This, of course, had nothing to do with personal favors—it was purely business. For Sony Entertainment, choosing between the future and the past was not difficult at all.

Sony Entertainment, along with its subsidiary MGM, had accumulated a massive film library through years of bankruptcies, acquisitions, and mergers in Hollywood. This included former Hollywood giants like TriStar Pictures, Columbia Pictures, MGM, and United Artists.

This time, Netflix’s licensing negotiations with Sony Entertainment secured rights to a vast library of 23,000 films, TV shows, and animations.

There were no upfront fees because of Netflix’s business scale and its relationship with Relativity Entertainment. The licensing fees followed industry standards: for films that were big sellers in the past five years, Sony Entertainment would receive $2.99 per rental, while older films would cost $1.99.

This price was quite low, applicable only to internal Hollywood licensing.

Externally, Hollywood licensing fees were much higher.

For example, Hollywood’s licensing fees for the Eastern markets were at least three times the internal industry standard.

Thus, legitimate Hollywood film merchandise in the Eastern markets was often exorbitantly priced, with a significant portion of the cost coming from high licensing fees.

Ronan and Howard Stringer chatted for a while, both very satisfied with this collaboration.

Before leaving, Howard Stringer took the initiative to shake Ronan’s hand, “I hope we have more cooperation in the future.”

Ronan smiled and said, “I hope so too. Pleasure doing business with you.”

Howard Stringer also said, “Pleasure doing business with you.”

Both sides were as harmonious as strategic partners.

Howard Stringer invited, “Ronan, do you have time? Let’s have a private chat.”

“Sure,” Ronan, of course, wouldn’t refuse, “I’d also like to learn from your experience in business management.”

The two left the conference room and went to a luxurious reception room on the same floor.

Meanwhile, in another conference room several floors below in the Sony Columbia Pictures headquarters, a fierce negotiation was underway.

Arthur Markham, representing Marvel Entertainment, looked serious, “Columbia’s conditions lack sincerity. Increasing the television broadcasting rights by only one percent is unacceptable to Marvel Entertainment!”

Best, representing Sony Columbia Pictures, said, “Don’t forget the Spider-Man copyright contract. According to the contract, we don’t need to pay Marvel an extra cent, but considering our good cooperative relationship, we are willing to compensate Marvel!”

Arthur Markham once again took out the documents and pushed them in front of the Sony Columbia representatives, loudly declaring, “Compensation? Fine! For the first two Spider-Man movies, you owe Marvel Entertainment at least ten million dollars in legal shares. Please settle this part first, and then we can discuss other compensations.”

Having negotiated more than once or twice, the people at Sony Columbia were already used to Arthur Markham’s shameless tactics.

Best said very seriously, “I’ll say it again, this ten million dollars does not exist! If Mr. Markham continues, we will have to take legal action.”

“Alright, let’s not talk about this ten million dollars for now,” Arthur Markham didn’t want to be so shameless, but the higher-ups were pressing hard, insisting on not letting go of Sony Columbia. “Marvel Entertainment can also give up pursuing new box office interests…”

Best quickly prepared himself because he knew things wouldn’t be that simple.

Arthur Markham said, “The film comes from Sony Columbia’s production, and Marvel won’t take Columbia’s credit. For the copyright income of the Spider-Man movies themselves, apart from the existing part, Marvel can give up all additional demands.”

Best raised his guard, “What do you want?”

Arthur Markham directly stated, “All income from merchandise will belong to Marvel.”

“All merchandise?” Best felt that the people at Marvel had gone crazy, “Toys, dolls, and all kinds of image rights income from the Spider-Man movies, Sony has to give up all of it?”

Arthur Markham knew very well that to continue the negotiation and not be struck out by Sony, he had to be shameless, “The Spider-Man mask on the head, the image is the same. This is Marvel Entertainment’s legitimate comic merchandise rights claim.”

Best refused without hesitation, “Such unreasonable demands should not be mentioned, otherwise Sony Columbia Pictures will refuse to negotiate again.”

“Marvel Entertainment is committed to continuing cooperation with Sony Columbia within a reasonable range of interest distribution,” Arthur Markham continued to talk nonsense with his eyes open, “I don’t want the relationship between Marvel Entertainment and Sony Columbia to turn into that of 20th Century Fox.”

Marvel Entertainment was in a legal battle with 20th Century Fox, which was known in the industry.

Best’s face darkened a bit. Did Marvel Entertainment really have the determination to destroy its own son? He didn’t believe it because Spider-Man was Marvel’s flagship!

Seeming to guess what Best was thinking, Arthur Markham said in a seemingly calm tone, “A son that’s sold is no longer a son. We even sold our own son, let alone the clothes he left behind.”

“Don’t be so extreme,” Sony Columbia had been trying to avoid this situation. Best pressed his hands down slightly, “Mr. Markham, we are talking. Making any decisions before the talk is over is irresponsible.”

The Spider-Man comics were completely in the hands of Marvel Entertainment. If Marvel really wanted to do something, Sony Columbia Pictures could only watch.

Best’s boss had instructed that the main goal of the negotiation was to drag it out, to hold Marvel Entertainment back and see the specific situation later before making a decision.

Of course, if they could get rid of Marvel Entertainment with an increase of one percent in television rights or similar clauses, that would be ideal.

Arthur Markham also knew that Sony Columbia was dragging its feet, but he didn’t have a better way. The contracts between Marvel Entertainment and Cannon Films, and between Cannon Films and Sony Columbia Pictures, made it really difficult to negotiate.

But they still had to negotiate to find opportunities.

After a while, the tone rose again, and the negotiation even showed signs of turning into an argument.

From the negotiation’s stance, no one could tell that the parent companies of both sides had just reached a close cooperation agreement.

Also, the conversation between Ronan and Howard Stringer in the reception room was quite friendly, focusing on the next stage of cooperation.

Chapter 700: Ronan’s Conditions

In the reception room, Howard Stringer’s conversation kept circling back to Netflix.

The media and market were already buzzing with rumors about Netflix, and unlike the skepticism surrounding Relativity Entertainment’s acquisition of Netflix, almost everyone now saw a bright future for the company.

With nearly twenty million Netflix sharing users, over thirteen million Netflix rental subscribers, and various popular videos and images circulating online, the sheer number of users alone represented immense value.

After discussing Netflix’s business for a while, Howard Stringer asked the question he was most concerned about: “I heard Netflix is preparing to go public?”

Ronan saw no need to deny it: “That’s correct. Relativity Entertainment is working on Netflix’s IPO.”

“That’s a wise choice,” Howard Stringer said. “Netflix needs a lot of capital to continue growing, doesn’t it?”

Ronan spread his hands. “Without affecting its own development, it’s a bit difficult for Relativity Entertainment to handle alone. It’s better to seek public funding.”

Howard Stringer seemed to ask casually: “What if Sony is interested in investing in Netflix?”

Ronan looked at him. “You’re more than welcome, but there’s a condition—it has to wait until after Netflix goes public.”

“Sony can invest this year,” Howard Stringer said, naturally seeking the greatest benefit. “Waiting for the IPO is too far off.”

Ronan didn’t respond to that. Instead, he asked, “Can you make decisions for Sony?”

The “Sony” Howard Stringer referred to wasn’t Sony Entertainment but the Sony Group. From what Ronan knew, the real decision-makers in the Sony Group were all Japanese, weren’t they?

“There’s some news I can share with you in advance, but don’t spread it around,” Howard Stringer said with a slight smile. “If all goes well, I’ll soon be appointed Chairman and Chief Executive Officer of the Sony Group.”

Ronan was quite surprised. He had heard of Akio Morita and Kazuo Hirai, but Howard Stringer’s name didn’t ring any bells.

Could this be a change he had brought about?

He couldn’t be sure.

Howard Stringer was about to take the highest management position in the Sony Group. Newly appointed, he would surely want to make some achievements. Although the Sony Group had internationalized, the influence of the Japanese was deeply rooted, making it difficult to break through internally. However, achieving results externally was relatively easier.

Netflix was a typical success story of the internet plus entertainment industry. Many even said that Netflix’s real-time sharing represented the future, making it a universally recognized high-quality investment target.

If he could secure an opportunity to invest in Netflix, it would certainly help solidify his newly acquired position.

Ronan only showed a flicker of surprise in his eyes before quickly returning to normal. He smiled and said, “Congratulations.”

“It’s not easy to get this position,” Howard Stringer seemed to confide. “It’s even harder to stay in it.”

He looked at Ronan. “Would you be willing to give Sony an investment opportunity?”

Ronan told the truth: “It’s too late now.” He didn’t completely refuse but subtly raised the stakes for Netflix. “Howard, I can also share some news with you. Goldman Sachs is very interested in Netflix and has been assisting Netflix with its IPO preparations. Before the IPO, Netflix cannot accept new investors.”

This surprised Howard Stringer even more: “Goldman Sachs?”

One of the top four investment firms had already joined the game. This matter was far more complicated than he had imagined.

Ronan nodded slightly. “The business of Netflix’s IPO has been outsourced to a company recommended by Goldman Sachs. Goldman Sachs is also helping Netflix connect with IPO investors. Netflix’s development is right here. After the IPO, the stock won’t have trouble selling. Goldman Sachs even predicts that Netflix’s IPO might create a new miracle in internet stocks.”

Netflix’s IPO was a crucial step in Ronan’s next plan. Netflix had not disappointed, growing rapidly in business and users, becoming a hot commodity in the potential investment market.

Howard Stringer was about to become Chairman and Chief Executive Officer of the Sony Group and needed to create a new situation for Sony. Sony’s investment didn’t seem bad either.

An IPO with one more potential big client wasn’t a bad thing.

But this was an opportunity for Sony, and for Relativity Entertainment, it was also an opportunity.

Ronan continued: “It will take some time before the IPO, at least until the middle of next year or even later. If Sony is interested in investing, it might have to wait a while.”

Howard Stringer smiled. “That’s fine. Patience is a virtue.”

Ronan got straight to the point: “For specific matters, Sony can discuss directly with Netflix and the operating company.”

Howard Stringer knew this wasn’t a refusal. At Ronan’s level, he was more responsible for decision-making and controlling the overall direction. Specific matters were naturally handled by professionals.

“Alright,” Howard Stringer said.

Ronan wasn’t finished: “But I have a condition.”

Howard Stringer’s gaze sharpened: “Please, go on.”

“I hope that after the Spider-Man movie trilogy is completed,” Ronan wouldn’t miss any opportunity, “Marvel Entertainment can repurchase the rights to the Spider-Man series at a reasonable price.”

Howard Stringer didn’t hesitate at all. He didn’t even think about it before firmly refusing:

“That’s impossible!”

Ronan wasn’t particularly surprised.

Howard Stringer’s smile vanished: “Ronan, you’ve proposed a condition that Sony cannot accept!”

Ronan said, “This is a mutual selection. There’s still time. Sony can consider it.”

Howard Stringer couldn’t help but say, “Sony investing in Netflix can provide a large amount of capital. This is helping Netflix.”

Ronan didn’t back down: “Netflix is widely favored by the market. The clients Goldman Sachs has connected with for Netflix are all powerful, and they can provide more help to Netflix in internet development. Howard, Sony is very strong, but in the internet industry…”

He didn’t finish his sentence, but Howard Stringer understood.

Howard Stringer shook his head: “Unfortunately, we can’t cooperate further.”

Ronan calmly said, “There’s still time before Netflix’s IPO. Sony can continue to observe and evaluate Netflix. Next year’s Netflix won’t be the same as today’s Netflix.”

There was a deeper meaning in these words, and Howard Stringer took them to heart.

Would Netflix have explosive growth?

Howard Stringer had to take this seriously because when Relativity Entertainment acquired Netflix, who could have imagined that Netflix would become what it is today under Ronan Anderson’s leadership.

Ronan said indifferently, “If Netflix doesn’t have enough value at the time of the IPO, Sony naturally doesn’t need to consider my condition.” He stood up and shook hands with Howard Stringer. “I hope both Relativity Entertainment and the Sony Group will have a brighter future.”

Howard Stringer nodded: “I’ll keep an eye on Netflix. I hope a miracle can be born.”

Ronan smiled and took his leave.

Howard Stringer followed him out, seeing Ronan off at the main entrance of the Sony Columbia headquarters.

No matter how bold Ronan was, he wouldn’t simultaneously create intense conflicts with several major companies. The interest conflicts between Relativity Entertainment and Sony Entertainment were always kept within a range both sides could accept.

Recovering Spider-Man was difficult. This was just an attempt. Although the possibility was small, being able to recover some rights to Spider-Man would be a huge gain.

Moreover, the Spider-Man series could truly open up its own universe!

Ronan hoped that this operation could somehow help Marvel Entertainment in its negotiations with Sony Columbia Pictures.

Howard Stringer attached great importance to cooperation with Relativity Entertainment. Standing at the entrance of the headquarters building, he shook hands with Ronan and bid farewell.

As Ronan got into the car, he noticed a camera flash nearby. He didn’t know if it was a paparazzo stationed there or an entertainment reporter following some celebrity taking photos.

The other party didn’t hide, probably recognizing Ronan and Howard Stringer, standing outside the safe range and taking photos openly.

Perhaps tomorrow’s gossip papers would have news published: Shocking! Relativity Entertainment acquires Sony Entertainment…

The entertainment tabloids here had been playing that game for a long time, the one that the UC Shocking Department used to play.

“Shocking! The U.S. President was stunned by a certain weapon or department.”

Presumably, netizens had seen many such headlines. Because there were too many “shocking” articles, netizens thought that UC must have a Shocking Department specializing in such articles, hence the birth of the UC Shocking Department.

After leaving Sony Columbia, Ronan returned to Relativity Tower that afternoon and attended another signing ceremony. After a period of negotiation, Hasbro and Relativity Entertainment officially reached a licensing agreement for Peppa Pig.

George Clint and Brian Goldner signed on behalf of both parties.

The licensing agreement was mainly divided into three major categories—toys, dolls, and figurines.

These three categories were further divided into several subcategories, but the focus of the negotiations was on the later profit-sharing, and the classification wasn’t so strict.

The base licensing fee for each major category was five million dollars. As the copyright holder, Relativity Entertainment would take twenty percent of the ex-factory sales as its share.

Although Hasbro wasn’t a company within Hollywood, it had close cooperation with Relativity Entertainment, and Relativity Entertainment didn’t ask for a high price, which was in line with industry standards.

Hollywood’s external licensing could be quite elaborate, and the licensing of derivative products from popular movies and TV shows had never had to worry about sales.

Disney’s licensing of derivative products from its popular characters, especially the licensing to the Eastern markets, was so detailed in its classification that it was astonishing.

For example, if the copyright holder licensed the “figurine” category for Mickey Mouse products, after paying the copyright fee, only figurine products could be made.

If you wanted to make products in other categories, such as cups, you would need to pay another copyright fee for cups. Cups came in different materials—PVC, ceramic, clay, etc.—each category had a different copyright fee, and making a product in one category required paying the copyright fee for that category.

There was also the licensing for toy categories, such as building blocks, rattles, etc. Each type required authorization to make.

For example, Warner Bros.’ Harry Potter series had already sold hundreds of derivative product licenses.

After the product side obtained the license, after completing the design, it needed to return to the copyright holder for review of the pattern, image, color, etc., to see if it met the regulations.

Only when the licensing party gave the green light could production and market launch proceed.

Chapter 701: Limitless Potential

With the third season of the animated series airing, Peppa Pig had surged in popularity, securing the top spot in viewership ratings among children’s animated shows this year.

Along with this success came a boom in merchandise sales.

Shrewd business owners weren’t about to miss such a lucrative opportunity. In October alone, Relativity Entertainment had received nearly 150 companies seeking licensing agreements.

Peppa Pig had truly become a red-hot sensation.

As the saying went, “Peppa Pig’s tattoos bring applause to the working class!”

After Relativity Entertainment struck a licensing deal with Hasbro, various other licensing negotiations had also concluded.

All licensing fees were structured as upfront payments plus a percentage of future sales. For example, for canvas bags, the manufacturer Kassel had paid one million dollars upfront, along with a twenty-five percent share of future sales revenue.

This was very close to Warner Bros.’ licensing terms for Harry Potter derivative products.

Licensing for animated series merchandise often held more advantages than live-action films.

In just one week, Relativity Entertainment had sold multiple licenses—watches, backpacks, pencil cases, canvas bags, children’s wallets, sterling silver pendants, crystal stickers, nightlights, dinner plates, various cups, toothpaste and toothbrushes, wall stickers, umbrellas, slides, and playhouses.

Nearly a hundred categories of licenses had already brought in sixty-three million five hundred thousand dollars in upfront fees.

Children’s snacks alone had sold over twenty licenses.

These included candy watches, fruit stands, milk slices, Kinder Eggs, probiotics, sandwich cookies, and lollipops.

The percentage of future sales varied between twenty to thirty percent, depending on the product and manufacturer.

Although Relativity Entertainment also sold merchandise through Embassy Pictures’ channels, a single company’s market coverage was limited. With hundreds of manufacturers working together, the profits would be far greater.

Relativity Entertainment had established a dedicated licensing team for Peppa Pig merchandise. According to their plans, selling a few hundred more licenses was no big deal.

Ronan vaguely remembered a report he had once read—back then, Peppa Pig had over eight hundred global licensees, and that number was still growing rapidly. Breaking one thousand was only a matter of time.

Just think of Disney’s Mickey Mouse—there were thousands of related licenses.

As Ronan put it, Peppa Pig merchandise should cover every aspect of a child’s life, from daily routines to learning and play.

Currently, among Relativity Entertainment’s single-character merchandise, Peppa Pig had surged to the top spot almost overnight, even surpassing the beloved Captain Jack Sparrow.

The vast children’s market held limitless potential.

Ronan had even considered erecting a giant pink pig statue atop Relativity Tower.

As the saying went in online novels, “Those who shout the loudest in the underworld die the fastest.”

The ultimate rule of survival was to play dumb while preying on the strong.

This was just the beginning. The pink pig had only just begun to make its mark. Ronan looked forward to the day when Peppa Pig would bring in hundreds of millions of dollars annually for Relativity Entertainment.

In Relativity Tower, Marc Randolph arrived at Ronan’s office, looking exhausted after taking the elevator to the top floor.

Ronan had someone bring him a cup of tea and asked, “How did the negotiations go?”

Marc Randolph set down his cup. “I met with Alan Horn today. We’ve basically reached an agreement. We’ll soon secure the licensing rights for Disney Pictures and Disney Animation Studios.”

Ronan nodded slightly. “Not bad. Another company secured.”

Marc Randolph continued, “But negotiations with Touchstone Pictures and Hollywood Pictures under Disney aren’t going well. They have no intention of working with Netflix.”

Ronan wasn’t surprised. “We can’t expect support from every company. This is already a great outcome. Netflix has secured over a thousand more film licenses.”

Marc Randolph added, “Our talks with the Weinstein brothers at Miramax are also nearly finalized. We should sign the contract this week.”

“That’s good news,” Ronan said.

Miramax, founded in the 1970s, hadn’t produced an excessive number of films, but it had acquired other companies along the way. Its film library contained over seven hundred movies.

Even the Weinstein brothers themselves couldn’t say how much longer they would control Miramax. They were certainly seeking the greatest possible benefit.

Marc Randolph asked curiously, “From my interactions with various Disney subsidiaries, it seems like Disney is divided internally?”

Ronan was well aware of Disney’s situation. “Disney’s situation is complicated. However, Alan Horn, the co-chairman of Disney Pictures, is a capable and clear-headed man. He’ll make the best choice for Disney Pictures. There shouldn’t be any surprises.”

“Among the Big Six, Warner Bros., Universal, Sony Columbia, and some Disney subsidiaries have already agreed to license their content to Netflix,” Marc Randolph said, feeling that his efforts over the past half-year were finally paying off. “Paramount Pictures, which is under Viacom along with Blockbuster, has refused to negotiate with us. As for 20th Century Fox…”

He chuckled awkwardly. “Recently, Netflix outbid 20th Century Fox for an internet technology company and drove up the prices of other acquisitions. They won’t even talk to us.”

Ronan said, “20th Century Fox has spent hundreds of millions of dollars acquiring several internet companies and is currently integrating them. They clearly intend to enter the internet entertainment industry, so it’s only natural they wouldn’t license their content to us.”

20th Century Fox and Marvel Entertainment were locked in fierce competition, and their relationship with Relativity Entertainment wasn’t particularly good. With Netflix constantly interfering in 20th Century Fox’s acquisitions, it would be strange if they were willing to license their content to Netflix.

Marc Randolph said, “Netflix’s competitors will only increase.”

“So, we must strengthen ourselves,” Ronan said slowly. “No matter how many competitors there are, Netflix must become the leader in its industry.”

Marc Randolph took a sip of tea. “The video resources are almost ready. Prison Break and Wild Survival have been previewed by Netflix’s long-time users, and the feedback has been excellent. With attractive new content and tens of thousands of classic titles, the streaming media business is bound to succeed.”

Ronan asked concernedly, “How is the technical preparation coming along?”

“That’s the last piece,” Marc Randolph said, knowing that Ronan wasn’t very familiar with internet technology. He tried to explain it in simple terms. “The technical preparation is in its final stages. After Netflix adopts this new transmission technology, video clarity and transmission speed will improve significantly. We’ll be able to provide videos in different resolutions. If the user’s hardware meets the requirements, they can even stream videos online with clarity rivaling that of Blu-ray discs.”

Ronan didn’t understand internet technology, but he was familiar with the quality of Blu-ray discs. During the BD and HD format war, Relativity Entertainment had sided with Sony’s BD technology early on, which was one of the reasons for the consistently good relationship between Relativity and Sony.

Although the two sides had major disagreements over Spider-Man, both had tacitly agreed to keep the conflict within the scope of Marvel Entertainment and Sony Columbia.

Ronan said, “If the streaming media plan goes smoothly, once the business stabilizes, we should focus on expanding into two markets in the future.”

Marc Randolph looked at Ronan. Though he wasn’t knowledgeable about technology, his insights into market trends and industry development were remarkably forward-thinking.

Netflix’s growth had already proven this.

“In the future, when technology meets market demands, Netflix should further collaborate with telecommunications companies to ensure that our content can be accessed through cable set-top boxes, reaching television users,” Ronan said. This was something Netflix had successfully achieved in the past. It might not happen in the next few years, but technological development took time. “On the other hand, we need to develop a smartphone client.”

Motorola and other manufacturers had already launched successful smartphones last year, and another major phone manufacturer, Nokia, was reportedly targeting this market as well.

Marc Randolph said, “The smartphone client is a key area for Netflix’s next phase of development. The clients for social networking, video sharing, and rental services have already been developed and are currently undergoing testing and adjustments. The streaming media client is also in development and will be fully launched in January next year.”

He paused briefly to organize his thoughts. “We are currently in negotiations with companies like Motorola, Nokia, and Samsung, aiming to have Netflix pre-installed on their devices.”

Ronan nodded in satisfaction and reminded him, “And Apple! Apple’s smartphone is in development. I’ll have Scott Swift assist you in making contact with Apple.”

“Understood,” Marc Randolph said doubtfully. “Apple has never been involved in phone manufacturing before.”

Ronan knew the power of the iPhone and said, “I’m an Apple shareholder. I’ve seen the concept device. It will… how should I put it? It will become a fashion trend.”

Apple’s products were successful, but their marketing was even more so.

Smartphones had already entered the market, and the era of mobile entertainment was about to begin. Netflix needed to expand beyond the internet and into the smartphone terminal market.

Perhaps, in the future, Netflix would be considered a major reason for the rise of the “low-head tribe.”

Ronan was well aware that the internet market was vast, and Netflix couldn’t develop in all areas. As long as they did well in their current and upcoming businesses, they were bound to become one of the future internet giants.

“Oh, the technology department reminded me that the current mobile operating systems are quite chaotic. If we only develop smartphone clients, we’ll be at the bottom of the industry chain,” Marc Randolph said. “The technology and business research departments have recommended a few mobile operating system development companies to me. One of them has a very capable development team. I think Netflix should acquire them.”

As he opened his briefcase to retrieve the documents, he continued, “This is a small company founded in 2003. They haven’t released any products yet.”

Chapter 702: Strategic Acquisition

Taking the documents handed over by Mark Randolph, Ronan quickly browsed through them. He didn’t understand the specialized programming terminology, but Relativity Entertainment had professionals to review such matters—no need for him, the boss, to worry too much.

“This company was founded just last year,” Mark Randolph added. “The team leader is Andy Rubin, who previously worked as a robotics engineer at Carl Zeiss, a renowned optical instruments company, primarily in digital communications networks. Later, through an introduction, he joined Apple as a desktop systems development engineer. In 1997, he joined Microsoft as a robotics communications engineer. Last year, he founded Android Inc., aiming to design an open mobile platform for all software developers.”

Upon hearing this, Ronan also noticed the company’s name—Android.

He might forget other things, but this name, this English word, he would never mistake.

Countless times, turning his phone on and off—except for the brief period he used an Apple phone—every other time the system booted up, this name appeared.

Translated into Chinese, it was called Android.

Ronan curiously asked, “How did you find this company?”

Mark Randolph replied, “I instructed the technology and business investigation departments to collect relevant company data. After Andy Rubin learned of this, he sent me an email and even called. We’ve spoken a few times, and the company has conducted investigations. Their development project will significantly aid Netflix’s future mobile smart user business.”

Ronan slowly nodded. He had to admit that Netflix’s internet professionals and specialized teams had unique insights.

It made sense—without such capabilities, how could Netflix have reached its current position?

Mark Randolph seemed concerned that Ronan might reject Android. “Ronan, currently, global mobile users have reached seven hundred million, three times the traditional computer market, and this gap continues to widen. The mobile operating system has great potential.”

“The mobile market will completely surpass the computer market,” Ronan continued. “There’s no doubt about that. Mark, I support Netflix’s acquisition this time, but have you considered how to promote an excellent mobile operating system? It’s not just Android that can design and develop one.”

Mark Randolph clearly had given it some thought. “Netflix’s mobile client promotion requires communication and cooperation with phone manufacturers. We can use this to establish stable cooperative relationships with them.”

Ronan wasn’t entirely clear on the specifics but knew the general idea. “That’s far from enough. To grow and strengthen, we need to unite phone manufacturers, software developers, telecom operators, and even chip manufacturers to form a powerful alliance.”

Mark Randolph only needed a moment to understand.

Ronan continued, “To achieve this, we need an extremely powerful Netflix.”

In the past, Google had also developed to a certain extent before truly accomplishing this, and Android gradually became mainstream.

“Yes, Netflix’s strength is the foundation,” Mark Randolph said.

Only a sufficiently powerful company could unite others to form an alliance. Mark Randolph smiled. “Ronan, Netflix is about to go public. I’m full of confidence in Netflix’s future.”

Ronan slowly nodded. “So am I. So, Mark, once the headquarters completes the procedures, go ahead. Don’t worry; Relativity Entertainment is Netflix’s strongest backing.”

Mark Randolph knew well that even after Netflix went public and raised funds, Relativity Entertainment would still hold controlling shares.

Ronan asked, “How are the preparations for the IPO?”

“The companies recommended by Goldman Sachs have very strong professional capabilities,” Mark Randolph said confidently. “Goldman Sachs has also inquired about investment intentions from multiple investment companies, and the results are very promising.”

Ronan didn’t ask further. “You and Robert Iger keep a good handle on the progress.”

Netflix’s performance was outstanding enough to attract investors easily.

Moreover, the IPO was planned after the streaming media business.

After nearly half a year of observation and analysis, Ronan was very clear that the biggest factor restricting Netflix’s development was funding.

With one blockbuster movie after another, plus income from offline operations and other aspects, Relativity Entertainment had maintained a relatively abundant cash flow. However, Relativity Entertainment also had a series of plans that required large sums of money.

Even if they could consider financing from the Pacific Foundation and bank loans to solve a significant portion, Relativity Entertainment still needed to maintain abundant cash flow.

Therefore, Relativity Entertainment could no longer inject large sums into Netflix. Going public to raise funds was undoubtedly a more suitable solution.

When a company grew to a certain size, collaborating with other capital groups was also a shortcut and could provide significant help for Netflix’s future development.

As Netflix’s representative, after signing licensing agreements with Disney Pictures, Disney Animation Studios, and Miramax, Mark Randolph concluded his Los Angeles trip and returned to the San Francisco area to focus on Netflix’s other affairs.

With Relativity Entertainment’s support, Netflix secured a sufficient amount of film library content during this Los Angeles trip.

More importantly, Netflix’s new acquisition plan, after review by Relativity Entertainment, was approved.

Mark Randolph convened Netflix’s senior management for consecutive meetings to discuss and finalize the acquisition plan. They contacted Andy Rubin, the founder and Chief Executive Officer of Android Inc.

Both being internet professionals, they were familiar with each other’s businesses, and their communication proceeded very smoothly.

After discussing technical and business matters, their conversation turned to the most critical issue—price.

Andy Rubin was no novice in the workplace and wanted to increase his bargaining power. “I’ve sent emails to many large companies. Larry Page from Google replied; he’s been keeping an eye on Android. There’s also a venture capital firm willing to invest in Android.”

Mark Randolph wore a faint smile. “They might be interested in investing in Android, but only after Android’s product is completed or nearly completed.” He directly stated, “Netflix Network will acquire Android for twenty million dollars and, after the acquisition, invest an additional eight million dollars into Android.”

Andy Rubin wanted to say more, but Mark Randolph gave him no chance. “Andy, think carefully. There are many companies in Silicon Valley doing this; Netflix doesn’t only have Android to choose from.”

Hearing this, Andy Rubin understood that these were Netflix’s terms—take it or leave it.

Netflix was already one of the major companies in Silicon Valley, while Android was just a startup. For Android to continue development, it needed funding and support from a large company.

Android needed Netflix, but Netflix didn’t necessarily need Android.

This offer wasn’t particularly high, but it wasn’t low either.

Andy Rubin said, “I need two days to consider. I’ll give you an answer by the end of this week.”

“Alright,” Mark Randolph said.

The two shook hands and parted ways.

After the new weekend passed, Ronan, seeing the Shark Team’s North American three-peat with a cumulative box office of one hundred and fifty-one million and two hundred thousand dollars, received a notification from Mark Randolph. Netflix Network had reached a preliminary agreement with Android Inc. and would acquire Android for twenty million dollars.

This was good news, but it didn’t excite Ronan too much. The reason Android became the Android of the past was partly due to its development and technical strength and open strategy, but the key was Google’s strong backing.

If Google had chosen another company back then, would Android still be Android?

So, from the moment Mark Randolph mentioned Android, Ronan, like when he first acquired Netflix and put in so much effort, never assumed Android would naturally succeed in the future.

Android still had a long way to go. The advantage of Netflix acquiring Android was that it could be a step ahead of other companies.

Ronan specifically communicated with Mark Randolph again, instructing Netflix to start with client cooperation and establish connections with numerous software developers, phone manufacturers, and chip manufacturers like Qualcomm.

Apple was out of the question; Steve Jobs wouldn’t allow Apple to use any operating system other than its own.

A Netflix team, in cooperation with the Pacific Investment Foundation, had already contacted South Korean investors, who acted as intermediaries to connect with Samsung Group.

Mark Randolph also proposed an idea: based on Netflix’s increasingly powerful platform and Android’s foundation, develop professional software that could provide entertainment services for future smart terminal users.

The inspiration for this idea was, of course, borrowed from Apple’s iPod support software, iTunes.

Ronan approved the research and development of this project, which would be completed by Android Inc.

After Netflix Network signed the acquisition agreement with Android Inc., Ronan made a special trip to San Francisco and spent an entire day in Silicon Valley discussing with Mark Randolph and Andy Rubin, who had already taken up the position of Vice President of Development at Netflix and Chief Executive Officer of Android.

Ronan didn’t understand the technical aspects, but he had used countless apps and various Android operating systems.

In the past, he changed his smartphone almost once a year.

Android also had negative impacts. Anyone slightly familiar with the smartphone industry knew that Android had triggered numerous patent lawsuits.

Ronan wasn’t afraid of this because a hot Hollywood movie would also trigger numerous copyright lawsuits.

For example, after “Pirates of the Caribbean” became a massive hit, at least twenty individuals or companies sued Ronan and Shai Entertainment for infringement.

But how much did Android bring to Google?

It was hard to estimate how much money Google made through Android because Google didn’t use Android to make money directly. However, Android significantly increased the usage rate of Google’s search and services, which drove the development of Google’s mobile business.

If Ronan were to say, Android’s success for Google was more strategic than financial.

Chapter 703: Balancing Looks and Acting

As late October approached, Tom Cruise, who had been filming Mission: Impossible 3 in Europe, finished all his scenes and returned to Los Angeles. After a brief two-day rest, he immediately came to meet Ronan.

“The filming is done; post-production starts next month,” Tom Cruise said, slouching on the sofa in the reception room. “Ronan, I remember you have a female editor who’s a real talent. Can I borrow her?”

Ronan had to refuse. “I’m afraid not. She’s not just an editor; she’s also a producer preparing for a new film.”

Tom Cruise rubbed his face. “Christopher McQuarrie is decent at directing, but having him handle post-production editing, especially for fast-paced action scenes, doesn’t seem right.”

“Hire an external editor,” Ronan said, flipping through some papers. He found a sticky note, wrote Paul Greengrass’s number on it, and handed it to Tom Cruise. “This is the director of the Mission: Impossible series. Since Mission: Impossible 3 is wrapped, Paul Greengrass’s usual editor should be on vacation. I don’t have their number, but you can have someone contact Paul and ask if the editor is interested in collaborating.”

Tom Cruise didn’t stand on ceremony with Ronan. “Thanks.”

Ronan picked up the teapot and poured him a cup of black tea. “No need to thank me.”

Tom Cruise put away the sticky note and asked, “Have you been following Manchester United lately?”

“No,” Ronan admitted. “Relativity has a ton of work; I don’t have time to watch matches.”

Tom Cruise sighed. “A boss like you…” He shook his head. “Manchester United fans wouldn’t know whether to laugh or cry.”

“How’s their recent performance?” Ronan asked.

“A bit unstable, with so many new signings,” Tom Cruise said simply. “I went to Old Trafford last weekend to watch the match. Manchester United was held to a draw at home by Everton. They’re still leading the table, but Chelsea, in second place, is only one point behind.”

Ronan vaguely remembered that in José Mourinho’s first Premier League season, Chelsea had been in a league of their own.

Now, nearly ten rounds into the Premier League, Manchester United was in first place—this was probably the change he had brought to the team.

“Manchester United will be champions,” Ronan said, taking a sip of tea. “I believe that.”

Tom Cruise smiled. “I believe Manchester United can reclaim the Premier League title too.”

Ronan said, “If the situation between Manchester United and Chelsea is still unclear in the second half of the season, remember to let me know.”

Tom Cruise asked, “What do you plan to do?”

“What can I do?” Ronan spread his hands. “I value competitive spirit and respect fairness and justice.”

Tom Cruise said directly, “I’ll reserve judgment on that.”

From the sound of it, Ronan clearly intended to stir things up.

Ronan spoke lightly, “Don’t worry, I won’t joke around with Manchester United’s century-old reputation.”

Recently, some people investigated in London had confirmed something and obtained key evidence.

Ronan didn’t plan to expose it immediately. Such an interesting matter should be saved for the most crucial moment.

Professional football often had many interesting developments.

After chatting about football and the Premier League, Tom Cruise changed the subject. “By the way, have you talked to Martin Scorsese about that gangster film project?”

Ronan poured himself a cup of tea. “Not yet. It’s not the right time. Your and Will’s schedules aren’t suitable either. We can discuss it after next year’s Oscars.”

Tom Cruise was sharp and immediately realized, “You don’t think Martin Scorsese and The Aviator will do well at the Oscars this year?”

Ronan took a sip of tea. “I attended Universal’s screening. How should I put it? It feels too deliberate in its Oscar push, which might backfire.”

The Oscars and the Academy’s old guard could be eccentric—they wanted contenders to respect them but not be too obvious about it.

This game always followed the Academy’s rules.

Ronan added, “Don’t forget, Relativity has many films vying for awards this season. I don’t want to see Martin Scorsese win.”

If Martin Scorsese won Best Director or Best Picture, his directing fees would skyrocket.

That said, winning with The Aviator would be difficult. This film was one of Martin Scorsese’s most mediocre works.

Its only advantage was showcasing Hollywood’s golden age and Katherine Hepburn.

Hollywood had too many old-timers nostalgic for their so-called golden age, always praising that era as the best in world cinema.

Every generation had its own golden age.

Ronan glanced at the time. “Let’s wrap it up for today. I have a meeting with David Finch about a film project.”

Tom Cruise said, “I’ll call you if anything comes up.”

He also needed to contact Paul Greengrass to confirm the editor situation.

Ronan arrived at the office floor where the crew was based and entered David Finch’s temporary office. Lindsay Bill, the screenwriter, had already arrived and was discussing the plot with David Finch.

This project, temporarily codenamed Girl, had moved into the preparation phase after David Finch completed extensive groundwork, and the crew was being assembled.

“The script is basically finalized between Lindsay and me,” David Finch got straight to the point. “I’ve also followed Lindsay’s method to investigate many professionals in this field and collected relevant materials firsthand.”

He was confident. “I’m ready for preparation and filming.”

Ronan said, “Thirty-five million dollars. The first five million in startup funds have arrived. The rest of the budget will be transferred to the third-party account in due course.”

Lindsay Bill interjected, “I need one hundred thousand dollars. The script’s characters are based on my classmate from New York. To avoid potential copyright disputes, I’ve reached an agreement with her for a one hundred thousand dollar authorization fee.”

“No problem,” Ronan said, indifferent to such minor matters. If Lindsay Bill hadn’t mentioned it, he wouldn’t have bothered with these specifics. “Lindsay, settle it with her as soon as possible.”

David Finch continued, “The filming crew will be in place soon. They’re mostly experienced professionals I’ve worked with before. The next focus is on the actors, especially the female lead—the core of the entire film.”

Lindsay Bill had invested too much time and effort into this project. “The female lead is crucial. The actress needs to carry the entire film.”

David Finch had prepared for this. “Some people have recommended candidates, and others, upon hearing about the project, have had their agents reach out to the crew.”

Hollywood crews couldn’t avoid personal connections, and Ronan knew this. But while personal connections could get someone an audition, landing the role depended on their performance.

The nature of this film meant not just any actress could take on the part.

Ronan asked directly, “Who are the current candidates?”

David Finch said, “The role requires someone sexy and beautiful with a sunny disposition to create a strong contrast with the dark theme. An agent recommended Jessica Alba…”

“She’s not suitable,” Ronan said without hesitation. “Jessica Alba’s looks and demeanor aren’t the issue, but her acting…”

Ronan looked at David Finch. “David, are you sure you can coach this sweet girl into a leading lady who can carry the entire film?”

David Finch couldn’t guarantee it.

Ronan said, “Jessica Alba is out of the question.”

Recommending Jessica Alba was a favor, and now that Ronan had outright rejected her, the favor was effectively returned. David Finch didn’t insist. “Then I won’t send Jessica Alba a audition invitation.”

If the film needed a pure decorative presence, Jessica Alba would be a perfect fit.

Acting was indeed subjective, but there was a clear distinction between ordinary and outstanding.

David Finch said, “A few days ago, at a party, Natalie Portman approached me and expressed strong interest in the role.”

Ronan waved his hand. “She doesn’t fit the physical requirements.”

Natalie Portman was far from “sexy and beautiful.”

To make certain men pay thousands of dollars an hour in service fees, Natalie Portman’s appearance held no persuasive power.

Perhaps Matilda could work.

David Finch frowned slightly. “I think Natalie Portman is among the most talented of Hollywood’s younger generation.”

Ronan didn’t respond but instead asked Lindsay Bill, “Lindsay, how does your classmate look?”

Lindsay Bill was straightforward. “By Hollywood standards, she’s top-tier.”

Without a certain level of looks and demeanor, how could someone reach a relatively high position in that industry in New York?

That was New York, after all. Even in such an industry, the competition was fierce.

This role required both acting and looks.

Natalie Portman was also rejected by Ronan.

David Finch was somewhat frustrated because he had high hopes for Natalie Portman.

Ronan thought for a moment and said, “Let’s hold auditions. We’ll find the right person.”

“That’s the only way,” David Finch didn’t object. “I’ll send invitations to the major agencies.”

The three discussed for a while longer. Ronan then went to Jessica Felton’s office on the same floor to check on Fast & Furious 3, which was also in preparation.

He didn’t stay long before returning to his office.

Connie followed him in, bringing an invitation. “This was just delivered by George Lucas’s secretary. George Lucas invites you to attend an event at the USC School of Cinematic Arts this weekend.”

Ronan flipped it open and glanced at it, recalling his last conversation with George Lucas. “Call George Lucas’s office. I’ll attend on time.”

Alumni networks were crucial here.

Chapter 704: A New Circle

This was an event hosted by the USC School of Cinematic Arts—or more precisely, a renaming ceremony.

The USC School of Cinematic Arts was a shortened name; originally, it was called the USC School of Cinema-Television. Now, it was officially renamed the USC School of Cinematic Arts.

For such an event, how could the USC School of Cinematic Arts forget to invite its many distinguished alumni?

As the film school closest to Hollywood and the film industry in all of America, graduates of the USC School of Cinematic Arts almost invariably ended up working in Hollywood.

Compared to the film programs at New York University and Columbia University, the USC School of Cinematic Arts leaned more toward Hollywood’s commercial style, aiming to cultivate students capable of producing industrial-grade masterpieces.

The number of Oscars won by the USC School of Cinematic Arts also far exceeded that of other schools.

Its list of famous alumni was long.

At the banquet following the renaming, aside from George Lucas, Ronan also saw sound master Ben Burtt, A Beautiful Mind director Ron Howard, Forrest Gump director Robert Zemeckis, Charlie and the Chocolate Factory director David Wolper, and many others.

Most were directors or behind-the-scenes creators like Jessica Felton, with few on-screen stars in attendance.

Because the USC School of Cinematic Arts did not have an acting program.

With George Lucas’s introduction, Ronan smoothly entered the core circle of USC School of Cinematic Arts alumni.

Though he had dropped out without graduating, he was still an alumnus.

After Robert Zemeckis, the president of the alumni association, extended an invitation, Ronan agreed to join the USC School of Cinematic Arts Alumni Association.

He attended this gathering for two reasons: first, because he bore the indelible mark of the USC School of Cinematic Arts, and second, to leverage his alumni connections to further expand his network.

Many of the alumni at the event were members of the Academy of Motion Picture Arts and Sciences.

In other words, they were Oscar voters.

In this world, circles existed everywhere, and alumni networks were among the more reliable ones.

At the banquet, Ronan also ran into his former mentor, Professor Johnson.

Three years ago, Professor Johnson had officially retired and returned to Washington D.C. to settle down. Ronan hadn’t seen him in a while.

While there wasn’t a saying about the “four unbreakable bonds of life” here, respect for one’s mother was a universal social value.

She was someone you could curse a thousand, even ten thousand times in your heart, but you would never allow an outsider to insult.

In the latter half of the banquet, Ronan had Professor Johnson accompany him to meet the current top administrators of the film school, where he directly announced an $8 million donation to his alma mater.

Professor Johnson had retired, but his pension was substantial, and he had always kept a close eye on the USC School of Cinematic Arts.

Ronan knew this well. He deliberately arranged to meet the current administrators through Professor Johnson, rather than George Lucas, to ensure that Professor Johnson’s legacy and influence would endure.

This was also a form of repayment. When Ronan was just starting out, Professor Johnson had helped him immensely—it was through Professor Johnson that he had met Jessica Felton.

Unfortunately, Jessica Felton was in Mexico scouting locations for Fast & Furious 3 and couldn’t make it to the event.

But Ronan could always introduce her to the alumni association later.

This $8 million donation was entirely from Ronan’s personal funds. Of course, he wouldn’t make empty promises—he would definitely follow through.

In Hollywood, there were too many cases of celebrities making empty charitable pledges, announcing large donations only to renege later.

Many stars had their own charitable foundations, and the donations they pledged often ended up in their own pockets…

Charitable donations, regardless of the motive, were better than doing nothing—and far better than the keyboard warriors who mocked them for having ulterior motives.

Ronan once had a colleague who donated a hundred dollars during a crisis, only to be ridiculed by many for being stingy.

Yet those same people never loosened their grip on their wallets.

Of course, publicly pledging a large donation for fame and then failing to deliver was another matter entirely.

Hollywood had no shortage of such people. Julia Roberts and Oprah Winfrey were notorious for being tightfisted, and they had been caught reneging on public donation pledges more than once.

Ronan would have his accountant handle the donation tomorrow.

That night, his donation wasn’t the largest. George Lucas donated $20 million in one go and, on behalf of Spielberg—who was away filming—pledged another $10 million.

Spielberg wasn’t an alumnus of the USC School of Cinematic Arts, but he was a well-known supporter of the school.

Perhaps this had something to do with the significant support he had received from George Lucas early in his career.

According to Robert Zemeckis, George Lucas was also planning to donate a state-of-the-art teaching building and a post-production studio to the USC School of Cinematic Arts.

For most of the banquet, Ronan stayed with the USC alumni, chatting. Thanks to his identity as a studio head and a top-tier producer, he quickly became one of the focal points of the alumni gathering.

A few days later, using his recent induction into the USC School of Cinematic Arts Alumni Association as an excuse, Ronan hosted a grand dinner.

A brand-new network of connections was gradually taking shape.

Most of these people could directly connect with Relativity Entertainment.

For example, sound master Ben Burtt accepted Relativity’s invitation and would handle the sound design for the Transformers series in the future.

Additionally, the USC School of Cinematic Arts had a steady stream of outstanding graduates who could join the production teams of various Shai Entertainment projects.

Ronan was naturally listed as one of the most influential alumni of the USC School of Cinematic Arts.

Soon after, the Transformers production team officially signed a contract with Industrial Light & Magic under Lucasfilm. The special effects for this major commercial film would be handled by ILM.

Relativity Entertainment and Lucasfilm were deepening their cooperation. Apart from smaller investments, even in major productions, Marvel Entertainment had already established a long-term strategic partnership with ILM.

Shai Entertainment’s collaboration with ILM was even more extensive—Pirates of the Caribbean, Night at the Museum, and Transformers all had their special effects handled by ILM.

Furthermore, the two parties had reached a cooperation agreement for Zack Snyder’s 300.

Shai Entertainment had long-term leases on the soundstages at Hughes Aircraft Factory, and major investment projects were gradually moving away from Warner Bros. Studios. Post-production could now be completed entirely at Relativity Tower.

However, Zack Snyder and the 300 project were kept at Warner Bros. Studios for filming.

Having achieved tremendous success with his first film, which grossed $88.9 million in North America during its theatrical run, Zack Snyder was full of energy. After resting for less than a month, he returned to Los Angeles from the UK, gathered his team, and began preparations, aiming to complete pre-production within six months and finish filming next year.

Ronan also gave Zack Snyder more authority, even appointing him as the second producer.

The film had a production budget of $60 million, most of which would go into special effects.

As soon as Zack Snyder began assembling his team, he brought in Larry Fong, a cinematographer he frequently collaborated with on commercials, to ensure his vision and style were fully realized on screen.

During his commercial work, Zack Snyder often used high-speed slow-motion shots, and Larry Fong was particularly skilled in this area.

Then, Zack Snyder put other work on hold and focused first on casting.

As he told Ronan, the actors would need at least six months of preparation.

Because the characters on screen should be bodybuilding champions, not pretty boys. After consulting fitness experts, Zack Snyder believed the actors would need at least four months of professional bodybuilding training to achieve the desired muscular effect.

Then there was combat training.

This was a film that rejected any effeminate men. To play a Spartan warrior, one had to endure a hellish fitness regimen.

Even so, as soon as the casting call was announced, Warner Bros. Studios was immediately swarmed by countless male actors and their agents.

Despite the $300,000 salary and the grueling training, the number of candidates for the lead role of Leonidas quickly exceeded thirty.

Ronan attended only one audition for the lead role and immediately decided on Gerard Butler, who had played a supporting role in Lara Croft: Tomb Raider, to take on the role.

After Gerard Butler tried a few shots, Ronan confirmed he had the right man and told Zack Snyder directly, “This is the Spartan mad king.”

He was the kind of mad agent who brought disaster wherever he went.

The White House had fallen, London had fallen, submarines had fallen, and even angels had fallen.

Wherever he went, order collapsed.

Fifty-some male actors quickly assembled, and Zack Snyder would soon strip them down, turning them into walking hormones in a few months.

Of course, historical records showed that Spartan warriors did not fight in red underpants.

According to historical records, Spartan warriors wore heavy armor into battle—some so heavy it equaled half their body weight. But Frank Miller, the original author, felt that such attire would make the heroic Spartans look like a turtle army, so he changed their outfits in the original work. King Leonidas and his men wore crimson battle robes, showcasing their muscular bodies.

The battle robes designed by the production team, based on the original work, looked like leather armor made into swim trunks.

In Greek-themed works, characters were often nude. For artistic and commercial reasons, the film would strip the warriors bare without hesitation.

As for historical accuracy, like the Battle of Thermopylae in the film, it didn’t matter at all.

After all, history lost its true form the moment it happened.

The flying blood of the 300 Spartans would stir the audience’s emotions.

Similarly, the blood in Saw would also ignite the passion of many viewers.

Chapter 705: Infinite Horror

Even though Saw had a production budget of only four million dollars, Embassy Pictures and Shai Entertainment still prepared a large-scale premiere.

Compared to the four million dollars in production costs, Embassy Pictures’ investment in marketing and distribution was much higher, reaching six million dollars.

Since four thousand film prints had to be prepared, the costs for print production, insurance, and logistics alone consumed over four million dollars of the marketing and distribution budget.

The cost of film prints was a massive expense, especially for low-budget films.

A film with a production budget of a few hundred thousand dollars, aiming for a wide release, would see its print costs alone multiply several times over the production budget, even without accounting for marketing expenses.

In contrast, the cost of digital copies was much lower.

With further networking of theater systems, copies could even be delivered directly over the internet.

But across North America, digital theaters were still few and far between.

Currently, the Big Six companies, DreamWorks, and Relativity Entertainment were jointly pushing for theater reforms to accelerate the adoption of digital projection equipment.

Though the major companies were rife with conflicts, some even eager to devour each other, they cooperated wholeheartedly on this matter.

Because the benefits were aligned for all companies.

Saw had no digital copies; the four thousand film prints had already been distributed.

On the day of the premiere, due to director James Wan’s connections, nearly every notable Chinese-American director in Hollywood attended.

Ang Lee put down Brokeback Mountain to personally attend.

James Wong arrived with his close friend Glen Morgan.

Justin Lin, who had just signed a long-term contract with Shai Entertainment to direct the Fast & Furious series, was also present.

Additionally, Chinese-American stars like Kelly Hu, Ming-Na Wen, and Lucy Liu attended the premiere venue.

A Chinese-American circle was forming in Hollywood.

“When it comes to collaboration, Shai Entertainment is the first choice,” Wan said seriously to those around him. “Ronan and his company are willing to give us a fair chance to compete. As long as we prove our worth, he won’t make unfair decisions based on our identity.”

James Wong agreed: “It’s not easy for us. Having someone like Ronan in Hollywood is rare.”

Ming-Na Wen softly added: “Without the role of Mulan, I never would have had the chance to work with Disney.”

These individuals, who had managed to carve out a name for themselves in Hollywood, now stood together, sharing their experiences—each with a story of hardship.

For ordinary people, making it in Hollywood was difficult; for Chinese-Americans, it was even harder.

Lee, who had been silent until now, suddenly spoke: “Regarding Ronan and Relativity Entertainment, I’ll say this—without Ronan, after The Hulk, I might have been completely out of work in Hollywood.”

Among them, Lee held the highest status and fame.

Hearing this, the others fell into thoughtful silence.

Especially Justin Lin.

With other companies, it would have been difficult to entrust a mid-to-high-budget film to a Chinese-American director who wasn’t exactly a newcomer but still relatively inexperienced.

This opportunity was precious; he had to seize it.

As the group dispersed, Justin Lin spotted Ronan and quickly made his way over.

“Mr. Anderson,” Justin Lin said politely. “Thank you for giving me the opportunity to direct the Fast & Furious series.”

Ronan waved it off with a smile: “You should thank the producer.”

Justin Lin knew that his immediate superior, Jessica Felton, was highly trusted by Ronan, so he quickly added: “I’ve already thanked Ms. Felton.”

Ronan nodded: “Justin, Directors Wong and Wan recommended you together. What are your ideas for the film’s style?”

Justin Lin kept it simple: “This shouldn’t just be a simple racing movie. If the main plot is limited to racing, it might have some appeal in North America, but the overseas audience would shrink.”

“That makes sense,” Ronan encouraged.

Justin Lin continued: “I think we should combine racing, action, crime, and gunfights. Fast & Furious is an action movie with strong automotive elements!”

Ronan approved: “I hope you can deliver a masterpiece.”

Under Shai Entertainment’s guidance, the Fast & Furious series would increasingly align with mainstream Hollywood commercial films.

Seeing someone approach Ronan, Justin Lin took the opportunity to excuse himself.

Ronan and Ang Lee chatted about the post-production and marketing of Brokeback Mountain.

The film had already wrapped up all its shooting. Perhaps due to the warnings conveyed by Shai Entertainment through his agent, or perhaps due to a sudden realization, Heath Ledger, the biggest uncertainty in the production, had not caused any trouble and smoothly completed all his scenes.

As for what would happen to Heath Ledger afterward, Ronan couldn’t concern himself with that. Instead, he felt that Jack Gyllenhaal was promising and could be a potential collaborator in the future.

Lee also introduced Ronan to a Hong Kong director named Ronnie Yu, who had directed Freddy vs. Jason for New Line last year.

This Hong Kong director had accepted James Schamus’ invitation and was about to direct the film adaptation of the novel Lust, Caution.

According to Lee, James Schamus couldn’t secure funding in Hollywood, so he went to Hong Kong and Taiwan to find investors.

His identity as a Hollywood producer proved useful, and it was rumored that a Hong Kong actor of masterclass caliber was preparing to join the cast.

In this era, Hollywood films could effectively elevate the prestige of Eastern film companies or actors.

The most typical example was Li Zao. In the Eastern media, she was undoubtedly an international superstar.

But Li Zao also had her moments of poor judgment. She and another international superstar from the East had taken on a film produced by Spielberg, adapted from a Japanese work.

Even a Hollywood producer like Spielberg, who deeply understood market rules, clearly didn’t grasp many things on the other side of the Pacific, resulting in a film that pleased no one.

Perhaps ten years later, Spielberg wouldn’t make such a misguided decision.

Time would prove many things.

For example, a master of needles on the other side of the Pacific, who was once cursed by countless people as vicious, but more than a decade later, people suddenly realized that a master was indeed a master. His vision was truly sharp, and the three people he had pricked with needles were indeed not wronged.

Compared to those three, Li Zao seemed like a decent person.

What happened on the beach, in the context of Hollywood’s environment, wasn’t really a big deal.

Just think of the big cousin…

Entering the theater, Ronan sat with James Wan and had a brief chat. Wan was a director with many ideas, planning a new horror project.

Wan also had a long-term contract with Shai Entertainment, so Ronan naturally supported him. However, any new horror project would have to wait until Wan successfully completed the Saw trilogy.

With the success of the trilogy as a foundation, a more reliable horror director could take over, following the established formula to make another four or five films without any issues.

This would allow Wan to break free from the Saw series and continue expanding Relativity Entertainment’s horror film projects.

Ronan planned to discuss the concept of a cinematic universe with Wan after the release of Iron Man.

This Chinese-American director, if he developed normally, had great potential in the commercial film industry.

His commercial value and the profits he could bring might even far surpass Ang Lee, the once-great Chinese-American director.

The film began screening. Due to the impact of the first film, especially its steady presence in the top ten rental charts in North America this year, the series had attracted more viewers.

The premiere theater was packed.

The sadistic “Jigsaw” returned with even more bizarre and cruel games.

Compared to the first film, however, the second installment, even with Wan at the helm, still felt somewhat weak in its plot.

The first Saw had earned praise and excellent word-of-mouth for its suspense beyond the horror, especially the moment Tobin Bell stood up, which had shocked countless viewers.

Now, with Jigsaw no longer a secret, the film could only focus on the deeds of this deranged killer, greatly reducing the suspense element.

Yet, the audience’s enthusiasm and expectations were higher than ever.

Even though Amanda, the survivor from the first film, had become Jigsaw’s disciple, creating some suspense, the film’s reputation still declined.

Compared to the first film’s tense, complex, and thrilling plot, which gradually unraveled the mystery through flashbacks, the sequel was much more straightforward. With the mysterious veil removed and the killer known, the impact was naturally halved.

What to do when suspense was lacking? Use cruelty and blood to compensate.

The sequel’s greatest assurance was its absolutely doubled gore—new methods of extreme torture.

With Halloween just around the corner, the film had to satisfy the audience’s bloody Halloween wishes.

Of course, Saw II still held strong appeal for horror fans.

The film was like a role-playing game, not only telling the story from the victims’ perspective, allowing the audience to experience the pain alongside them and desperately search for clues to escape, but also immersing them in the unknown elements, terrifying torture, and bloodshed that could evoke infinite horror.

Throughout the screening, screams continuously echoed.

Perhaps in the eyes of an Eastern audience like Ronan, the film was more about blood and disgust, but North American horror fans were often terrified by such scenes, their souls shaken.

As for whether Jigsaw was a deranged killer or a righteous punisher, it didn’t really matter.

The film would still spark such debates.

The two opposing groups would continue to argue online or elsewhere, perpetually creating discussion topics.

This was exactly the kind of debate the film needed.

If the two sides could clash, that would be even better.

Chapter 706: Give It Your All

After the premiere, Saw II, as Relativity Entertainment’s sole film for the Halloween season, began its wide release across North America, opening in an impressive 3,580 theaters—a rare scale for an R-rated horror film.

The same weekend saw the release of Ray, produced and distributed by Universal, which opened in only 2,006 theaters.

In terms of opening scale alone, the gap between the two films was substantial.

This disparity was largely due to their genres. One was a highly anticipated sequel to a blockbuster horror film, perfectly suited for the Halloween weekend, while the other was a biopic about a Black singer.

Ronan couldn’t understand why Universal had chosen to release Ray during the Halloween weekend.

Perhaps the competition for that particular weekend wasn’t as fierce this year.

Apart from a few small horror films opening in a few hundred theaters, the only major releases that weekend were Saw II and Ray.

Including The Grudge, which had premiered the previous week, the competition wasn’t particularly intense.

But the Halloween season clearly belonged to horror films.

On its first day of release, Saw II became the North American box office champion for Friday, grossing $13.3 million.

The Grudge took second place with $7.72 million.

Ray could only settle for third, earning $6.61 million on its opening day.

In terms of reception, Ray was met with overwhelming praise. Media outlets and film critics alike sang its praises.

Though this was an era before Black films were untouchable in criticism, no one wanted to provoke Hollywood’s special interest groups.

Even the most nitpicky and acerbic professional film critics didn’t want to stir up trouble in certain matters.

As a result, Ray boasted an impressive 89% on Rotten Tomatoes.

In comparison, Saw II was a tragedy, with a Rotten Tomatoes score of only 37%.

However, its 7.3 rating on IMDb was decent, indicating that horror fans still appreciated the film.

Ray’s 7.7 IMDb rating wasn’t as exaggerated as its Rotten Tomatoes score.

Audience reception was a better indicator of a film’s market response. No one was foolish enough to judge a film’s box office potential based on Rotten Tomatoes scores, just as no film company would be stupid enough to ask film critics about box office trends.

As more people saw the film, Saw II sparked the expected debate about “Jigsaw,” as anticipated.

Not only fans but even the media joined in.

The Hollywood Reporter argued that Saw II was an extremely bloody and brutal film, even more extreme than the first. A deranged and insane killer, bizarre and terrifying methods of murder, and a profound central theme defined this movie.

It directly labeled “Jigsaw” as a deranged serial killer.

Entertainment Weekly, however, commented that Saw II was meticulously plotted, with a tightly woven narrative that, beneath the blood and gore, revealed a deeper exploration of human nature’s good and evil, and a philosophical inquiry into life.

Fans were also divided, using platforms like IMDb and Netflix sharing to fiercely debate, each side stubbornly defending their views.

In the end, neither side convinced the other.

Keyboard warriors were perhaps the most stubborn people in the world.

Never try to convince a keyboard warrior.

Ignoring the nearly rotten Rotten Tomatoes score, Saw II maintained a steady box office performance. On its second day, Saturday, it earned another $14.28 million, continuing to dominate the North American box office chart.

Ray remained suppressed by The Grudge, stuck in third place.

Ronan took time out of his schedule to watch Ray with Will Smith and some of the PR and marketing team.

Honestly, from his perspective, Jamie Foxx’s performance wasn’t much stronger than Will Smith’s in The Pursuit of Happyness—they were on the same level.

Perhaps Jamie Foxx’s portrayal of a blind singer aligned more with the Academy’s preference for roles involving the elderly, infirm, disabled, or mentally ill.

After all, Will Smith played a normal person.

Of course, this was largely Ronan’s subjective opinion.

He was friends with Will Smith and had invested in The Pursuit of Happyness, so he subconsciously leaned toward Will Smith.

“What do you think, Will?” Ronan asked Will Smith on the way back.

After a moment of silence, Will Smith slowly replied, “A very immersive performance. It felt like Jamie Foxx completely lost himself in Ray’s world.”

Ronan softly said, “Jamie Foxx did a great job, faithfully recreating the artist’s life, capturing both his brilliance and struggles.” He then added, “But your performance in The Pursuit of Happyness wasn’t any worse.”

Will Smith smiled. “You really have faith in me.”

Ronan calmly replied, “Because the Oscar for Best Actor isn’t decided by performance alone.”

Will Smith was determined. “Don’t worry. I won’t give up until the final results are announced.”

Ronan turned to Connie in the passenger seat. “Notify our Oscar campaign team to start operations as planned.”

On the third day of Ray’s release, the media began publishing more articles about Jamie Foxx, emphasizing his background, particularly his identity as a comedian.

Both in the past and present, Jamie Foxx had starred in numerous comedy films.

Because of this, these reports didn’t raise any concerns for Jamie Foxx or Universal.

Perhaps Universal and Jamie Foxx had already planned their Oscar campaign, but they didn’t have the same determination or ambition.

These articles about Jamie Foxx’s background were merely stating facts, not spreading rumors, so they didn’t trigger any alarms.

However, these reports inevitably caught the attention of many industry insiders who regularly read entertainment news.

For now, it didn’t seem to matter, but when they made their choices in the future, they might think: Jamie Foxx, like Will Smith, was originally a comedy actor.

When award season arrived, Embassy Pictures would mobilize media resources to remind the Academy members once again.

Will Smith’s fame was too great, and his history of starring in commercial comedies was well-known—it was hard to forget.

Ronan was simply trying to level the playing field between Jamie Foxx and Will Smith.

Since the Academy voters, especially the older members, didn’t favor comedy actors, then they could dislike them both equally.

This alone wasn’t enough. To complement the effort, Embassy Pictures was also mobilizing resources to amplify reports on racial inequality.

Ronan also hoped that the Black community and conservative whites would stir up some trouble. These groups frequently caused racial incidents, so it wouldn’t hurt to create some chaos.

The Black community and Latinos in Los Angeles, who occasionally rioted, shouldn’t be so quiet.

And what about the trigger-happy white American police? Where were their guns?

Ronan wouldn’t actively create trouble to avoid future complications, but if something did happen, he would quietly give it a push.

In a free and democratic country like the United States, wasn’t it expected to have some chaos? How could they call themselves a free and democratic nation without a little disorder?

Perhaps Jamie Foxx had another advantage: Ray’s box office would inevitably be lower than The Pursuit of Happyness, making it seem more highbrow and artistic.

Ronan couldn’t exactly make The Pursuit of Happyness flop at the box office, could he?

In its first week, Ray earned $19.83 million in 2,006 North American theaters, ranking third at the box office.

Ahead of it was The Grudge in its second weekend, which earned another $21.81 million.

Sony Columbia’s remake of the horror film, made with a mere $10 million budget, had already grossed $70.68 million in ten days.

The cultural market differences in film were truly vast. North America was undoubtedly the world’s largest insulator for foreign films and television media.

Even many classic films, proven time and again, struggled to succeed in the North American market. The difficulty was hellish.

Saw II became the biggest winner of the Halloween season in the North American film market, grossing an explosive $39.71 million in its opening weekend and claiming the top spot on the box office chart.

This result was on par with The Grudge’s opening weekend, and the film’s North American box office had a strong chance of surpassing the $100 million mark.

Most importantly, the production cost was low—only $10 million—yielding over ten times the investment.

Saw III was naturally added to Shai Entertainment’s production schedule.

However, the budget also saw a significant increase, with Shai Entertainment allocating $10 million for production.

Most of the increased budget went toward paying the salaries of key personnel like James Wan and Tobin Bell.

Even though they had signed long-term contracts with Shai Entertainment, their salaries had to reflect basic market rates, and an increase was inevitable.

No one could expect James Wan to continue working for the low pay he received on the first film.

Saw III maintained a stable performance. After the Halloween weekend, its box office decline was normal, dropping by less than 50% with a second-weekend gross of $20.1 million, securing its second-place position on the box office chart.

National Treasure, produced by Touchstone Pictures and distributed by Disney, premiered that weekend, earning $35.15 million and debuting at the top of the North American box office.

After the failure of King Arthur, Jerry Bruckheimer was proving to the entire Hollywood and North American audience that he wasn’t outdated.

The film starred Nicolas Cage, and National Treasure seemed to be the last hurrah of Nicolas Cage’s career.

Originally, this slot belonged to Pixar’s The Incredibles, but due to technical issues, Pixar couldn’t complete the animated feature in time, forcing Disney to make a last-minute adjustment.

Chapter 707: An Honest and Trustworthy Businessman

Emeryville, California, Pixar’s industrial park.

A Bentley passed through the gates, circled the massive Luxo Jr. statue, and stopped in front of the all-glass office building.

Without waiting for the secretary in the passenger seat to open the door, Michael Eisner stepped out and strode toward the office. The receptionist recognized him immediately and quickly notified Ed Catmull and John Lasseter.

The secretary followed behind Michael Eisner, not daring to speak. Their boss was furious, and this anger was directed at Pixar.

Just yesterday, Disney had received notice from Pixar that, due to massive technical difficulties similar to those encountered with The Incredibles, the production of Cars would not be completed on time and would need to be delayed by at least ten months.

The Incredibles had already been delayed due to inexplicable technical issues, which had greatly displeased their boss. Now, Cars was facing the same problem. Clearly, Pixar had ulterior motives.

Given their boss’s usual assertiveness, this fire would surely burn at Pixar.

“Good morning, Michael.” Ed Catmull greeted him, with John Lasseter by his side.

Michael Eisner ignored Ed Catmull’s outstretched hand, giving a slight nod before coldly asking, “Where’s Jobs? Don’t tell me he’s not here.”

Ed Catmull maintained his polite smile and led the way. “Steve is in his office.”

John Lasseter, being more of a technical person, didn’t have the same diplomatic skills as Ed Catmull. His gaze toward Michael Eisner remained cold.

He and Ed Catmull were the two most senior members of Pixar.

Ed Catmull had been hired by George Lucas and joined Lucasfilm’s computer division as its head in 1979. The division focused on developing computer graphics technology for the film industry. John Lasseter joined the graphics team in 1983 and led them in creating the first computer-animated short film, The Adventures of André and Wally B.

In 1986, Steve Jobs used the $10 million he earned from selling Apple stock to acquire the computer division from Lucasfilm, establishing Pixar.

These two men’s attachment to Pixar far surpassed even Steve Jobs’s.

Under Ed Catmull’s lead, the group entered the office at the end of the hallway, where Steve Jobs sat.

Jobs, dressed in a dark turtleneck and Levi’s jeans, looked somewhat haggard. “Michael, please sit.”

The two had argued more than once, nearly coming to blows. Michael Eisner wasn’t surprised by Jobs’s cold attitude and took a seat across from him.

Ed Catmull and John Lasseter sat on the nearby sofa.

Steve Jobs’s health was poor, and his condition had only recently stabilized. They didn’t trust him to face Michael Eisner alone.

“It’s been a while.” Michael Eisner got straight to the point. “Jobs, Pixar is delaying The Incredibles and Cars…”

Jobs, unfazed, replied, “Pixar has encountered technical difficulties that need time to resolve.”

Michael Eisner questioned, “Technical difficulties? Are you sure you’ve encountered technical difficulties?”

Jobs casually remarked, “You don’t understand computer animation technology.”

This immediately silenced Michael Eisner’s further questions. He truly didn’t understand computer animation production.

“Pixar will honor the contract.” Jobs appeared to be an honest and trustworthy businessman. “After these two animated films are completed, they will be handed over to Disney for distribution.”

Michael Eisner quickly adjusted his approach, not responding to Jobs’s statement but instead asking, “Within six months, The Incredibles must be completed! In 2006, Cars must be released!”

Jobs countered, “Technically, it’s difficult. Pixar cannot guarantee it.”

Michael Eisner’s gaze sharpened. “Is Pixar refusing to honor the contract?”

“No, we respect the contract.” Jobs still held some hope for Disney. “Disney should also respect Pixar. The contract must be honored, but should Disney consider returning the copyright of the animated films produced by Pixar to Pixar?”

Michael Eisner fixed his gaze on Jobs, his voice laced with sarcasm. “And then, modify the revenue-sharing agreement between Disney and Pixar?”

This had been discussed before, and Jobs made no attempt to hide it. “Exactly.”

“You completely disregard the years of cooperation between Disney and Pixar?” Currently facing internal and external troubles, Michael Eisner restrained his temper somewhat. “Jobs, don’t forget, when Pixar was at its lowest, it was Disney that helped you.”

In the early days of Pixar, Jobs had made a major strategic error. Instead of leveraging Pixar’s significant advantages in graphics production, he continued with Apple’s old approach, having Pixar sell hardware like the Pixar Image Computer and animation processing plugins, which resulted in massive losses.

It was only after suffering heavy losses in hardware sales that Jobs returned to animation production.

By the 1990s, due to strategic errors, Pixar faced a severe funding crisis. Jobs himself was also out of money, and in the end, he had to choose to cooperate with Disney, signing a series of contracts that gave Disney the distribution rights and copyright to the animated films produced by Pixar.

Without that contract with Disney, it was uncertain whether Pixar would exist today.

Perhaps Steve Jobs had once been grateful to Disney and Michael Eisner, but now his attitude was completely different. “Disney took advantage of our situation. Even in the business world, is this contract something Disney can be proud of?”

Michael Eisner understood. In the face of business interests, Jobs had no sentimentality.

He immediately adjusted his tone, speaking with unusual seriousness. “Jobs, Disney’s patience is limited.”

Jobs’s expression remained unchanged. “Pixar is trying to resolve the technical difficulties.”

Ed Catmull and John Lasseter remained silent but supported Jobs’s position. Pixar had indeed encountered technical difficulties.

“Technical difficulties! What a technical difficulty.” Michael Eisner suddenly laughed. “Several of Disney’s distributors are facing financial crises, causing Disney to be unable to recover funds. In the short term, Disney will not be able to pay Pixar all the revenue shares from the animated films.”

Ed Catmull and John Lasseter’s expressions changed slightly, but they both endured it, continuing to remain silent.

Steve Jobs still showed no reaction and asked, “Is that all?”

From the moment they decided to follow Ronan Anderson and Robert Iger’s advice, using technical difficulties as an excuse to delay The Incredibles and Cars, Jobs and Pixar’s management had prepared themselves mentally.

For long-term interests, for the copyright of Pixar’s films, they were ready to break ties with Disney and Michael Eisner.

Pixar had no way to retreat and couldn’t retreat.

Michael Eisner casually remarked, “Disney’s liquidity is tight, and the board has decided to indefinitely postpone the next investment in Pixar’s animated film production. The board has doubts about Pixar’s revenue, and Disney will recall the loans previously provided to Pixar.”

In Michael Eisner’s view, Walt Disney’s advantage over Pixar was overwhelming.

Steve Jobs and Pixar’s attempt to break ties with Disney was a case of biting off more than they could chew. He added, “The news will spread quickly. Pixar’s stock price… Jobs, you hold 51% of Pixar’s shares. Your net worth is about to shrink.”

As he spoke, he looked at Ed Catmull and John Lasseter, who were also shareholders of Pixar.

But Ed Catmull and John Lasseter showed no reaction.

“Is that all?” Jobs asked, prepared for whatever came next. “Michael, do as you please.”

Michael Eisner still wore a smile. “You wouldn’t want Apple to rescue Pixar, would you? You’re not that stupid. I’m also a minor shareholder of Apple, waiting to launch a shareholder revolt against you.”

With that, he stood up and walked out without looking back.

Steve Jobs remained seated on the sofa, showing no intention of seeing him off.

Ed Catmull and John Lasseter also didn’t move.

Jobs looked at the two of them. Ed Catmull said, “It will be difficult for us to return to the negotiating table with Disney.”

“Disney’s animation studio has declined.” Jobs stated, “Without Pixar, will Disney have any new blockbuster animated films in the short term? When the news becomes public, Disney’s stock price will be the first to plummet.”

His expression was cold. “When Disney’s stock price crashes, who will be the most dissatisfied?”

The answer to this question was obvious. If the stock price crashed, wouldn’t the shareholders go crazy?

John Lasseter admired, “Ronan Anderson has a sharp eye,” he glanced at Jobs, “second only to you, Steve.”

Ed Catmull said, “The key now is that Disney might really recall the loans and withhold our shares. Any procedure will take time, and we need funds.”

On the surface, Pixar seemed to be at the peak of its success, the number one animation studio in Hollywood.

But the management knew best that most of the revenue from the animated films was taken by Disney. Pixar was more like an empty shell.

Steve Jobs had already considered this. “You should go to Los Angeles today to meet Robert Iger and Scott Swift. It would be best if you could also see Ronan Anderson.”

John Lasseter asked, “Aren’t you going to see him?”

Jobs shook his head. “It’s not yet time for kings to meet. Once I meet him, there will be little room for maneuvering.”

Chapter 708: Alexander the Great

Warm sunlight streamed through the windows, filling the reception room with a cozy glow.

The Pacific Investment Foundation welcomed two distinguished guests—Ed Catmull, Chief Executive Officer of the renowned Pixar, and John Lasseter, Chief Creative Officer.

Robert Iger accompanied them, and Scott Swift greeted them warmly.

The two sides had worked together before, and on many matters, they had already reached a tacit understanding.

Over the past few months, Robert Iger had met with Ed Catmull and John Lasseter at least five or six times.

Seated in the reception room, the four of them discussed in detail the possibilities of future collaboration, delving into many specifics.

The Pacific Investment Foundation had the capital, and Relativity Entertainment had the distribution channels.

The latter had proven its ability to market animated films globally through the Shrek series and Shark Tale.

While not quite on par with Disney, it was not far behind.

Ed Catmull spoke directly: “Pixar can no longer collaborate with Disney. We need to find a new partner, but the immediate priority is resolving the financial strain that might arise if Disney withdraws funding, ensuring the production of several animated feature films.”

Robert Iger replied, “Relativity Entertainment is willing to cooperate with Pixar.”

Scott Swift then asked, “How much funding does Pixar need?”

“Not less than one hundred and fifty million dollars,” Ed Catmull estimated.

“The Pacific Investment Foundation can provide the funds for Pixar,” Scott Swift said. “Whether through mortgage loans or equity investment, Pixar can choose.”

Ed Catmull nodded. With Relativity Entertainment and the Pacific Investment Foundation as their backing, Pixar no longer had to worry about severing ties with Disney.

He said, “I will discuss the specifics with Mr. Jobs before making a decision.”

Scott Swift nodded. “Understood.”

For now, this was just confirming the intention to collaborate; the details would be discussed later.

Setting aside Pixar’s situation, their own boss had even grander ambitions.

The conflict between Pixar and Walt Disney had not yet surfaced, so there was no need to rush.

Robert Iger discussed further collaboration on animated features with Ed Catmull and John Lasseter. The computer equipment used by Shai Entertainment Animation Studio was all purchased from Pixar.

Despite their booming animation production, Pixar had not abandoned its hardware sales business.

Ed Catmull and John Lasseter agreed to provide Shai Entertainment Animation Studio with the most advanced technical equipment.

As for technical guidance and animation production advice, that was unnecessary.

The production styles of Pixar and Shai Entertainment Animation Studio were entirely different.

For one, Pixar’s team was notorious for spending money like water, striving for technical perfection. Without a budget of at least one hundred and fifty million dollars, they could barely complete an animated feature.

Shai Entertainment Animation Studio, on the other hand, focused on cost efficiency while maintaining a certain level of visual quality. Their first animated feature, Despicable Me, had only cost sixty million dollars.

At Pixar, that amount would barely cover the modeling phase.

Ed Catmull and John Lasseter did not stay long in Los Angeles. That same evening, they returned to Pixar’s headquarters in Emeryville.

Although Steve Jobs and Michael Eisner had already fallen out, business decisions remained cautious. Both sides maintained a degree of restraint, keeping their conflicts hidden beneath a calm surface. For the time being, there were no signs of an imminent explosion.

However, the longer a volcano simmers, the more energy it accumulates. When it finally erupts, it will pierce the skies.

“Once their conflict is exposed, it will have a massive impact,” Robert Iger said to Ronan in his office at Relativity Tower. “Both Disney and Pixar’s stock prices will plummet.”

Ronan replied, “We shouldn’t be the ones to expose it. We are Pixar’s partners, their saviors.”

Robert Iger reminded him, “Years ago, Disney and Michael Eisner were also Pixar’s saviors, but Steve Jobs showed no gratitude. Ronan, given Jobs’ personality, in ten years at most, we will have sharp conflicts with him too.”

“I know,” Ronan said softly. “Bob, you forgot one thing—Jobs has pancreatic cancer.”

Robert Iger immediately understood the implication and couldn’t help but shake his head with a smile. “I did forget that crucial point.”

He knew a little about cancer. Money could indeed save lives, but pancreatic cancer, the king of cancers, was considered incurable with current medical technology.

As for Jobs’ family, Robert Iger had heard that Jobs’ wife, Laurene, was not the type to step into the spotlight and vie for power. Their daughters were still far from adulthood.

If Relativity Entertainment could weather the first few years, all problems would cease to be problems.

Ronan asked, “No reaction from Michael Eisner and Disney yet?”

Robert Iger replied, “If Michael Eisner plans to do something, he will have a plan and countermeasures. This is not a small matter.”

“And Roy Disney?” Ronan asked again.

“Lobbying and persuading shareholders,” Robert Iger answered. “Trying to acquire and consolidate Disney’s voting shares. My people are keeping an eye on him. The Disney family is no longer at its peak.”

Currently, the only truly influential member of the Disney family was Roy Disney, and his son could barely be considered one.

Ronan said, “When the time comes, don’t hesitate. For funding, go to Scott. The Pacific Foundation just secured a large investment from India.”

Robert Iger nodded slowly. “Understood.”

In truth, the final battleground between Michael Eisner and Roy Disney would be the shareholders’ meeting. Whoever secured the majority of voting shares would hold the absolute advantage.

Relativity Entertainment and the Pacific Foundation also needed to prepare financially. This was one of the reasons for pushing Netflix’s network listing.

The reality was clear—if Netflix wanted another qualitative leap, going public was necessary.

Two days later, Robert Iger visited Emeryville but did not meet Steve Jobs. However, progress was made in their collaboration.

Shai Entertainment Animation Studio signed a contract with Pixar to purchase their most advanced animation production equipment.

Once Shai Entertainment Animation Studio became familiar with the equipment, the efficiency of their animated feature production would greatly improve.

Currently, Shai Entertainment Animation Studio’s panda project had entered the character design phase.

Minions was still in production, and How to Train Your Dragon had begun scriptwriting.

In the future, Shai Entertainment Animation Studio would need the capability to produce two to three animated films and several animated series simultaneously.

Before the weekend arrived, Ronan attended the pre-release promotional meeting for Embassy Pictures’ Night at the Museum. As a typical family-friendly film, it was naturally scheduled for a Thanksgiving release and had entered the final stage of pre-release promotion.

After two screenings for theater representatives and audiences, Night at the Museum received high praise. Both groups found the film full of fun and perfect for family viewing.

Given Relativity Entertainment’s consistent track record of successful films, Embassy Pictures did not have to exert much effort to secure no fewer than four thousand North American opening weekend theaters during the crowded Thanksgiving period.

The exact number of screens would be coordinated later, but Embassy Pictures had already prepared five thousand film copies.

The weekend before the Thanksgiving holiday was one of the best periods in North America. Besides Night at the Museum, there was Warner Bros’ epic Alexander, Universal’s Bridget Jones: The Edge of Reason, and Miramax’s The Chorus, acquired at the Toronto International Film Festival.

The most anticipated among these was undoubtedly Warner Bros’ epic Alexander.

With a production cost of one hundred and fifty-five million dollars, it was directed by the renowned Oliver Stone, known for Platoon, Nixon, Natural Born Killers, and JFK. The film starred Colin Farrell, Angelina Jolie, Val Kilmer, and Anthony Hopkins.

In many aspects, this seemed to be an ambitious film with significant market potential.

Rumor had it that Warner Bros initially wanted Heath Ledger for the lead role, but he declined due to his commitment to Ang Lee’s film. The production then chose Colin Farrell.

In some ways, the male leads of these two films shared similarities.

Ronan had seen this film before but couldn’t remember the details. He only recalled that Alexander the Great and his male companion had a strong bromance.

Warner Bros seemed to have learned from the experience of Troy, conducting only internal screenings for Alexander without any public previews. The specifics remained unknown to the outside world.

If the film failed, the impact on Warner Bros would not be significant. The investment came from five companies, including Warner Bros and Constantin Film, with Warner Bros holding less than twenty percent of the investment.

If the film succeeded, Warner Bros could profit greatly from distribution; if it failed, most of the blame would fall on the other investors.

However, before Thanksgiving, Embassy Pictures had another film to release—a limited release of March of the Penguins, acquired from France.

Chapter 709: Box Office Share

It was well known that even in Hollywood, the market space for low-budget independent art films was not very large, and documentaries faced even greater challenges, often struggling to gain attention.

The market was as cruel as a battlefield. For documentaries to survive in theaters and reach a wider audience, carving out their own market was no easy feat.

Currently, the highest-grossing documentary in North America was Fahrenheit 9/11, which earned over one hundred and nineteen million dollars at the box office in 2004.

This documentary had somewhat improved the survival environment for documentaries, temporarily boosting market transactions and prices.

The second-highest-grossing documentary was also by Michael Moore—a film about the Columbine High School massacre—which earned twenty-one million five hundred seventy thousand dollars, an impressive achievement for a documentary.

Few other documentaries had managed to surpass the ten-million-dollar mark.

The future of the North American documentary market belonged to entertainment stars.

Starting with Michael Jackson’s This Is It, celebrity documentaries began to flourish, achieving remarkable success.

Documentaries remained the underdogs of the film market.

Especially when they were French productions.

Embassy Pictures did not invest heavily in the promotion and distribution of March of the Penguins. Advertisements were primarily placed on Discovery Channel and some television networks’ nature channels, often during less favorable time slots.

The North American limited release opened in only four theaters.

Truthfully, cinema chains did not have much confidence in documentaries.

Perhaps the advertisements worked, or maybe the posters and trailers in theaters attracted animal lovers. On the first day of the limited release, the four theaters had decent attendance.

North America was never short of passionate animal lovers, especially when it came to adorable creatures like penguins.

After the first weekend of limited release, the box office results were surprisingly good. The four theaters earned one hundred thirty-seven thousand dollars, averaging over thirty thousand dollars per theater.

For a limited release, this was a success.

That same weekend, Saw II, in its third week of wide release, averaged less than three thousand one hundred dollars per theater.

But thanks to its massive distribution scale, the horror film still earned twelve million four hundred ten thousand dollars in North America.

Saw II’s North American box office had accumulated to eighty-six million four hundred eighty thousand dollars, and surpassing one hundred million was only a matter of time.

The success of the first film, combined with strong offline market performance, had led to explosive growth for the sequel.

After just three weeks in North American theaters, Saw II had not only recouped all investments but also generated substantial profits.

In its newly launched overseas screenings, the film performed equally well. In the first twelve overseas markets, it earned seventeen million eight hundred ninety thousand dollars in its opening weekend, easily pushing its global box office past one hundred million.

Surprisingly, some Arab countries, led by the UAE, also imported Saw II.

The Arab world did not reject such large-scale gory horror films.

Currently, the major overseas film markets for Hollywood only saw South Korea reject Saw II.

The first film had also not entered the South Korean market.

These seemingly open film markets still had censorship.

Due to the strong limited release box office, in the second week, March of the Penguins expanded to twenty theaters. Attendance did not significantly decline, and the second weekend saw a two hundred percent increase in box office, earning four hundred ten thousand dollars.

This documentary had already shown considerable market potential. Although it had only been in limited release for two weeks, several cinema chains had promised Embassy Pictures that they would gradually increase screenings and guarantee at least twenty weeks of screenings.

For a documentary, this was already remarkable.

The French company Bonne Pioche directly contacted Embassy Pictures to inquire about promotional strategies.

Clearly, the producers had not expected this documentary to have any market presence in North America.

After all, most French films in the North American market had only one outcome—box office flops, over and over again!

That same weekend, Saw II earned another seven million nine hundred eighty thousand dollars in North America. Combined with the previous five weekdays, its North American box office officially surpassed the one hundred million dollar mark.

This series was rapidly heading toward a place in film history.

Director James Wan’s reputation and status in Hollywood soared, making him a highly sought-after horror director.

Compared to other genres, horror films had a higher chance of achieving big returns with small investments.

Many small production companies would raise a few million dollars to fund four or five horror films. As long as one succeeded at the box office, it often meant profitability.

This was the basic survival rule for small Hollywood production companies.

With Saw II’s massive box office success, as the director, James Wan naturally demanded a significant salary increase for the third film. Even though Shai Entertainment had a long-term contract with him, they could not ignore market trends.

The most effective aspect of this contract was maintaining James Wan’s collaboration with Shai Entertainment and preventing him from making excessive demands.

Because Ronan had completely delegated authority, James Wan took on three roles in Saw III: screenwriter, director, and producer. His base salary for these roles was two million dollars.

When filming the first Saw, James Wan had refused a base salary, wanting only a share of the backend box office profits, but Ronan had rejected this. At the time, he had no leverage to negotiate further with Shai Entertainment.

A newcomer demanding a nine percent box office share? That was absurd.

In the contract for the third film, James Wan finally achieved his wish for backend box office profits. As screenwriter, director, and producer, he secured a five percent share of North American box office profits.

Shai Entertainment would certainly honor the contract. James Wan was worth it.

It wasn’t just James Wan. Directors and actors who had worked on multiple films with Shai Entertainment either saw significant salary increases or participated in backend box office profit sharing.

This was the current market trend in Hollywood. Backend profit sharing could effectively reduce upfront investments while also motivating the creative team.

The higher the film’s market value, the higher their earnings.

You couldn’t expect a horse to run without feeding it.

Even Brother Bao, whose filmmaking was unreliable, had started receiving a three percent box office profit share for BloodRayne after the successes of House of the Dead and Alone in the Dark.

Boll was never short on creative enthusiasm. His collaboration with Shai Entertainment had always been full of energy.

As Thanksgiving approached, Uwe Boll, who had been leading the crew in Bulgaria to film BloodRayne, finished all the shooting and returned to Los Angeles.

Upon his return, Uwe Boll immediately went to report to Ronan, his mentor.

Despite spending several months in Bulgaria, Uwe Boll looked energetic.

Ronan had someone bring coffee and asked, “Was the budget enough?”

“Only half was spent,” Uwe Boll said, rubbing his receding hairline. “I convinced the Sofia City Hall in Bulgaria to provide tax rebates.”

Ronan knew about this. It was because of this that Uwe Boll had taken the crew to Bulgaria.

Uwe Boll continued, “When I arrived in Bulgaria, I continued to lobby the Sofia City Hall, making them believe that the film’s release would boost tourism in Sofia. So they provided many conveniences for the crew. All filming locations were opened to us for free, and some city officials even served as temporary actors.”

Ronan was not surprised. “This is the influence your last two films brought.”

The Bulgarian government wasn’t foolish. If an unknown director went to Sofia to film, would they receive such treatment?

“Yes,” Uwe Boll said with feeling. “A famous director and an ordinary director are completely different. Ronan, do you know? In Bulgaria, as soon as I mentioned I was Uwe Boll, the director of House of the Dead and Alone in the Dark, everyone’s attitude changed.”

Ronan nodded slowly. “Uwe, this means you’ve succeeded.”

Uwe Boll rubbed his head and smiled. “Mainly because of your successful operations.”

After being in Hollywood for several years, Uwe Boll, though still a rough and unrefined man, had gained some insight.

“It’s also because of your ability,” Ronan said honestly. “Getting tax rebates in Bulgaria and having the Sofia City Hall cover the crew’s expenses isn’t something anyone can do.”

Uwe Boll accepted the compliment. “That’s right. To persuade a key figure, I went to his home and office for a whole week.”

Ronan believed it. Uwe Boll had that kind of perseverance, especially when it came to Blizzard and World of Warcraft.

Even while filming in Bulgaria, Uwe Boll returned to North America twice a month—not to ask Ronan for more investment, not to date women, but to visit Blizzard in Irvine to discuss life and ideals.

He was a very persistent German man.

Ronan asked, “When will post-production begin?”

“After the Thanksgiving holiday,” Uwe Boll said after some thought. “Mainly editing. There aren’t many parts that need special effects. Post-production should be completed by February next year.”

With the film’s investment scale, there wouldn’t be any high-end special effects.

Uwe Boll was persistent, but his filmmaking style matched his rough personality. Before filming began, the female lead, Kristanna Loken, had not even undergone basic action training. To save costs, Uwe Boll did not hire an action director. Instead, he took on the role himself, directing all the action scenes.

One could imagine what the action scenes in BloodRayne would look like.

After discussing the film for a while, Uwe Boll asked, “Ronan, how’s that game from Blizzard, World of Warcraft? How’s your progress?”

Ronan had long forgotten about it. “I haven’t had time to play.”

That account had been given to Housekeeper Nikita, and he hadn’t asked about it since.

Uwe Boll was somewhat disappointed, as if his shared treasure had not been appreciated by Ronan.

Chapter 710: Dead or Alive

“You should make time to play this game,” Uwe Boll enthusiastically recommended his beloved project. “The gameplay and the story behind it are both epic.”

Ronan nodded. “I’ll find time to check it out.”

Uwe Boll suddenly frowned. “Those people at Blizzard are so stubborn.”

“No progress?” Ronan asked.

Uwe Boll laughed helplessly. “Stubborn as rocks, but I won’t give up.”

Ronan encouraged him. “Take it slow, don’t rush.”

For some reason, Ronan suddenly felt like Uwe Boll was a backup option, desperately trying to win over his beloved Blizzard and Warcraft, only to be rejected every time. Yet, they still welcomed him back, as if secretly offering hope.

Wasn’t this how green teas treated their backup options in real life?

Blizzard probably knew that Uwe Boll had Relativity Entertainment backing him. What if they needed to adapt a movie in the future? No matter the circumstances, it was good to have a fallback.

But Ronan had no intention of pointing this out to Uwe Boll. The psychology of backup options was strange—those who tried to enlighten them often became objects of hatred.

Uwe Boll was very proactive, not just with Blizzard, but also with game-to-film adaptations. “After BloodRayne is finished, I plan to start a new project.”

Ronan understood his meaning and asked directly, “Do you have a target in mind?”

Uwe Boll smiled. “Still game adaptations. I’ve got my eye on two games, but they’re both from Japan.”

Ronan said, “No problem. Relativity has business dealings with Japan, so getting the rights won’t be difficult.”

After Uwe Boll’s last suggestion, Robert Lee’s copyright and legal department had secured the rights to many Japanese games and comics, including Ghost in the Shell and Gunnm.

The latter had originally been prepared to impress James Cameron, but it never came into play.

The film rights for Japanese games or comics were much cheaper than those in North America.

For now, there were no plans to invest in adapting them into films—this was mainly about stockpiling rights.

“One of the games is called Dead or Alive, a fighting game,” Uwe Boll explained simply. “The other is Silent Hill, a psychological horror survival game.”

Though he had never played them, Ronan was familiar with both names.

Ronan quickly made a decision. “Focus on finishing the post-production for BloodRayne. I’ll have someone secure the rights to Dead or Alive and Silent Hill.”

Uwe Boll hurriedly added, “I’ve heard that the rights to Dead or Alive are still with the game developer, but Silent Hill has already been bought by someone else.”

Ronan nodded. “I’ll have someone notify you once we have concrete information.”

Uwe Boll didn’t stay much longer. “I’m heading to Blizzard now.”

Ronan waved him off. “Go ahead.”

After Uwe Boll left, Ronan checked the company’s copyright library. Over the past two years, aside from the works he had specified, Robert Lee had also acquired the rights to many inexpensive yet valuable novels, memoirs, comics, and games.

The cost wasn’t high, but it enriched the company’s copyright library. You never knew when they might come in handy.

Ronan opened the copyright library search software, selected the “games” category, and clicked on Japan. A list of game titles appeared.

To his surprise, Silent Hill was among them.

The notes showed that earlier this year, the copyright and legal department had purchased the film and television rights from Konami in Japan.

The library had a detailed introduction: Silent Hill was a psychological horror survival game released by Konami at the end of the last century. The story unfolded like a film, with different choices affecting the ending, putting full control in the player’s hands.

Ronan remembered watching the film adaptation. The male lead, if he recalled correctly, was Sean Bean, who died in countless creative ways.

The horror film was quite well-made, especially the faceless nurses, which left a deep impression.

He wasn’t sure if the adaptation was a commercial success or failure, but personally, he found Silent Hill much better than the later Resident Evil films.

This game could be adapted, but game-to-film adaptations had to be done with limited investment.

Ronan extracted Silent Hill separately and added it to the project plan.

The copyright and legal department hadn’t just secured the adaptation rights for Silent Hill from Konami—the film library also included Contra and Metal Gear Solid.

Contra was legendary, a childhood memory for many, and its popularity in the Eastern markets even surpassed Transformers.

For those born around the 1980s, many had likely played this game in arcades or on plug-in consoles like the Little Tyrant. Those familiar with Hollywood might even notice that the two protagonists bore a striking resemblance to Stallone and Schwarzenegger.

Seeing the name, Ronan remembered playing Contra in an arcade during middle school in his small town, only to be caught by the disguised dean of student affairs.

The dean of student affairs from that era, much like Contra, left a lasting impression—an unforgettable shadow in many people’s growth.

If you hadn’t had a battle of wits with the dean of student affairs, your middle school years were incomplete.

As for Contra and Metal Gear Solid, Ronan didn’t recall any related film adaptations. For now, they could stay in the copyright library.

Ronan didn’t find Dead or Alive in Relativity’s copyright library. After a quick online search, he discovered that the game’s main characters were female.

A female fighting game—could this be promising?

Weren’t there female UFC or WWE fighters in the United States? There must be some with decent figures and looks.

And, of course, they needed attractive actresses—sexy, stunning beauties in revealing uniforms, fighting on screen. If you weren’t convinced, just one word—don’t back down, just go for it!

There might be a market for this.

Compared to Silent Hill, this game adaptation might be more suitable for Uwe Boll.

Ronan closed the webpage and sent an email through the company’s office system to Robert Lee, instructing the copyright and legal department to purchase the rights from Japan.

Of course, for Relativity’s overall strategy, games were the smallest project category.

Because when games met movies, the collision didn’t always produce sparks—more often, it was vomit.

From the very beginning, these films seemed to be plagued by game fans refusing to acknowledge them and general audiences refusing to buy tickets. This unloved situation was almost the norm for game-to-film adaptations.

Nowadays, commercial films were increasingly reliant on adaptations, and in the future, game rights would undoubtedly become a major category that couldn’t be ignored. After all, game adaptations came with built-in fans and influence.

The main force in the commercial film market was teenagers, who often spent all their money on what they loved.

In some ways, Warcraft had been a real shame. On the surface, this game-to-film adaptation had all the elements of a blockbuster.

Yet, the results were still far from ideal. To recoup the massive investment, Blizzard even ended up auctioning off the filming props…

As for a sequel, it had naturally become a “within our lifetime” series.

Of course, the challenges of filming a fantasy epic and the sluggish market couldn’t be ignored.

Carefully considering it, aside from Peter Jackson’s The Lord of the Rings series of six films, other large-scale fantasy epics with major investments had all performed poorly.

Even the biblical Exodus adaptation, Exodus: Gods and Kings, directed by Ridley Scott, flopped spectacularly.

In terms of audience and reach, World of Warcraft was far behind Exodus.

The director’s skill was also several tiers lower.

From these perspectives, the flop didn’t seem entirely unjustified.

Ronan still hadn’t drawn any good conclusions. The most effective way to avoid losses was to control the investment scale of game-to-film adaptation projects.

For now, the game-to-film adaptation market couldn’t be viewed too optimistically. Large investments and major productions couldn’t attract enough audiences.

Many small adaptations, however, could achieve surprising success.

In the afternoon, Ronan went to the Hughes Aircraft Factory. The Fast & Furious 3 crew had already begun assembling there, and the confirmed main actors had entered the crew to begin preparations.

Some roles still needed to be filled through auditions.

Since Jessica Felton was in Europe discussing advertising sponsorships, the crew was temporarily under Justin Lin’s supervision.

Walking through the constructed sets in the studio, Justin Lin updated Ronan on the latest developments: “According to plan, the racing family will be a multicultural fusion. We have Dwayne Johnson as mixed-race, Paul Walker as the traditional white character, Jordana Brewster as Latino, and Tyrese Gibson as the Black character…”

He glanced at the Asian actresses auditioning nearby. “The new female character added in this installment will be Asian. The casting isn’t finalized yet—we’ve just started the first round of auditions.”

Many Asian actresses sat in the temporary waiting area set up by the crew. Since it was the first round of auditions, no makeup was required, and the process was quick. The audition room saw a steady stream of actresses coming and going.

Seeing many with flat noses, small eyes, and freckled faces, Ronan shook his head and said to Justin Lin, “This Asian character needs to appeal to the Asian market. Choose an actress who fits Asian beauty standards.”

Justin Lin understood Ronan’s meaning and replied, “Yes.”

Ronan asked, “What about the Chinese character? Any candidates yet?”

“Not yet,” Justin Lin said. “The Chinese character won’t be introduced until the next film. We can start looking when we prepare for the fourth installment.”

Ronan nodded slightly. “Alright.”

Many actresses noticed them and seemed eager to approach, but Ronan and Justin Lin didn’t linger. They left the studio and headed toward the nearby outdoor set.

Before they had gone far, they heard the roar of a powerful engine—clearly the sound of a high-performance sports car.

Chapter 711: Comradeship

The closer they got to the set, the clearer the roar of the engine became. Ronan wasn’t very familiar with cars, but he secretly guessed it might be a V8 engine.

In this car-loving nation, displacement was king.

Large-displacement pickups, muscle cars, and SUVs had always been popular.

The infrastructure in America was poorly developed, far worse than on the other side of the Pacific. The roads were in terrible condition, and anyone who had driven a small-displacement car knew how uncomfortable it could be.

Justin Lin said, “The crew is test-driving the cars to design the action scenes.”

As they approached the open-air set, Ronan saw a black Mustang speeding past, executing a perfect drift before stopping not far ahead.

The car door opened, and a tall white man with medium-short hair stepped out from the driver’s seat.

Ronan recognized him—Paul Walker, the male lead from the first two films.

The passenger seat door opened, and a stunt performer got out.

Standing outside the open-air set, Ronan had no intention of going over. He turned to Justin Lin beside him and said, “Make sure the crew takes all necessary safety precautions. Let the stunt performers handle the racing scenes as much as possible. Don’t let the main actors take unnecessary risks.”

Justin Lin nodded. “I understand.”

Stunt performers were easy to find, but if an actor got injured, it would disrupt the entire production schedule.

After a moment’s thought, Ronan added, “Restrict the actors from racing during work hours to avoid any accidents on set.”

“I’ll call a meeting today,” Justin Lin said, seeing how seriously Ronan took safety. “I’ll emphasize the safety measures again.”

“Safety is no small matter,” Ronan said.

Standing outside the open-air set, he watched the crew design the action scenes for a while longer and discussed the filming with Justin Lin. Then, Ronan received a call from Jessica Felton in Europe.

The business department of the crew had secured several companies in Europe interested in sponsorship and advertising. The negotiations were nearly complete, and the final steps required Jessica Felton, the producer, to sign the contracts in person.

Currently, the crew had already signed contracts with five companies, and with various resources included, the total sponsorship amount exceeded seven million dollars.

Jessica Felton hoped to secure ten million dollars in sponsorship before filming began.

For a commercial blockbuster set in modern society, if it reached a certain level of market hype, a single film could attract up to thirty million dollars in funding alone.

For example, the Transformers series hadn’t even begun pre-production yet, but Shai Entertainment and George Clint’s side had already started contacting advertising companies.

It was a shame that the film market on the other side of the Pacific was still somewhat limited. Otherwise, Optimus Prime could casually drink some milk, Megatron could gnaw on a duck neck, and Bumblebee could flip over a mountain range from Wulong to Hong Kong—none of which would be a problem.

How much money had the Transformers series made from advertising alone?

Michael Bay was truly a master of commercial filmmaking…

There had been rumors online before that Michael Bay had something extremely valuable in his possession while filming the Transformers series.

It was said that during Megan Fox’s audition, one of the sessions was conducted alone with Michael Bay, and he had recorded the entire process, secretly keeping it.

After the news spread, Michael Bay repeatedly denied it, saying that no such audition footage existed.

It was hard to determine the truth, as the information had been leaked by Shia LaBeouf. After drinking and eating laundry detergent, no one could be sure he wasn’t just talking nonsense.

If such footage had ever existed, selling it to San Fernando would probably fetch an astronomical price.

The sun shifted to the west, and Ronan left the open-air set, preparing to head home after work.

Passing by the audition studio, he saw a familiar figure—a young woman with long, straight black hair cascading down to her waist. She noticed Ronan as well.

“Hi,” she walked over proactively. “Good afternoon, Ronan.”

“Hello, Gianna,” Ronan replied with a smile.

Facing a beautiful girl who fit his aesthetic perfectly always lifted his spirits.

Ronan looked Gianna Jun up and down, not hiding his appreciation in his eyes.

They had once clapped for love many times, and Gianna Jun, coming from the Korean entertainment industry, had no shyness at all. Instead, she stood tall, proudly displaying her beautiful curves to the man in front of her.

Gianna Jun wore a white long-sleeved shirt on top, with the buttons at the collar left open, giving it a stylish look. The skin on her neck was fair and radiant, and the hollow of her collarbone was alluring. Her figure was curvaceous and full, very appealing.

Below, she wore a lace-up skirt with a vibrant, eye-catching design. The multicolored pattern woven together created a beautiful design on the fabric. The tight-fitting design accentuated her full hips and the S-curve of her waist and back, making her look incredibly seductive.

The skirt’s hem wasn’t long, and her pair of proud, long legs made her appear especially tall and sexy.

Compared to when they had first met a couple of years ago, Gianna Jun had matured and become even more enchanting.

Seeing Ronan’s gaze sweep over her, Gianna Jun took a step forward and shook Ronan’s hand openly. “I didn’t expect to see you here.”

Ronan held her hand for a moment. “Your English has improved a lot.”

Now, Gianna Jun’s English was almost free of any Korean accent.

Gianna Jun smiled and said, “I’ve been practicing for the past two years. English is the foundation of my career. If I don’t master it, I won’t be able to find work.”

Ronan nodded and asked, “Are you about to leave?” He invited her, “Together?”

Gianna Jun saw the crew members coming in and out of the studio and, without any hesitation, linked her arm with Ronan’s. “It’s been a long time since we’ve had a chance to chat together.”

The two walked toward the parking lot together. Ronan casually asked, “What brings you here?”

Gianna Jun, with her arm linked with Ronan’s, walked and said, “I’m here for an audition.”

Ronan understood. “The Asian female supporting role?”

“Yes,” Gianna Jun said. “There are very few roles in Hollywood suitable for Asian actors. Leading roles are basically nonexistent, so a major female supporting role like this is very rare.”

Ronan said, “You should have called me.”

Gianna Jun didn’t hide her thoughts. “Today is just the first audition. If I can’t even pass the first audition…” She smiled. “I thought I’d call you for the next audition. If I can’t pass the first one, I wouldn’t feel comfortable calling you.”

She leaned close to Ronan’s ear. “The best resources should be saved for the most critical moments.”

As a star from the Korean entertainment industry, Gianna Jun wasn’t particularly resistant to certain things.

Entering the parking lot, Ronan invited her into his car. Gianna Jun got into his Rolls-Royce Phantom.

Ronan asked her, “Where would you like to go?”

Gianna Jun was very direct. “Wherever you’re going, I’ll go there too.”

Ronan thought for a moment and then told the driver, David, “Back to Beverly Hills.”

The car left the parking lot and exited the Hughes Aircraft Factory. David raised the partition between the front and back seats.

Gianna Jun’s hand reached over and held Ronan’s hand. “I don’t think I’ve ever been to your place.”

“You can come anytime,” Ronan said, gently squeezing her hand. “You’re always welcome.”

Gianna Jun asked, “Haven’t you been to Korea in the past two years?”

Ronan casually replied, “Work has been too busy. I haven’t had the time.”

Gianna Jun smiled and said, “Last month, I went back to Seoul and saw two comrades. They miss you very much.”

Ronan couldn’t help but recall the wild times he had had in Korea a few years ago. He said, “Gianna, I’m already very satisfied that you can come often.”

Gianna Jun, though young, was worldly-wise and didn’t believe such words. She leaned close to Ronan’s ear again. “Whenever you want, I’ll come. Ronan, if you need anything, just let me know. I can bring people from Korea. Many girls over there want to come here, and they’re willing to do anything for it.”

Ronan raised an eyebrow slightly. “Is that so?”

Gianna Jun said naturally, “Compared to Korea’s entertainment industry, Hollywood is much more actor-friendly. As long as you join the Guild, actors’ rights are greatly protected. The environment in the entertainment industry here is much better than in Korea. Compared to Hollywood’s agency system, the first agency contract for Korean actors is basically a slave contract.”

Ronan was somewhat familiar with the Korean entertainment industry. He said, “Your situation will be different once you develop in Hollywood.”

Gianna Jun nodded. “Yes, even though I’ve only played a supporting role in the Intern Grey series here, I’m considered an international superstar back home.”

At this, she laughed first. “You don’t know how many Korean actresses envy me. Alice Song, who fought alongside me, regrets not coming to Hollywood to develop.”

Ronan said, “So, Gianna, you’re the smartest.” He reached out and gently pinched her cheek. “I like smart girls the most.”

The black Rolls-Royce Phantom entered Beverly Hills and soon returned to the Future World Estate. Ronan had called Housekeeper Nikita in advance to have the chef prepare a sumptuous dinner.

Only by replenishing enough energy could one have the strength to fight.

If one wanted to go international, they wouldn’t care about things like undressing or exposing themselves.

The Korean entertainment industry didn’t care about these things either.

There had once been over thirty brilliant films as evidence.

Like a gourmet, switching between Eastern and Western styles was also a kind of enjoyment.

For a gourmet like Ronan, this was a night of indulgence and enjoyment.

Both of them had young, healthy, and strong bodies, capable of enduring a great battle.

The next day, when Ronan took Gianna Jun to her agency, he made sure to keep her personal contact information. Recently, he had been eating a lot of Western food, so switching to Eastern cuisine to change his palate wasn’t a bad idea.

As for Gianna Jun’s suggestion of bringing people from the Korean entertainment industry, Ronan wasn’t crazy enough for that.

Afterward, he called Justin Lin and told him to pay special attention to Gianna Jun’s audition. As long as her audition performance met the minimum requirements, the new Asian female role in Fast & Furious 3 would be hers.

For such a role, it didn’t make much difference which actor was used.

Chapter 712: Zombie World War

As Thanksgiving approached, the initial auditions for Fast & Furious 3 concluded. Gianna Jun passed smoothly and received notification from the production team that she wouldn’t need to attend a second round—she could proceed directly to the final costume and makeup audition in mid-December.

Taking advantage of the hiatus in filming for the new season of Grey’s Anatomy, Gianna Jun returned to South Korea. Through her former agency, she actively reached out to female artists with outstanding appearances. However, she earnestly instructed her former agency not to consider those who had undergone extensive plastic surgery. She preferred natural beauty, or at the very least, minimal enhancements like her own.

After returning to Los Angeles from Europe, Jessica Felton, at Ronan’s request, had the production team renegotiate a safety agreement with the main cast, restricting them from engaging in dangerous activities like street racing during production.

Even though each actor had accident insurance, any mishaps would still cause significant trouble for the production, potentially even triggering an investigation by the Actors Guild.

Ronan was taking precautions.

Through his interactions with Heath Ledger, Ronan had come to understand something: some things couldn’t be done just because you wanted to. In this country and within Hollywood’s ecosystem, even with his status and influence, interfering with others’ personal freedoms was a thankless task.

“I work, you pay me—what I do in my free time is none of your business.”

This mindset was widespread among Hollywood stars.

Some lessons only needed to be learned once. Ronan wasn’t foolish enough to repeat them.

So, as long as the actors didn’t get into trouble while working for Shai Entertainment, that was sufficient.

Ronan was a producer and studio head, not a babysitter.

Besides, Hollywood stars had a million ways to self-destruct—was he supposed to watch them twenty-four seven?

This safety agreement would at least ensure no major incidents occurred during work hours. Their personal time was beyond the production’s control.

This week, George Romero’s Land of the Dead finalized its cast. After Thanksgiving, the crew would head to Canada to begin preparations for filming.

George Romero was reigniting his zombie legacy.

Thanks to the success of Dawn of the Dead, traditional zombie films were making a comeback in Hollywood. 20th Century Fox had acquired a script titled 28 Weeks Later; Robert Rodriguez, fresh off Sin City, was preparing his own zombie-vampire film; and Warner Bros. had purchased the remake rights to Day of the Dead.

Robert Lee visited Ronan’s office specifically to discuss zombie-themed projects.

“Given the current trend, zombie films are going to be huge,” Robert Lee said. “We already have the rights to The Walking Dead, and George Romero is making a new zombie movie. Should we expand our portfolio in this area?”

Over the past few years, Robert Lee had been acquiring rights left and right, and his instincts had grown sharper.

The once-declining zombie genre was indeed poised to become a major force in the film and television market—a fact Ronan knew well. “Have you found something promising?” he asked.

Robert Lee pulled out a few photocopied pages and handed them to Ronan. The handwriting was messy, clearly a photocopy of a handwritten manuscript.

Ronan quickly scanned the pages.

Robert Lee explained, “Don’t worry, the author gave permission. Just don’t share it outside.”

Ronan nodded slowly and continued reading.

“We used The Zombie Survival Guide in our marketing before,” Robert Lee said. “The author, Max Brooks, is the son of Mel Brooks, the director of Robin Hood: Men in Tights and Dracula: Dead and Loving It. What I just gave you is the early draft of Max Brooks’ new work.”

He paused, then added, “A few days ago, I ran into Max Brooks at a party. Since I handle rights acquisitions for the company, he approached me to discuss his new project. I took a look—it’s interesting.”

Ronan finished reading and returned the manuscript to Robert Lee. “It is interesting,” he agreed.

The pages outlined a novel framework—a zombie apocalypse where humanity faces its greatest extinction crisis. A United Nations investigator, the protagonist, travels to the source of the virus to find a solution.

The premise felt familiar to Ronan, as if he’d seen it somewhere before.

Given Max Brooks’ background as the son of a Hollywood director, it was likely adapted into a film at some point.

Ronan asked, “Is this still in the early stages?”

Robert Lee replied, “The setting and framework are done, but only the opening has been written. Max Brooks said he’s still revising, so I didn’t take it.”

Ronan nodded slowly, then asked, “Has Max Brooks settled on a title?”

“Yes,” Robert Lee answered. “I heard him mention it—World War Z.”

In Ronan’s mind, the Chinese translation flashed: World War Z? No, it should be Zombie World War—or Zombie Apocalypse!

Wasn’t that the film Brad Pitt starred in? The one where zombies ran faster than rabbits! There had been talk of a sequel, waiting for Brad Pitt’s schedule.

Ronan recalled that David Finch had been brought on as director for the sequel.

If they were making a sequel, the original must have been successful.

Hollywood studios chased profits—if a film didn’t make money, they wouldn’t greenlight a sequel.

With that in mind, Ronan told Robert Lee, “Negotiate with Max Brooks. Secure the film adaptation rights before the novel even hits the market.”

Robert Lee agreed and left Ronan’s office shortly after.

No sooner had Robert Lee left than Ronan received a call from David Finch. He and Lindsay Bill had both taken a liking to a Canadian actress, Rachel McAdams, and her audition had gone well.

After a moment’s thought, Ronan approved the choice.

Rachel McAdams had no connections in Hollywood. Years before her rise to fame, she had tried her luck in Hollywood but left as a failure, returning to Canada. A few years later, she came back and succeeded.

Most actors without industry ties struggled to make it in Hollywood.

A closer look at the recent crop of rising stars revealed that many either graduated from prestigious film schools or had deep-rooted connections in the industry.

In other words, the proportion of second-generation stars and those with industry ties among Hollywood’s newcomers was steadily increasing.

They had inherent advantages—networks that could open doors, making their path far smoother than that of outsiders.

Of course, outsiders still had a chance. The best ladder to climb was right there in front of them.

Grab it, and fame was within reach. Investment could yield returns.

Rachel McAdams’ story wasn’t a secret in Hollywood—even entertainment media had whispered about it.

Publicly, she maintained a wholesome, sunlit image, like a schoolgirl goddess. But behind closed doors, she had a wild, seductive side—perfect for the female lead’s persona.

Sweet yet sexy, Rachel McAdams’ acting was decent, if not on Natalie Portman’s level. Still, she was far better than Jessica Alba.

Originally, Marvel Entertainment and Kevin Feige had wanted Rachel McAdams to play Pepper Potts in Iron Man, but she turned it down, dismissing superhero films.

Yet here she was, auditioning for Girl.

Perhaps this role could help her chase awards.

Many actors faced this dilemma: pursue accolades first or commercial success?

Rachel McAdams had made a poor choice early on, rejecting the more substantial role of Pepper Potts. Later, when her career stalled and Marvel’s films exploded in popularity, she fought hard to land the smaller role of Christine Palmer.

According to Lindsay Bill, Rachel McAdams was fiercely determined to secure the lead in Girl, even offering to take a mere $500,000 salary.

She was a smart actress. Having worked with Ronan multiple times, she clearly saw that the film was aimed at awards season.

Many actors lowered their fees for small-budget films to chase awards.

Since Rachel McAdams was willing to take a pay cut, the production had no reason to refuse. Negotiations began swiftly.

David Finch’s filming pace was notoriously slow. From early planning to pre-production, it took over half a year, and shooting would take several more months.

This was his style—David Finch was the epitome of slow and steady. He wasn’t a prolific director, often taking four years between films.

Compare that to Spielberg, who, at his peak, had directed two films in a single year.

With Thanksgiving approaching, the North American film market was heating up. Night at the Museum, heavily promoted as a family-friendly holiday film, was set for a wide release, aiming to bring festive joy to audiences.

Meanwhile, Warner Bros.’ epic Alexander, Universal’s Bridget Jones: The Edge of Reason, and Miramax’s The Chorus—acquired at the Toronto International Film Festival—were all sharpening their knives, ready to carve out a slice of the Thanksgiving box office pie.

Chapter 713: A Miraculous Trend

Every year, starting from the public holiday Veterans Day, through Thanksgiving, Christmas, and New Year’s, forms the second-largest golden period in the North American film market besides the summer season—the holiday movie season.

During this period, commercial films often carry more of a family-friendly atmosphere, while independent small productions target the awards season.

The weekend before Thanksgiving belongs to the golden period of the holiday season.

Warner Bros’ Alexander, though not quite fitting the Thanksgiving atmosphere, is undoubtedly a behemoth compared to other films in the same period.

Universal’s Bridget Jones: The Edge of Reason is a sequel to a blockbuster, and the studio is confident. A week before its North American release, they held a premiere and rushed to open in over 2,600 theaters across North America on Wednesday before the weekend, aiming to seize the initiative.

However, the box office on the first day of release, a mere $1.48 million, dealt a heavy blow to Universal.

With Thanksgiving just a week away, Alexander and Night at the Museum also held their premieres in succession.

Miramax was more rational. The Chorus is, after all, a French film. There was no premiere, and its release was limited to fewer than 400 theaters.

Embassy Pictures’ premiere at Nokia Plaza in Los Angeles welcomed a large number of family audiences.

Pre-release promotions and the content revealed in the trailers clearly told all North American audiences that Night at the Museum is the perfect film for families to watch together.

Museums themselves are an attractive subject.

Many people, while browsing museums, must have had whimsical thoughts: What is the value of certain items? If you secretly took them, regardless of success or failure, would you be set for life?

Would some items be worth a banner and $500 in cash?

There are more reliable ideas.

Would those still ancient statues and animal specimens suddenly come to life, stepping out of their fixed positions, reinvigorating their once-dry bodies?

Everyone has daydreams—like watching a Victoria’s Secret show and fantasizing about a hundred conquests in a day, or passing by a portrait and feeling as if the eyes in the painting follow your every move.

When no one is around, could the museum suddenly come to life?

It seems impossible, but when people are immersed in daydreams, it feels incredibly real.

The exhibits in the museum seem to come to life, just like after watching a Victoria’s Secret show, you might feel the models lining up in front of you, clapping.

Daydreams are, after all, just dreams. They won’t set you up for life, but they do provide spiritual comfort.

Movies are the best daydreams. In the world of the big screen, nothing is impossible.

Even if you want to see Victoria’s Secret angels or superheroes lining up and clapping, you can find similar scenes in films from the San Fernando Valley.

Thus, a film suitable for families to watch together during the holidays appeared at the most appropriate time.

Apart from the film itself, the male lead is also noteworthy.

In this era, Ben Stiller has immense appeal in comedy. Many in Hollywood even wonder why such an unremarkable-looking star has become so popular.

But the massive success of Meet the Parents made Ben Stiller a top-tier comedy star.

In Night at the Museum, Ben Stiller continues to deliver an outstanding performance.

His character perfectly fits the fun-filled plot.

The most brilliant part of the film is the revival of the museum exhibits at night, as if the audience has traveled through a time tunnel into a wonderful world blending history, legend, fairy tales, and nature.

In a way, this is a live-action version of Toy Story set in a museum.

In an increasingly homogenized Hollywood, this film undoubtedly brings a freshness that hasn’t yet worn off for audiences.

Although the original work is a picture book meant to lull children to sleep, the film is funny without being childish.

From its premiere, Night at the Museum has been embraced by family audiences, with extremely high attendance rates. Each family audience represents a group, meaning at least two viewers, or even four or five family members.

Once a family-friendly film becomes a hit, its impact is often astonishing.

According to data collected by Embassy Pictures, family audiences gave the film an average live audience score of “A”!

As the awards season approaches, a commercial film like Night at the Museum, which delights audiences, especially younger ones, often means it is disliked by another group.

The film’s Rotten Tomatoes score started off poorly, with a freshness rating of only 44%.

But this isn’t the worst among the films opening this weekend, nor is it the most criticized by film critics.

Warner Bros’ Alexander, after its premiere and large-scale release, opened with a dud. With a Rotten Tomatoes score of 16%, an IMDb average of 5.7, and a CinemaScore of “D” from theater audiences, the film is disliked by both critics and audiences.

Thus, Alexander earned only $5.55 million on its opening day.

Critics tore it apart, and audiences dismissed it. After its first day, Alexander was declared a failure.

There was considerable surprise in Hollywood, as this signaled a box office disaster for an epic film even more severe than King Arthur.

What’s happening to epic war films?

Some keen-nosed Hollywood professionals began to realize this.

Even within Relativity Entertainment, there was doubt.

Some suggested postponing 300, but knowing that the project was personally pushed by Ronan, these suggestions were suppressed by George Clint during internal meetings at Shai Entertainment.

Ronan didn’t say much. Zack Snyder’s dark and intense 300 should actually be classified as a comic book adaptation superhero film.

Leonidas’ portrayal in the film and even the original work is essentially that of a superhero.

In contrast, traditional Hollywood epics have not performed well in recent years. Even Troy fell far short of Warner Bros’ expectations.

Audiences seem to have grown tired of epic films. Regardless of their reputation, the market response is always lukewarm.

Another film, The Chorus, distributed by Miramax, has a reputation far less explosive than in markets outside North America.

Of course, with a Rotten Tomatoes score of 69% and an IMDb average of 7.9, it is the best-performing among the films opening in the same period.

However, conversely, The Chorus has the worst box office performance.

This is, after all, a French film.

With a North American opening weekend of $430,000 in over 300 theaters, the road to recouping costs for this French comedy is infinitely long.

If it doesn’t achieve something at the Oscars, Miramax is likely to suffer significant losses.

Selecting foreign films for distribution requires extreme caution. Time and again, it has been proven that, apart from a few extremely rare exceptions, bringing a foreign-language film to North America has an almost 100% chance of flopping.

Thus, Ronan, apart from a few foreign films he remembers clearly, doesn’t even touch famous works like Ang Lee’s.

Similarly, Bridget Jones: The Edge of Reason, which feels more like a British film, doesn’t perform particularly well in North America. On the first day of its opening weekend, it earned only $3.07 million.

However, the film’s largest market is the UK, not North America.

Relying solely on the North American market, Universal wouldn’t even recover its production costs.

The first film in the series earned just over $70 million in North America, but its overseas box office, led by the UK and Western Europe, reached $210.38 million.

The Chorus is the most suitable film for the Thanksgiving season and became the biggest winner on the first day of the weekend.

In 4,215 theaters, the film earned $15.12 million in a single day.

On the second day, Night at the Museum remained at the top, with $15.88 million in box office, showing steady growth.

Although media and critical reception was poor, with the support of family audiences, the film emerged victorious from the fierce competition of the weekend before Thanksgiving, ultimately standing proudly at the top.

In its North American opening weekend, Night at the Museum earned $39.81 million, firmly securing the first place on the box office chart.

National Treasure, in its third week of release, earned $17.04 million, successfully stealing the spotlight from other new films and becoming the runner-up on the box office chart.

In third place was Alexander, but its weekend box office was only $12.11 million, while the film’s production cost was $155 million.

Investors are destined to lose their shirts. This is a disaster on an epic scale, even more painful than King Arthur.

Some small investors might go bankrupt because of this single project.

Bridget Jones: The Edge of Reason didn’t perform well in North America, but it wasn’t bad either. Its $10.73 million box office was basically in line with the studio’s expectations.

Miramax’s The Chorus had a limited release, with poor attendance and average per-theater earnings, failing to enter the top ten on the box office chart. Its box office plummeted in the following days, earning only $720,000 in its North American opening weekend.

This French film entered French theaters as early as August, not only receiving explosive acclaim but also explosive market performance. Its opening weekend box office in France reached nearly $6 million, and its total box office in France has now exceeded $45 million.

Its overseas box office has reached nearly $70 million.

But the North American market is just that peculiar.

This might also be related to the American mindset, where they only care about America and pay little attention to overseas situations.

This might also extend to the film and media industries.

Night at the Museum has undoubtedly become the big winner for now.

With the arrival of the Thanksgiving holiday, the film’s popularity continues to grow. After a brief three-day workweek, the film’s daily earnings in North America have remained around $15 million.

Despite more reviews pouring in, leading to a flood of negative reviews and a continuously dropping Rotten Tomatoes score, Night at the Museum has miraculously charted a divine trend.

Chapter 714: Prehistoric Myth

Burbank, Warner Bros. Studios.

In the office, Kevin Tsujihara set down his documents and looked at Charles Roven across from him, asking, “Is Night at the Museum still the box office crown this weekend?”

“It is, this family-friendly film,” Charles Roven replied with a slightly odd expression. “This movie is quite unusual.”

Kevin Tsujihara frowned in confusion. “Because despite its poor reception, it’s still selling well?” He actually found this normal. “For projects under Relativity Entertainment, especially those initiated and produced by Ronan Anderson, poor reception but high box office is common.”

How many film projects had Ronan Anderson initiated over the years? Apart from a few exceptions, did any of them have good professional reception?

Charles Roven slowly explained, “No matter how much the Rotten Tomatoes score deteriorates, it can’t stop the enthusiasm of family audiences. Night at the Museum’s second weekend box office not only didn’t crash due to poor reception but actually grew against the trend, increasing by fifteen percent from the first weekend to $45.78 million. After ten days in theaters, Night at the Museum’s North American box office has easily surpassed $100 million, reaching $122.78 million.”

Kevin Tsujihara’s expression changed. “Second weekend growth?”

Charles Roven confirmed, “Yes, growth!”

“Why isn’t this kind of film ours?” Kevin Tsujihara sighed, shaking his head. “If Ronan Anderson were our Chief Creative Officer…”

Charles Roven didn’t respond because that was impossible.

If Ronan Anderson were just a top producer, Warner Bros. might have been able to hire him into their executive team. But Ronan Anderson wasn’t just a producer—he was also the owner of a film company. What could Warner Bros. offer to attract Ronan Anderson?

Kevin Tsujihara was well aware of this. Given Relativity Entertainment’s current situation, Warner Bros. could only consider acquiring Relativity Entertainment. Without the support of Time Warner, they would have to resort to mergers and acquisitions.

Even if Ronan Anderson agreed, he would likely become Warner Bros.’ largest individual shareholder. At that point, it wouldn’t just be the Chief Creative Officer position at stake—the roles of Chairman and Chief Executive Officer might also change hands.

Moreover, Ronan Anderson wouldn’t agree.

Kevin Tsujihara first needed to ensure he could secure the highest position at Warner Bros. before considering anything else.

“What about our Alexander?” Kevin Tsujihara asked.

Although it wasn’t his direct responsibility, facing his superior’s inquiry, Charles Roven still answered, “North American second weekend at $4.12 million. After ten days, the North American box office total is $21.83 million.”

Kevin Tsujihara continued, “Future projections?”

Charles Roven spoke frankly, “North American box office will likely settle around $30 million. Overseas box office reaching $100 million will be difficult.”

Kevin Tsujihara couldn’t help but murmur, “Massive losses…”

Hearing this, Charles Roven thought of Alan Horn and instantly became more vigilant. Kevin Tsujihara, this man from the island nation, might not be particularly skilled in business, but his ability to shift blame and set others up to take the fall was top-notch.

Charles Roven certainly didn’t want to be the scapegoat for Alexander’s failure.

Compared to Charles Roven, who was more technically inclined, Kate Tsujihara seemed more like a bureaucrat. With just a slight show of teeth, she changed the subject, “This year, Hollywood’s three major epic productions have all failed to meet expectations. Strictly speaking, they’ve all flopped. We shouldn’t consider large-scale epic projects in the future.”

“Indeed, epic projects do carry significant risks,” Charles Roven recalled something and asked, “What about that project Roland Emmerich wanted to collaborate with us on?”

Kevin Tsujihara had also seen the relevant project proposal. “That prehistoric film project?”

Charles Roven said, “Roland Emmerich’s new project—strictly speaking, it’s also a historical epic.”

In terms of business acumen, Kevin Tsujihara wasn’t particularly outstanding, but he was skilled in calculation. After a moment’s thought, he had a plan, “Have someone recommend this prehistoric project to Relativity Entertainment and see Ronan Anderson’s reaction. If he refuses, we won’t take it either.”

In his eyes, this was the safest approach.

Charles Roven had doubts, “Our verbal agreement with Roland Emmerich…”

Kevin Tsujihara quickly thought of a countermeasure, “If we don’t want it, we don’t have to reject it directly. Leak the news of Roland Emmerich’s new project to 20th Century Fox. Roland Emmerich has been collaborating with 20th Century Fox all along, and they won’t easily let him go. This way, we won’t be in breach of contract. If Ronan Anderson is interested, we have an agreement with Roland Emmerich!”

Charles Roven realized that he was indeed more suited for technical work.

The extremely stable box office performance of Night at the Museum caught everyone by surprise. With a North American box office exceeding $120 million in just ten days, this film, which had a production cost of only $70 million, was destined for great success.

Once a family-friendly film becomes a hit, its power is boundless.

But box office success also brought some happy troubles.

For example, the sequel was already on the agenda, and the lead actor, Ben Stiller, had proposed a salary of $15 million.

Both parties had already begun negotiations for the sequel.

With the film’s box office success, an increase in the lead actor’s salary was inevitable.

Ronan approved the sequel’s production budget, which would rise to $100 million. The increase would mainly go toward special effects and personnel salaries.

The preparation and production schedule for the sequel was planned for two years.

By late November, Robert Lee’s legal and copyright department brought good news: the film adaptation rights for Dead or Alive had been successfully acquired. Like previous adaptations of works from the island nation, the price wasn’t high, with the licensing fee being only $1.5 million.

After receiving the news, Uwe Boll made a special trip to Shai Entertainment to discuss the script adaptation with the writing department.

Ronan had long agreed with Uwe Boll that the production budget would not exceed $5 million. After securing the adaptation rights, just like with BloodRayne, he gave Uwe Boll free rein to prepare for filming.

Following the success of House of the Dead and Alone in the Dark, Brother Bao had also gained a following.

If they were to film a movie with a production budget in the tens of millions, they would have to think carefully. But for budgets under $5 million, they could let Brother Bao do as he pleased. At present, Brother Bao had that kind of market appeal.

Brother Bao had already entered Netflix sharing. As the sharing audience continued to grow, Brother Bao had a large fanbase on Netflix sharing. Any related news he posted easily garnered tens of thousands of likes.

In a sense, Brother Bao could be considered a celebrity director.

Celebrity directors like Christopher Nolan relied on their outstanding reputation and brilliant films to attract a massive fanbase. Brother Bao, on the other hand, took the opposite approach.

On the other side of the Pacific, there was a long period when many audiences didn’t care about the quality of movies—they went purely for a certain person.

Hollywood had similar situations.

Brother Bao had a distinctive appearance, prominent features, and was willing to cooperate, making him a very suitable candidate.

Netflix’s mobile client business would launch after the new year. With the development of the smartphone market, Brother Bao had a promising future.

There were many games suitable for film adaptations, and the licensing fees themselves weren’t high. As long as Brother Bao could attract enough viewers, Ronan could let him keep filming.

After years of collaboration, Ronan had also discovered that Brother Bao was indeed capable, but not as a director.

Awards season was about to begin. The next two months would directly affect the success or failure of several films.

Ronan stayed in Los Angeles for the time being, focusing on film-related business.

Shai Entertainment sent over the latest batch of submitted scripts and film project lists. The former were mostly new screenwriters trying their luck, while the latter were producers or directors seeking investment.

As with most previous occasions, Ronan didn’t see any familiar names among the scripts submitted by new screenwriters. Instead, a project from a producer seeking investment caught his attention.

First, it was a work by the famous German director Roland Emmerich, the same director who made Independence Day and The Day After Tomorrow.

Second, the project was called 10,000 BC!

Ronan had seen this film. His first impression was that the scientifically rich title led people to assume the film would rigorously recreate the state of the world 10,000 years ago.

Unfortunately, the film was more like a fantasy movie with a confused timeline.

Perhaps calling it Prehistoric Myth or something similar would be more appropriate.

Once, because of that later film that could stir up an apocalyptic atmosphere with earthquakes, Ronan had seen some news about Roland Emmerich. At that time, many online commentators called 10,000 BC Roland Emmerich’s most failed work, without exception.

Some even angrily declared that the film should be called Stunk for 10,000 Years.

Ronan still remembered watching a group of primitive people fighting the heavens, the earth, and animals with some interest. Then, the scene suddenly shifted to the Egyptian pyramids. The abrupt transition left people utterly confused.

Long-haired, blue-eyed white people joining forces with black people to defeat the highly civilized Egyptians—nothing but confusion.

Because the director was Roland Emmerich, Ronan still briefly looked over the project and script, which were basically similar to his memories.

He was also a bit puzzled. Roland Emmerich had been collaborating with 20th Century Fox since Independence Day, so why was he seeking investment from Shai Entertainment?

Such a good project should naturally be left to 20th Century Fox.

Ronan mentally marked this project with a red flag. After some consideration, he didn’t immediately sentence it to death. Instead, he specifically called George Clint and asked him to find a way to leak the news that 10,000 BC was seeking investment everywhere to 20th Century Fox, while temporarily keeping Shai Entertainment’s stance quiet.

Chapter 715: Sharing the Wealth

Shai Entertainment not only refrained from publicly expressing their disapproval of 10,000 BC, but also, in accordance with Ronan’s intentions, reached out to Roland Emmerich and his agent, creating the illusion that Shai Entertainment was genuinely interested in the prehistoric film project.

Ronan couldn’t recall which company had previously produced this film, but if 20th Century Fox was interested, he was more than happy to see it through.

Regardless of which of the Big Six companies decided to invest, it wouldn’t be a bad thing.

From 10,000 BC, Ronan drew some inspiration. Hollywood’s investment in large-scale epic films had never truly stopped. Every now and then, a major epic film would emerge, proving that such projects still had a market among the Big Six.

Perhaps spreading some news in this regard could divert some of the Big Six’s attention and consume their resources…

Even if no one paid attention, Relativity Entertainment wouldn’t suffer any losses. It was just a matter of spreading a little information.

After some thought, Ronan quickly formulated a simple plan and immediately called George Clint.

“The news about 10,000 BC has already reached 20th Century Fox,” George Clint reported on the latest developments. “From the feedback, it seems that not only 20th Century Fox is interested in this project. Yesterday, someone spotted Warner Bros. people suddenly contacting Roland Emmerich’s agent.”

Ronan was curious: “Warner Bros. is interested too?”

“It seems so,” George Clint said. “It’s unclear what exactly Warner Bros. discussed with Roland Emmerich’s agent, but it must be related to the film project.”

Ronan couldn’t help but shake his head inwardly. Clearly, the pit was dug for 20th Century Fox, but Warner Bros. had jumped in of their own accord.

If they liked it, they were welcome to join. After all, Relativity Entertainment had both cooperated and competed with Warner Bros., and neither side had hesitated to dig pits for the other.

As someone who had grown and developed alongside Ronan, George Clint had always had confidence in him: “You once said that epic film projects carry risks, and the company should be extremely cautious with this genre. Is there something wrong with 10,000 BC?”

“Whether there’s a problem or not will only be known once the film is made,” Ronan said somewhat ambiguously. “Roland Emmerich excels in science fiction and disaster films. Shooting a prehistoric epic…”

He shook his head: “If it were Roland Emmerich plus a disaster film, I would invest in Roland Emmerich without hesitation. But an epic film? Let’s pass.”

This was something Ronan could see, and many others could see it too.

But Roland Emmerich had achieved consecutive successes, and the prestige of a successful director had always been an important criterion for studios when evaluating projects.

If it were an ordinary director plus 10,000 BC, this project would likely be ignored in Hollywood. With a famous director, it was a different story.

In this industry, no amount of talk could compare to the persuasive power of a successful track record.

George Clint then said: “Roland Emmerich has a strong market in Hollywood.”

Ronan slowly nodded, pondered for a moment, and said: “George, there are quite a few people keeping an eye on Shai Entertainment, aren’t there?”

George Clint understood Ronan’s meaning: “Our films have been successful one after another. Many companies are watching us, hoping to snatch projects from our hands.”

He smiled: “But they can’t get much. Currently, our film projects mainly come from two sources: one is the ideas you provide, and we register the screenplay copyrights; the other is preemptively purchasing adaptation rights. There’s also a small portion provided by our partners. Shai Entertainment offers them favorable conditions, and they are willing to continue cooperating with us.”

Seeing Ronan deep in thought, George Clint added: “In reality, very few external projects are submitted to Shai Entertainment.”

Ronan calmly said: “It’s not easy for them to keep an eye on us. After all this time, it’s about time we share some wealth with them.”

Share wealth? George Clint absolutely didn’t believe that his boss would give benefits to competitors.

If it were truly benefits, they would be poisoned ones.

Ronan was indeed about to distribute a wave of benefits: “Find a suitable way to spread the word that Shai Entertainment is interested in making a film based on the story of Robin Hood.”

The story of Robin Hood was extremely well-known in the English-speaking world, and Hollywood had made more than one film about it. George Clint naturally knew this.

Ronan continued: “The story of Moses parting the sea is also good. Shai Entertainment is interested in making a live-action film based on Exodus.”

A few years ago, DreamWorks Animation had produced a grand hand-drawn animated feature, The Prince of Egypt, based on Exodus. Although it wasn’t particularly successful commercially, due to certain special relationships, the media had hyped it up fiercely.

George Clint said: “I understand. I’ll arrange the relevant matters when I get back.”

Ronan lightly nodded and said: “These are classic themes, the kind Hollywood has filmed repeatedly. There are no copyright issues, so it should have some credibility.”

It seemed he had seen more than one big-budget Robin Hood film. Ridley Scott had also made a live-action version of Exodus, starring Christian Bale.

Hollywood was enthusiastic about these classic themes, but past results showed that the new generation of young audiences simply weren’t interested in such films.

Robin Hood, like King Arthur, had later become a cursed project—whoever touched it was doomed to fail.

The stories from the Bible seemed outdated in this era of fast-paced internet information.

Someone had made films about them before, and perhaps someone would be tempted again.

Whether it was Robin Hood or Moses parting the sea, there were no copyright issues. Whoever wanted to make an adaptation could do so without any copyright restrictions.

George Clint left Ronan’s office and returned to Shai Entertainment, immediately arranging for people to discreetly spread the news.

Meanwhile, Hollywood’s awards season officially kicked off.

Since the mid-to-late nineties, the Gotham Independent Film Awards, held at the end of November, had become the symbol of the start of the awards season.

Although it was the second-largest independent film award in the U.S. after St. Denis, the influence of the Gotham Independent Film Awards wasn’t particularly significant. The weight of awards during the awards season often meant that the more important and influential the award, the later the results were announced.

There was no need to mention the Oscar ceremony. Awards like the Actors Guild and Directors Guild often came after the Golden Globes.

Strictly speaking, the not inexpensive The Pursuit of Happyness was also an independent film, as the only investor was Shai Entertainment.

However, The Pursuit of Happyness had only been shown at film festivals like Cannes and Toronto. It hadn’t been released in North America or had a limited release, so it didn’t qualify for the Gotham Independent Film Awards.

It wasn’t just The Pursuit of Happyness; many of the films Ronan considered as strong contenders weren’t currently participating in the Gotham Independent Film Awards.

For example, Martin Scorsese’s The Aviator, Clint Eastwood’s Million Dollar Baby, and Embassy Pictures’ Crash, for which they had already bought the rights.

These films wouldn’t be released or have limited screenings until December.

The already released Ray had a strong start in the awards season, winning Best Picture and Best Breakthrough Director at the Gotham Independent Film Awards. Black actor Jamie Foxx won Best Breakthrough Actor.

Embassy Pictures also had some gains. The already released March of the Penguins won the Best Documentary award.

After several weeks of screenings, March of the Penguins expanded to 2,102 theaters last weekend, earning $9.89 million at the box office.

This documentary had a cumulative North American box office of $16.33 million.

March of the Penguins wasn’t a film that Embassy Pictures had heavily invested in. Winning the Best Documentary at the Gotham Independent Film Awards would also help its chances for the Oscar for Best Documentary Feature.

Compared to the major awards, the competition for Best Documentary Feature was much less intense. Among the documentaries released this year, the hottest was undoubtedly Fahrenheit 9/11.

This documentary had set too many records, such as the highest North American box office for a documentary, the highest global box office for a documentary, and so on.

But Fahrenheit 9/11 had no competitive edge in the awards season or at the Oscars. Forget about contending for the Oscar for Best Documentary; according to the industry’s general view, it didn’t even have a chance of getting an Oscar nomination.

Of course, there were awards that favored Fahrenheit 9/11.

Rumor had it that the Razzie Awards were very fond of this film and planned to award the Worst Actor to the man in the white house.

This year, Hollywood had produced quite a few bad films, such as Catwoman, King Arthur, Alexander, and so on. But whether it was Colin Farrell or Ben Affleck, they were no match for the man in the white house.

Unless something unexpected happened, the Worst Actor award would undoubtedly go to him.

In Hollywood’s awards season, the winners of the four major awards, if analyzed carefully, often had surprises, like Gwyneth Paltrow and Shakespeare in Love in that year. But more often, the winners swept through the awards season, taking six or even seven out of ten related awards.

To some extent, the barometer was quite reliable because the more barometer awards a film won, the higher its exposure.

Many Oscar judges didn’t even watch the films. Apart from PR, they voted based on familiarity.

Another effective way to increase exposure was, of course, to spend money.

Buying ads and soft articles in widely read Hollywood publications like Vanity Fair, Variety, Entertainment Weekly, Empire, and The Hollywood Reporter could forcefully create buzz.

During the awards season, these magazines sold ads by the page, with each page fetching a six-figure price.

This was also a season full of business opportunities.

Chapter 716: Great Potential

In the reception room of the Fox Building in Century City, Beverly Hills.

Mark Gordon, a renowned Hollywood producer and high-ranking executive at Fox, looked earnestly at the German director across from him and said, “Roland, 20th Century Fox has collaborated with you on multiple films like Independence Day, The Patriot, and The Day After Tomorrow. We are partners, and for your new project, 20th Century Fox will certainly give it priority. All production resources will be allocated to you.”

Roland Emmerich remained calm. “The project is still in the early stages; I haven’t made up my mind yet.”

Mark Gordon smiled. “But there are already rumors outside that you’re planning to work with other companies.”

Harold Kloser, Roland Emmerich’s long-term collaborator and producer, interjected, “Mark, I recall Roland doesn’t have a long-term contract with 20th Century Fox, right? Who he chooses to work with is his freedom.”

“I didn’t mean anything by it,” Mark Gordon said, well aware that with Roland Emmerich’s success, 20th Century Fox couldn’t force him. He smiled and added, “Roland, for your new project, please prioritize 20th Century Fox. We are partners who know each other well.”

Roland Emmerich didn’t want to strain relations with 20th Century Fox, so he replied, “I will.”

Harold Kloser, however, reminded him, “Mark, cooperation isn’t just about words; it requires sincerity. To be frank, Warner Bros. and Shai Entertainment are also interested in collaborating with Roland, and Sony Columbia Pictures has inquired about the possibility of working with him.”

Warner Bros.? Sony Columbia? Mark Gordon had previously heard that Shai Entertainment was interested in Roland Emmerich’s new project.

But how did Warner Bros. and Sony Columbia get involved?

Mark Gordon felt a sense of urgency. After all, Roland Emmerich was a top-tier commercial director in Hollywood, having helmed Universal Soldier, Independence Day, Godzilla, The Patriot, and The Day After Tomorrow.

Even if Warner Bros., Shai Entertainment, and Sony Columbia Pictures were all vying for Roland Emmerich’s new film, Mark Gordon wouldn’t find it surprising. Roland Emmerich was, after all, one of the most successful commercial directors in Hollywood.

Mark Gordon knew he needed to stabilize Roland Emmerich first. “Roland, I can assure you here that as long as your new project passes 20th Century Fox’s review, the production budget will definitely not be less than The Day After Tomorrow! Your personal treatment will also see a significant increase based on The Day After Tomorrow!”

Roland Emmerich looked at Harold Kloser, who gave a slight nod. He then opened his briefcase, took out the script and project proposal, and handed them to Mark Gordon. “Harold and I also hope to continue working with a familiar company. We hope 20th Century Fox can greenlight the project as soon as possible.”

Mark Gordon took it very seriously. “I guarantee it will enter the review process this week.”

Everything that needed to be said had been said, and the promises they wanted had been secured. At this stage, they couldn’t ask for more. Roland Emmerich and Harold Kloser then took their leave from the Fox Building.

Once in the car, Harold Kloser said, “Roland, even if 20th Century Fox approves the project, we don’t need to rush, and we shouldn’t give them any commitments. With multiple companies interested in your new project, the more they compete, the better terms we can secure.”

Roland Emmerich trusted his long-time collaborator completely. “I’ll just focus on filming. Mark, leave the rest to you.”

Harold Kloser was full of confidence. “Don’t worry, I’ll secure the best conditions for the project.”

“It started with Warner Bros., then Shai Entertainment popped up,” Roland Emmerich said in his German-accented English. “Now 20th Century Fox and Sony Columbia are involved. Am I really that popular?”

Harold Kloser laughed. “Roland, you’ve always been very popular! Don’t forget, you’re Roland Emmerich!”

This was precisely why Roland Emmerich was confident enough to hold out for the best deal for the 10,000 BC project.

“Warner Bros., 20th Century Fox, and Sony Columbia—we’ve worked with all three before,” Roland Emmerich said, somewhat puzzled. “But Shai Entertainment—we haven’t worked with them, and they’re interested too…”

Harold Kloser replied, “That just shows Shai Entertainment has vision. Do you know who from Shai Entertainment contacted me?”

Roland Emmerich asked curiously, “It wouldn’t be Ronan Anderson, would it?”

“No,” Harold Kloser answered. “It was George Clint, the Chief Executive Officer of Shai Entertainment. He personally told me that Shai Entertainment is interested in your new project.”

Back in the Fox Building, Mark Gordon had just returned to his office when his assistant followed him in.

Mark Gordon handed the script and project proposal he had reviewed to his assistant. “Send these to the review committee and have them expedite the process.”

To be honest, the script’s story was quite clichéd, with no originality. If it were any other director, the only possibility would be for it to gather dust in the script library. But this was Roland Emmerich’s new project.

Which of Roland Emmerich’s films had an outstanding plot? Whether it was Independence Day or The Day After Tomorrow, the plots barely maintained basic logic. A little critical thinking would reveal countless flaws.

This German director’s films had never relied on plot; the script’s quality couldn’t be judged based on the story alone.

Many commercial films were like this, and Mark Gordon was no longer surprised. For example, Michael Bay’s highest-grossing film involved a group of oil workers going into space to blow up an asteroid. Was there a more absurd plot? Yet the film was a massive box office success.

On the other hand, many scripts with seemingly excellent plots flopped miserably when made into films.

The assistant took the script and project proposal but didn’t leave. Instead, he said, “Boss, I just got some news.”

Mark Gordon glanced at him. “What news?”

The assistant tried to be concise and quick. “We’ve been keeping an eye on Shai Entertainment. There’s feedback that Shai Entertainment is planning new tentpole projects.”

“Shai Entertainment has several high-investment new projects every year,” Mark Gordon interjected. “Those projects either come from Ronan Anderson’s ideas or are adaptations of bought-out copyrighted works…”

He couldn’t help but shake his head. Even if they knew, what could they do? The copyrights were firmly in Shai Entertainment’s hands.

The assistant quickly added, “This time is different. There’s confirmed news that Shai Entertainment is planning to adapt scripts based on Robin Hood and Exodus, and they’re very likely to make related films.”

Mark Gordon immediately asked, “Is the news confirmed?”

“Confirmed,” the assistant said. “This has already spread within Shai Entertainment’s scriptwriting department.”

Previously, Shai Entertainment’s projects hadn’t been particularly secretive because of copyright issues. Even if people knew, it didn’t matter. But Robin Hood and Exodus were different; there were no copyright disputes.

The assistant added, “These two projects originated from Ronan Anderson’s office.”

Mark Gordon paced back and forth twice. It was hard to ignore Ronan Anderson’s projects! They represented success and future revenue…

“Notify all department heads and above,” Mark Gordon said, just as decisively as he had with Roland Emmerich. “We’ll have a meeting tomorrow morning. Have them familiarize themselves with the relevant content about Robin Hood and Exodus as soon as possible today!”

The assistant hurriedly replied, “Yes, I’ll do it right away.”

Mark Gordon felt that Ronan Anderson was even more important than Roland Emmerich. “Have someone else go to the review committee; you handle this first.”

The assistant said, “Yes.”

After the assistant left the office, Mark Gordon immediately sat down at his computer. He looked up the legend of Robin Hood online and carefully read Exodus from the Bible.

Perhaps influenced by the success associated with Ronan Anderson’s name, Mark Gordon found the adaptations of Robin Hood and Exodus increasingly promising.

The stories were widely known and filled with Hollywood-style individual heroism, classic themes…

Not only 20th Century Fox was paying attention to Shai Entertainment’s latest developments.

At Warner Bros. Studios, Charles Roven pushed open the door to Kevin Tsujihara’s office.

“You called for me, Kevin?” he asked, pulling out a chair and sitting down.

Kevin Tsujihara looked serious. “I have confirmed news. Shai Entertainment not only didn’t reject Roland Emmerich’s new project but has also formally contacted Roland Emmerich’s team. The person who contacted them was George Clint, Ronan Anderson’s absolute confidant.”

Charles Roven was somewhat surprised. “Ronan Anderson is interested in this project?”

“Shai Entertainment wants to collaborate with Roland Emmerich,” Kevin Tsujihara confirmed. “And it’s not just them. 20th Century Fox and Sony Columbia Pictures have also contacted Roland Emmerich’s team.”

The situation was completely unexpected. Charles Roven frowned. “But the epic film project…”

Kevin Tsujihara said, “20th Century Fox and Sony Columbia aren’t important, but if Ronan Anderson values it, based on past experience, the project is extraordinary. Epic films have suffered consecutive failures this year, and the outlook seems bleak. But there’s a situation we might have overlooked. Before Pirates of the Caribbean, pirate films were in a much worse position than epic films, yet Ronan Anderson pushed forward with Pirates of the Caribbean and achieved tremendous success.”

Charles Roven thought of Pirates of the Caribbean’s success and didn’t know what to say for a moment.

“Have someone formally negotiate with Roland Emmerich immediately. Warner Bros. needs him to fulfill his verbal commitment,” Kevin Tsujihara added. “Also, there’s confirmed news that Ronan Anderson has instructed Shai Entertainment to adapt films related to Robin Hood and Exodus. Charles, you’re an expert in production. Immediately gather people to assess the feasibility.”

Chapter 717: Various Probes

As December began, Roland Emmerich walked into Relativity Tower. Under the watchful eyes of many, he ascended to the top floor, where Ronan spared half an hour to meet with him personally, expressing his desire to collaborate with Roland Emmerich. However, Ronan made no mention of the 10,000 BC project during their conversation.

But in the eyes of others, what other project could Roland Emmerich possibly be working on with Ronan?

In reality, Ronan was considering waiting until Roland Emmerich suffered a major setback before partnering with him to create an apocalyptic thriller. Roland Emmerich had a strong market presence in disaster films, but other genres were out of the question.

Using official rhetoric, the meeting between Ronan and Roland Emmerich was described as taking place in a friendly and enthusiastic atmosphere, resulting in multiple consensus points, with both parties expressing satisfaction with the outcome.

After meeting with Roland Emmerich, Ronan made a special trip to the scriptwriting department of Shai Entertainment. Just as with previous major projects, he assembled a dedicated team of writers to discuss the scriptwriting for two tentpole projects, now officially named Robin Hood and Exodus.

Too many eyes were on Shai Entertainment, which was not a good thing. Hollywood was a place where rumors spread like wildfire, and complete secrecy was impossible. In the future, Shai Entertainment would undoubtedly adapt many copyrighted works into films, using these projects to dig some pits, which might also reduce future troubles.

For example, if other companies set their sights on these two projects and invested in filming them only to fail, Hollywood studios would hesitate even if they received information from Shai Entertainment in the future.

In the short term, these two projects appeared to be genuinely in the scriptwriting phase.

At the script meeting Ronan convened, the writers seriously discussed various creative possibilities.

One writer who had previously worked on the Pirates of the Caribbean script said, “The story of Robin Hood is a classic theme, but it lacks originality. I suggest adding some fantasy elements to the Robin Hood theme, turning the project into a low-fantasy film.”

Ronan nodded slightly. “This is worth considering.”

Another writer said, “Should we consider a reversal? For example, making Robin Hood the villain and redesigning a heroic protagonist to defeat him.”

“That’s not a good idea,” another writer objected.

After some discussion, they decided to follow the first writer’s suggestion, adding fantasy elements to the traditional Robin Hood theme.

In contrast, when discussing Exodus, most writers surprisingly agreed on certain aspects, believing that the mythological elements should be reduced, the supernatural elements appropriately ignored, and the story made more human-centered, emphasizing the role of people.

These were two very different projects, and Ronan naturally had no objections.

Hollywood had a high turnover rate, and the fastest-changing department at Shai Entertainment was the scriptwriting team. Writers contracted for one project might leave for another company by the next, and newly recruited writers might have previously worked for other companies.

The related news quickly spread from Shai Entertainment.

As for which companies it reached, that was beyond Ronan’s control.

On December 3rd, at the charity gala hosted by Steven Spielberg under the name of DreamWorks, Ronan received a lot of related news.

Despite the Big Six companies’ overt and covert suppression of DreamWorks, the two sides had never formally broken ties, and top executives from all sides attended the charity gala.

Relativity Entertainment and DreamWorks were now on the same side, so Ronan attended in person and donated one hundred thousand dollars to Spielberg’s charitable foundation.

“Welcome,” Spielberg said, shaking Ronan’s hand. “I hear Relativity Entertainment has several works vying for the Oscars this award season?”

Ronan smiled in response. “Yes. So, Steven, DreamWorks needs to support us more.”

Spielberg, his shrewdness hidden behind his round glasses, replied, “That’s easy. I will definitely support Relativity Entertainment.” He suddenly pulled forward a large man with a baby face from behind him and introduced him to Ronan. “This is Shia LaBeouf, my godson.”

“Hello, Mr. Anderson,” Shia LaBeouf, not yet the troublemaker he would become, greeted Ronan respectfully. “It’s an honor to meet you.”

Ronan nodded slightly. “Hello, Shia.”

This face was all too familiar. Once frequently seen alongside Bumblebee and Optimus Prime, his later antics were practically a textbook example of how Hollywood stars could go off the rails. Rising to fame early and with a godfather like Spielberg, he had once been a global sensation, only to squander his entertainment industry advantages with reckless abandon.

There had been rumors that at his wildest, he invited a female fan to whip him, and not only did she comply, but she also achieved the feat of overpowering him.

Spielberg was truly an exemplary godfather. He said, “Ronan, Shia is an actor. He started professional acting in 1993 and has starred in many films in recent years. His abilities are top-tier among his peers.”

Shia LaBeouf stood smiling beside Spielberg, like a beloved son.

In Hollywood, Spielberg’s role as a godfather was impeccable. “Ronan, if there are opportunities suitable for Shia, please keep him in mind.”

Ronan wouldn’t embarrass Spielberg in such a setting. He responded, “I’ll remember, Shia LaBeouf.”

“Thank you, Mr. Anderson,” Shia LaBeouf said.

Ronan nodded again, exchanged a few casual words, and then moved on. Although he wouldn’t use Shia LaBeouf, let alone cast him as the lead in Transformers, with Spielberg paving the way, Shia LaBeouf’s development over the next few years would undoubtedly be smooth.

Thinking about Spielberg’s godsons and goddaughters, they all seemed to follow this pattern. With Spielberg’s help, they easily obtained resources others dreamed of, becoming red-hot stars.

Perhaps it came too easily, making them fail to appreciate it. Drew Barrymore’s downfall after fame, Gwyneth Paltrow’s princess syndrome, Shia LaBeouf’s madness…

None of Spielberg’s godsons and goddaughters seemed normal.

“Steven asked you to look after his kids?”

Chris from Sony Entertainment approached, glancing at Spielberg’s direction, and asked, “How’s that big guy?”

Ronan didn’t answer but instead asked, “Did Steven recommend him to you too?”

Chris shrugged. “Shia LaBeouf starred in Charlie’s Angels: Full Throttle. Without Steven’s recommendation, Columbia Pictures wouldn’t have used him.”

Ronan could only say, “Steven is very attentive to his kids.”

“Spider-Man 3 project at Columbia Pictures,” Chris said simply. “Steven recommended Shia LaBeouf to play Venom.”

He seemed to realize the sensitivity of the Spider-Man topic and quickly changed the subject before Ronan could respond. “There are rumors in the industry that you plan to adapt Robin Hood and Exodus into films.”

Ronan asked, “Is Sony Columbia Pictures also interested?”

Chris shook his head. “Our focus is on Spider-Man. Don’t worry, I’m asking as a friend, privately.”

Such words were, of course, just for show. Ronan responded vaguely, “It’s just an idea.”

Chris smiled. “You don’t even trust me.”

Ronan shook his head. “How could that be? If I didn’t trust you, I would have denied it outright.”

After chatting for a while, Chris left. Ronan was about to find Tom Hanks to discuss the progress of The Da Vinci Code when an old acquaintance, Charles Roven, approached.

The conversation naturally turned to films. Charles Roven said, “This year, several epic films have performed poorly. I hear Shai Entertainment is still interested in entering this genre?”

Ronan, of course, understood this was a probe. He responded vaguely, “The worst times may not be the worst opportunities. I hope Shai Entertainment can develop a new Pirates of the Caribbean series.”

Charles Roven remained composed. “There’s something I’d like to discuss privately. Ronan, I hear Shai Entertainment is negotiating a new project with Roland Emmerich?”

Ronan didn’t deny it. “That’s correct.”

Charles Roven reminded him, “Roland Emmerich has an agreement with Warner Bros.”

“Wait, Charles,” Ronan interrupted. “This is a matter for Shai Entertainment to handle. You should talk to George Clint directly.”

Charles Roven was somewhat frustrated, but upon reflection, Ronan’s words made perfect sense.

With his objective mostly achieved, Charles Roven left.

Ronan chatted with Tom Hanks about the equally slow progress of The Da Vinci Code, bid farewell to Spielberg, and was preparing to leave when a high-ranking executive from 20th Century Fox approached to exchange a few words.

They weren’t very familiar, and the probing intent was obvious. Ronan only engaged briefly before leaving.

Clearly, due to past successes, these companies or individuals were very interested in the new projects Ronan was launching, even going so far as to probe him.

As for how things would develop afterward, that was beyond Ronan’s control.

Epic films required significant investment and large-scale production to achieve good results, with a very high resource occupancy rate.

Over the next few days, news about Roland Emmerich’s new project continued to come in.

On the surface, four companies—Shai Entertainment, Warner Bros, 20th Century Fox, and Sony Columbia—were vying for this project.

Projects that no one was interested in were perhaps never good projects. The increase in competitors for 10,000 BC made the interested companies reluctant to let go easily, and Roland Emmerich secured far better terms than initially.

After holding out for a higher price for a while, Roland Emmerich ultimately chose to sign with 20th Century Fox, his long-time collaborator.

Chapter 718: A Massive Paycheck

The fierce competition among the three companies vying for Roland Emmerich’s new project was something Ronan wasn’t entirely clear on, but in the end, 20th Century Fox emerged as the big winner.

Thanks to the presence of competitors, 20th Century Fox offered Roland Emmerich extremely generous terms. The production budget for 10,000 BC, announced at the time of signing, was a staggering one hundred and fifty million dollars, placing it among Hollywood’s top-tier productions.

Warner Bros, due to certain concerns, ultimately chose to withdraw in the face of 20th Century Fox’s generous conditions and massive investment.

Sony Columbia Pictures seemed more like a bystander in this race. With all their energy focused on the Spider-Man series, securing this project would have been nice, but losing it wasn’t a big deal.

Additionally, there were unconfirmed rumors circulating within 20th Century Fox about their interest in adapting Exodus. It seemed they were discussing the possibility of a film adaptation and even considering Ridley Scott, who was already collaborating with Fox on Kingdom of Heaven, to direct it.

These rumors, though unverified, suggested that 20th Century Fox indeed had such intentions.

Turning intentions into a movie, however, was another matter entirely—no one knew how long that might take.

But after nearly half a year of negotiations, Shai Entertainment’s collaboration with James Cameron finally materialized.

On the first Monday of December, Relativity Entertainment, in partnership with James Cameron, held a joint press conference in the main hall of Relativity Tower to formally announce their signed collaboration.

At the press conference, Ronan, representing Relativity Entertainment, signed the contract with James Cameron.

Following the signing ceremony, Relativity Entertainment announced to the public that the new project, officially named Avatar, would have a total budget of five hundred million dollars!

This figure nearly stunned all the media reporters present. The press conference erupted in shock.

During the subsequent interview session, James Cameron, true to his reputation as a master of Hollywood promotion, didn’t hold back: “As early as the eighties, the concept for this project appeared in my dreams. In 1995, I drew the first related sketches.”

As he spoke, the former truck driver produced a set of drawings—no one knew when he had made them. They depicted a towering, peculiar tree and dandelion-like seeds floating around it, resembling flying angels or tiny umbrellas.

James Cameron continued with the classic Hollywood director’s line, “I had this idea years ago”: “In 1995, I wrote the first draft of the script and drew the first storyboard sketch. But I realized there was a problem. I wanted to create a brand-new world, one that had never existed on Earth. How could I achieve that?”

Hundreds of media reporters in the main hall of Relativity Tower, including Ronan, listened intently.

Most of them were seasoned entertainment journalists. Though many realized this was just promotional hype, they paid close attention, afraid to miss a single word.

After all, the man spinning this tale was James Cameron.

Even if he were daydreaming aloud, it would still be major news!

James Cameron was a tech enthusiast and a quintessential commercial director. Having experienced the incredible reversal of Titanic’s success, from low expectations to record-breaking heights, he understood the importance of promotion.

The signing ceremony marked the beginning of the project, and he wanted as many people as possible to remember the name Avatar.

James Cameron spoke passionately: “While filming Titanic, I realized how to create the world of my dreams. It required top-tier cinematography and CGI standards. Over the past few years, I’ve been preparing for this new project. I didn’t want to repeat myself. In the last century, I wanted to make a film using new CGI technology, but it was incredibly difficult. Everyone told me it was impossible. I waited all these years, and now I finally have the chance to make a truly groundbreaking CGI film.”

Without waiting for questions, James Cameron shared a lot. The reporters then turned their attention to Ronan.

A reporter from the Los Angeles Times was the first to ask: “Mr. Anderson, what prompted you to collaborate with Director Cameron and decide to invest five hundred million dollars in producing this film?”

Ronan, of course, wouldn’t reveal that the five hundred million dollars wasn’t just the production budget but included all expenses, such as promotion and distribution.

It was all for publicity.

When it came to marketing a film, aside from the movie itself, there wasn’t much else to promote. But this film itself could encompass so much.

“Ever since Titanic became a global sensation in 1997, fans have been eagerly awaiting James Cameron’s next film, and I’m no exception.”

As a competent film professional, Ronan knew when to talk big: “By chance, I saw Director Cameron’s designs for Avatar. This… is a miracle.”

Ronan’s expression was exaggerated yet sincere: “This is a science fiction film, something I believe most fans will love. Science fiction explores things we can’t yet experience. Avatar is also a prophecy. It makes you reflect on what we’re doing now and what consequences might arise in the future. That’s one of the reasons I invested in Avatar.”

The five hundred million dollar figure was staggering. The next reporter shifted focus back to James Cameron.

“Director Cameron, does the five hundred million dollar budget put a lot of pressure on you?” The blonde female reporter’s question was sharp: “Your last film, Titanic, was a massive box office success. Will this film, with its higher budget, surpass Titanic?”

James Cameron didn’t seem as pressured as one might expect. After all, Titanic’s production and promotional costs were also quite high.

“The success of Titanic was indeed satisfying. The box office? It was fantastic.” James Cameron didn’t beat around the bush: “I don’t think Avatar will break Titanic’s box office record. That’s not why I’m making this film. Besides, I don’t think any film in the next few years will surpass that record.”

He glanced at Ronan: “As long as Avatar makes money for the investors, I’ll be happy.”

Ronan chimed in at the right moment: “I have great confidence in this film. James Cameron’s artistic appeal is world-renowned. No one doubts his commercial value in filmmaking. This film involves many complex aspects, and investment and box office are just part of it.”

He smiled: “Honestly, I can’t wait to see this film released.”

The hall erupted in laughter.

The press conference ended successfully. That same afternoon, news about the film spread like wildfire across both traditional and online media.

James Cameron’s new project alone was enough to draw attention.

Ronan Anderson’s investment and the five hundred million dollar budget combined to easily shock all of North America.

The news even spread overseas in just half a day. With Terminator 2 and Titanic, James Cameron had amassed countless fans. The number of people eagerly awaiting his new film was immense.

The industry was equally watchful. On one hand, the investment was extraordinary; on the other, James Cameron’s new films often signaled the maturation of new technologies.

20th Century Fox, which had collaborated with James Cameron on Titanic, remained calm. They had firsthand experience—enjoying the benefits James Cameron brought meant enduring far greater troubles.

Moreover, investing five hundred million dollars in a single film was sheer madness.

Many were waiting to see Ronan fail. No producer could keep succeeding forever. Even Jerry Bruckheimer, who had been successful since the early eighties, faced a setback this year with King Arthur.

If Avatar failed, could Relativity Entertainment maintain its rapid growth, or would it decline?

Wasn’t this the path most mid-sized Hollywood development companies followed?

This collaboration had drawn the attention of the entire Hollywood industry.

Despite Ronan and James Cameron reaching an agreement early on, the negotiations between them were quite difficult, especially regarding profit sharing.

According to the contract, Shai Entertainment first had to pay James Cameron eight million dollars for the script copyright buyout and two million dollars as a project initiation bonus.

This amount was separate from James Cameron’s compensation within the production team and was paid solely by Shai Entertainment.

James Cameron joined the project as a screenwriter, director, and producer. His base salary as director alone was twenty million dollars.

His total compensation as screenwriter and producer was ten million dollars.

In other words, James Cameron’s total base salary for the project was thirty million dollars.

Compared to Spielberg’s salary for top-tier productions, James Cameron’s base salary wasn’t high, but it came with a significant backend profit share.

This was the crux of the negotiations between Shai Entertainment and James Cameron’s agency team.

No one was a fool, and James Cameron was the sharpest of them all. His agency team was among Hollywood’s best and understood that the real income came from backend profits.

The final contract stipulated that, combining his roles as screenwriter, director, and producer, James Cameron and his production team would receive twenty percent of the North American box office gross. Additionally, James Cameron personally would receive ten percent of the profits from four major merchandise categories, including television and DVD.

To secure a top director, especially James Cameron, the compensation had to be calculated in hundreds of millions.

(According to external sources, James Cameron’s total pre-tax income from Avatar, including upfront and backend profits, amounted to three hundred and fifty million dollars.)

Chapter 719: Alice

With the formal signing of the contract, the first joint project meeting was convened in the production conference room of Relativity Tower.

Dozens of attendees participated in the meeting, including representatives from the production side like Ronan and George Clint, as well as individuals involved in various aspects of the film crew.

James Cameron and his producer, Jon Landau, were naturally in attendance.

Garcia and Thomas represented the distributor, Embassy Pictures.

Scott Swift from the Pacific Investment Foundation, the financial backer, was also present.

Andy Serkis, the motion capture director, had arrived at the crew long ago.

Sony Electronics and IMX Company needed to provide the crew with camera equipment and technical support.

Allianz Insurance, serving as the crew’s insurer, not only provided various insurance services but also acted as a third-party guarantor, monitoring the flow of funds throughout the production.

Peter Jackson, the large New Zealander, and his partner, Richard Taylor, rushed from Wellington to Los Angeles. Weta Workshop possessed the industry’s most advanced motion capture technology.

Two executives from Lucasfilm were present, and Industrial Light & Magic would also be one of the crew’s future special effects service providers.

Brian Lord, a partner from CAA, was also there. This talent agency would provide all the actor selections for the crew.

These were just the major aspects involved in the crew’s preparation work. Many detailed tasks would need subsequent coordination. Any top-tier Hollywood production involved a workload comparable to constructing a skyscraper.

The joint meeting could only determine the general direction.

The Pacific Investment Foundation first provided the crew with a startup fund of thirty million dollars, managed by the third-party Allianz Insurance, allowing James Cameron to officially begin project preparations after the New Year.

The crew would use the new 3D camera jointly developed by James Cameron and Sony Electronics for filming. This technology had been improved through years of experimentation.

As early as 2000, Cameron and his partner began developing this new camera system with Sony’s support. The system used two Sony HDC-F950 HD cameras to create an environment with a stereoscopic sense.

This later became the 3D virtual image capture system widely used in the global film industry.

It could be said that James Cameron didn’t need to do anything else; collecting patent fees alone would ensure a comfortable life for the rest of his days.

This was the foundation of the foundation for the birth of Avatar.

Apart from his own documentaries, James Cameron’s new technology had also been explored in practice. His good friend Robert Rodriguez had already tried it out when filming Spy Kids 3.

Of course, James Cameron would be using an enhanced version in the Avatar crew.

Cameron continuously improved this technology to present a stronger and more dynamic stereoscopic effect without causing dizziness in the audience.

Weta Workshop was undergoing technical modifications for the crew’s filming needs. All motion capture filming for Avatar would be completed in the dedicated studio of Weta Workshop in Wellington, New Zealand.

Previously, Peter Jackson, also a technology enthusiast, had communicated with James Cameron multiple times. Weta Workshop was setting up a “collaborative work camera” system in the studio to achieve the desired effect.

This system consisted of 140 digital cameras mounted on the ceiling of the studio, forming a capture stage.

Industrial Light & Magic was primarily responsible for building the CG world. They would send multiple engineers to accompany James Cameron’s deputy on a global tour for inspiration.

James Cameron also discussed future actor selections with Brian Lord.

CAA recommended Matt Damon or Jack Gyllenhaal for the male lead, but both Ronan and James Cameron rejected them.

Since most of the crew’s funds would be invested in special effects and filming, the actors’ salaries would be extremely low, making it impossible to hire star actors.

Moreover, there was no need to hire star actors.

Non-star actors interested in motion capture and able to participate in long-term filming were the best choice.

James Cameron emphasized one point: to help the actors in the film become familiar with their roles, he required them to sign a contract and then go to Hawaii to live in a primitive tribal environment in the forest, similar to the Na’vi people on Pandora.

The time would be about half a year, or even longer.

In James Cameron’s words, it was to force a modern person back into a primitive state!

This was no joke. In life, James Cameron was just a middle-aged man with a slightly strong desire for control, but once he entered work mode, he immediately transformed into a tyrant on set!

Even Arnold Schwarzenegger at his peak would retreat three steps when faced with an enraged James Cameron, let alone new actors.

As for whether any actors would endure such harsh conditions, there was no need to worry.

This was James Cameron’s project, and it was nominally the highest-budget film project in history. Actors wanting to participate could line up from Burbank to San Diego.

The principle that troops must have food before they can move also applied to films.

For a top-tier commercial blockbuster with massive investment like Avatar, there was another rule: promotion must come first.

At the end of the joint meeting, the promotional slogan for the film was also determined—“A whole new world awaits you.”

After the meeting room concluded, Ronan and James Cameron chatted privately for a while.

“A few days ago, I heard some news from a friend in Japan,” James Cameron said to Ronan. “I heard that the film rights to Gunnm are in your hands?”

Ronan, of course, did not deny it: “Shai Entertainment bought them a long time ago.”

James Cameron asked, “Do you have production plans?”

Ronan slightly shook his head: “Not yet. Buying the rights was more about enriching the copyright library for future considerations.”

James Cameron seemed very interested and said, “Ronan, can you hold onto these rights for a while? I’ve always liked Gunnm.”

“Sure,” Ronan thought for a moment and added, “I don’t have any plans for it at the moment.”

“Thank you,” James Cameron said with a smile.

Ronan then asked, “Jim, the first joint preparation meeting for Avatar is over. You should give me a rough completion time.”

James Cameron knew that Ronan had given him tremendous support, far beyond what 20th Century Fox had provided during the filming of Titanic. After thinking for a moment, he said, “After the New Year holiday, the crew will officially start preparations. This film will need at least a year for preparation, and one and a half to two years for filming and production. The earliest it can be completed is around August or September 2007.”

Ronan lightly nodded: “I understand.”

That was what he said, but he automatically pushed the timeline back by a year.

If the film could be completed by 2008, that would be good enough.

After the joint meeting attendees dispersed, Ronan called George Clint and immediately convened a project discussion meeting at Shai Entertainment.

When acquiring Artisan Entertainment, the Artisan film library included a late 1990s adaptation of Alice in Wonderland.

Now that Avatar was beginning preparations, the adaptation of Alice in Wonderland also needed to be put on the agenda.

This would be a true 3D film.

The adaptation of Alice in Wonderland was based on Through the Looking-Glass, published in 1871, a famous fantasy children’s literature. Since Artisan Entertainment had obtained authorization from relevant institutions, Shai Entertainment’s re-adaptation would not involve any copyright issues.

This story had been adapted to the big screen multiple times by Hollywood and other countries’ film companies. The most famous version was the animated feature film produced by Disney’s animation studio in 1951.

Previously, this pseudo-3D film, which only had 3D effects in the subtitles, was also produced by Disney.

Leveraging the 3D film craze and the sudden short-term market demand for 3D brought about by Avatar, that Alice in Wonderland achieved tremendous success.

It was no exaggeration to say that without the craze caused by Avatar, this purely post-converted pseudo-3D film would not have achieved such great success.

Avatar was not just a box office chasm but also led a new revolution in film production and exhibition.

Now, Avatar was firmly in the hands of Relativity Entertainment. From production completion to scheduling the release, everything was under Relativity Entertainment’s control. Alice in Wonderland was even more capable of leveraging the 3D trend.

Due to previous preparations, under Ronan’s promotion, the project was quickly established. George Clint would soon send someone to contact the genius director Tim Burton and invite him to be the director.

At the same time, the project was expected to invest one hundred and fifty million dollars and would also use James Cameron’s 3D camera system for filming and production.

The 3D effects of Alice in Wonderland might not compare to Avatar, but it couldn’t be a true 3D subtitle film that deceived the audience.

As for the schedule, Alice in Wonderland would, as before, be released two to three months after Avatar’s premiere, fully leveraging the market demand brought by the 3D craze.

If rated on a five-star scale, this would undoubtedly be a film with a one-star plot and at least a four-and-a-half-star visual experience.

After the project meeting, Ronan went to the Hughes Aircraft Factory in Burbank because Iron Man had already begun filming there.

The set was tense, busy, and orderly. In front of the camera lens, in the area set up as an aircraft cabin, Don Cheadle and Robert Downey Jr. were enjoying the hot dance of three beautiful flight attendants.

Kevin Feige accompanied Ronan at the outskirts of the set and said, “The crew needs time to gel. They are currently filming some relatively simple scenes.”

Ronan lightly nodded, carefully watching one of the flight attendant actors, feeling she looked very familiar, as if he had seen her somewhere recently.

It should have been someone he met recently, not just a face from memory.

Chapter 720: Illegitimate Daughter

The film set was a bit far from here. Ronan looked for a while and remembered that he had seen this actress when he visited the set of The Da Vinci Code.

Curious, Ronan asked, “When did Bryce Dallas Howard join the crew?”

He recalled Ron Howard mentioning that his daughter, who could sprint at a hundred meters per second in complex outdoor environments while wearing five-inch stilettos, was set to play Gwen Stacy in Sony Columbia’s Spider-Man 3.

Perhaps after both films were released, the internet would be flooded with jokes about Gwen Stacy seducing both Peter Parker and Tony Stark simultaneously.

“Bryce Dallas Howard? Ron Howard’s daughter?” Kevin Feige looked confused. “When did she join the crew?”

Ronan glanced at him and pointed to the relatively shorter flight attendant on set.

Kevin Feige rubbed his chin, looking over. The red hair, high cheekbones, and fair skin did resemble Bryce Dallas Howard. He couldn’t help but say in slight surprise, “She really does look like Bryce Howard.” Then he turned to Ronan and said, “This is a new actress recommended by CAA, named Jessica Chastain.”

Ronan frowned. The Hardworking Sister?

After looking more carefully, especially at her figure, he gradually realized that this might be due to her makeup and facial contours. From a distance, her face did look very similar to Bryce Dallas Howard’s.

But upon closer inspection, it was clear that she was noticeably shorter than Bryce Dallas Howard, who was also much more robust and strong.

This was a case of mistaken identity.

“Her face really does look so similar, and they both have red hair.” Kevin Feige’s gossip instincts flared up as he muttered, “Could she be Ron Howard’s illegitimate daughter?”

Hearing this, Ronan couldn’t help but recall the rumors he had once heard about Ron Howard and Jessica Chastain. There didn’t seem to be any relevant content.

Seeing Ronan’s confused expression, Kevin Feige explained, “I’ve seen her profile. Before coming to Hollywood, her original name was Jessica Howard.”

Perhaps this explanation had an effect. Ronan looked at Jessica Chastain and felt that her face did resemble Bryce Dallas Howard’s more and more.

After a while, Ronan gradually remembered some gossip he had seen before, but he felt the possibility was unlikely.

He couldn’t remember where he had seen it, but it was probably content circulating online when Jessica Chastain came to the Eastern markets for promotion. It said that Ron Howard went to a supermarket to buy something and mistook the hardworking sister, who happened to be there, for his daughter. He even said to the people around him, “I think I just saw Bryce.”

Upon learning that it was Jessica Chastain, Ron Howard trembled all over.

After this scene was filmed, the crew took a temporary break. Ronan walked into the actor’s rest area and found Robert Downey Jr.

“Mr. Anderson.” Robert Downey Jr. immediately stood up from his chair.

Ronan smiled and nodded. “Hello, Robert. You’re in good form today.”

Robert Downey Jr., dressed in his costume, looked exactly like the Tony Stark from the silver screen.

Robert Downey Jr. was gradually becoming the real-life Iron Man.

“It’s mainly because the role suits me so well.” Robert Downey Jr. felt a sense of ease in his performance, as if he could achieve the best effect just by being himself. “I’m very fortunate to have taken on this role.”

He seemed to remember something and pulled over a middle-aged male actor with a particularly high hairline nearby. “Let me introduce a friend. This is Clark Gregg, who plays Phil in the film.”

Ronan looked at the familiar face and shook his hand. “Agent Phil Coulson, the village chief of Marvel’s superhero newbie village.”

Clark Gregg was also a long-term contract actor. Thinking about the character’s setting and the future plans he had seen for the role, he quickly said, “Newbie village chief? That description is very fitting.”

Ronan nodded slightly. “Your role is very important and has great potential in the future.”

Clark Gregg smiled and said, “I will definitely do a good job of connecting the superheroes.”

Ronan didn’t say much more. When the movie universe reached a certain stage, he could let Phil Coulson be the protagonist and film a series of miniseries, which should have been called Agents of S.H.I.E.L.D. Later, the director of S.H.I.E.L.D. became Daisy Johnson.

Marvel superheroes also had great potential in television series, and related series could be expanded, such as the more fierce girlfriend of the big-chested Captain America, Agent Carter.

Ronan didn’t remember much of the content he had seen, but he did remember that Agent Carter was at least an E-level player.

It seemed that among Marvel’s female characters, Agent Carter was one of the fiercest, and there was also a female student of Jane Foster, the female lead in Thor, who was probably a D+ heavyweight player.

In the future, the female lead in Thor would definitely have to be replaced. A vase-like female lead didn’t necessarily need an Oscar-winning actress, but her appearance had to be outstanding. Thinking of Natalie Portman in the past, she was completely suppressed by her elementary school student throughout the entire film, which was really tragic.

So, after the film was released, many people said that Thor had a problem with his eyes. With the two characters there, how blind did he have to be to choose Jane Foster.

Perhaps Thor himself was fierce enough, so he wanted to find a flat one?

After Thor, there might be a female Thor in the future. The actress would definitely have to be chosen for her outstanding appearance and relatively few troubles.

If the female Thor stood in front of the camera holding the Mjolnir, and the person was shorter than the hammer, that would be really tragic.

Ronan planned to replace more than just this actress. The square-faced Aunt May was sentenced to death in his heart from the beginning. In a few years, when the time was right, he could find someone to talk to Charlize Theron.

Even if Charlize Theron wasn’t interested, there were plenty of suitable candidates in Hollywood.

The square face of Aunt May was secondary. After all, a square face was also in line with Western aesthetics, but her running movements were really unbearable to watch.

This role was destined to have a lot of action scenes, and she would need to run from time to time. Those two legs were very important, okay!

Ronan then went to the director Jon Favreau. The director was temporarily changing his clothes and would soon appear on the scene as Tony Stark’s fat bodyguard, Happy.

Although Happy was Tony Stark’s security chief in the comics, in the film, he was mainly responsible for comedy.

Jon Favreau had been a comedy actor and was very experienced in this area.

In the ordinary actors’ rest area, glances occasionally crossed the set and fell on Ronan.

Over the years, Ronan’s prestige had become increasingly dazzling, and the media often reported on him. Like Jerry Bruckheimer, few actors didn’t know him as a movie company boss and producer.

Especially the ambitious actresses, they knew very well how to rise to the top.

But the bodyguard team following Ronan was like an insurmountable chasm for them.

Jessica Chastain sat carefully on the chair, afraid that her clothes would wrinkle. Although she graduated from the prestigious Juilliard School, her year of struggling in Hollywood after graduation made her understand the difficulties of the acting profession.

Some of her classmates became leads right after graduation, but their parents were either wealthy or had some status in the Hollywood industry.

For someone like her, from an ordinary family, even as an excellent graduate of Juilliard, dreams and ideals were too far away.

“You come with me, Jesse.” Agent Maha Dakhil called softly, “I’ll introduce you to the real big shots in Hollywood.”

She led the way towards Ronan and reminded, “Pay attention, make a good impression on him.”

Jessica Chastain, already twenty-seven years old, was no longer a little girl. She immediately said, “I will.” She followed her agent and asked softly, “Maha, are you very familiar with Mr. Anderson?”

“Not very familiar.” Maha Dakhil said, “Because of CAA’s cooperative relationship, I can say a few words in front of him. Only the top people at CAA can talk directly to Ronan.”

Jessica Chastain roughly understood.

Maha Dakhil spoke a few words to Finch, and Finch did not stop them.

“Hi, Ronan.” Maha Dakhil greeted, “Long time no see.”

Ronan knew that she was Brian Lord’s capable assistant and nodded slightly, saying, “Hello, Maha.”

His gaze fell on Jessica Chastain, who was following behind.

This actress had red hair, light blue eyes, and fair skin. Overall, apart from her slightly high cheekbones, her appearance wasn’t particularly outstanding.

She wasn’t very beautiful, far from stunning, but she was pleasant to look at.

“I’m in charge of CAA’s business with the Iron Man crew.” Maha Dakhil quickly signaled Jessica Chastain to come forward and introduced, “This is a client CAA signed this year, a top graduate from Juilliard, Jessica Chastain.”

Jessica Chastain had no unnecessary words or expressions and took the initiative to shake hands. “Hello, Mr. Anderson.”

Ronan lightly shook her hand. “Hello, Miss Chastain.”

“It’s a great honor to be part of your project.” Jessica Chastain’s demeanor had a kind of elegant rhythm.

Ronan smiled slightly and nodded. “You’re welcome.”

Since they weren’t familiar, Ronan just exchanged a few pleasantries with the two of them before going to the office with Kevin Feige.

“It seems CAA wants to heavily promote this actress.” Kevin Feige wasn’t stupid. “To have Maha Dakhil bring her directly to you, she must not be an ordinary client.”

He still hadn’t forgotten the earlier gossip. “CAA is so serious about her, could she really be Ron Howard’s illegitimate daughter?”

Ronan didn’t respond to him. If Jessica Chastain really was, with her diligence and hard work, she wouldn’t have been just a second-tier actress in the past.

This actress seemed to have no scandals, able to take on five or six films a year, earning the nickname “Hardworking Sister.”

It seemed that such an actress was quite suitable for Shai Entertainment’s filming pace.

Chapter 721: Mobile Client

Actors were also important resources in Hollywood. Ronan vaguely recalled some details about Jessica Chastain. This actress had once been a representative figure of hard work and dedication in Hollywood.

If the rumors were true, she was much like Jessica Felton—truly the embodiment of feminism.

Once a professional talent from the Juilliard School, she had spent nearly ten years as an extra before achieving fame. It hadn’t been easy.

Without connections, lacking the support and mentorship of influential figures, and with a bit of bad luck, success was incredibly difficult.

By the time she became famous, the “Hardworking Sister” had already grown old.

Ronan had Connie gather some information about Jessica Chastain. If a suitable role came up in the future, they could consider her.

At the very least, they should have Shai Entertainment sign a long-term contract with her.

Additionally, the collected information showed that Jessica Chastain had once been known as Jessica Howard. She had grown up with her mother and stepfather, and no one outside knew who her biological father was.

Coupled with her slight resemblance to Bryce Dallas Howard, it was easy for people to speculate.

For example, a certain singer from the East had once been rumored to be illegitimate because of his distinctive large nose…

The weekend arrived, and among the many films Embassy Pictures had prepared for awards season, another contender entered the fray. The Lives of Others began its limited release in five theaters across Los Angeles to secure its eligibility for the Oscars.

Embassy Pictures had submitted the film for Oscar consideration, but due to limited resources, they had only applied for the Best Foreign Language Film category.

Thanks to its numerous accolades—including the European Film Award, the Italian David Award, the Berlin Golden Bear, and the French Caesar Award—The Lives of Others had still managed to attract a small but dedicated group of American viewers.

Though the audience was small, filling five theaters for the limited release was no issue.

In its first weekend in North America, The Lives of Others averaged nearly thirty thousand dollars per theater, grossing over one hundred and forty thousand dollars across the five locations.

For a European, non-English film, this was an excellent result.

Since it was vying for the Best Foreign Language Film Oscar, the film could only be shown with English subtitles—English dubbing was not permitted to replace the original German.

Foreign films entering the North American market rarely underwent such changes.

After its first weekend, The Lives of Others received overwhelmingly positive reviews. Rotten Tomatoes collected nearly sixty professional critiques, almost all of them favorable, with a freshness rating of ninety-five percent.

Media reception was equally enthusiastic. The dozens of outlets invited by Embassy Pictures gave the film an average score of eighty-nine.

For Western mainstream ideology, this film was the epitome of political correctness.

One could never underestimate the influence of political correctness at the Oscars.

In fact, it had become a far more crucial criterion than the film’s actual quality.

Themes exploring human freedom had always been a favorite of the Academy.

Embassy Pictures’ main focus this awards season was Crash and The Pursuit of Happyness. Their investment in The Lives of Others was limited, but its strong reception and suitable subject matter made it a strong contender for Best Foreign Language Film.

Ronan’s attention, however, was no longer on The Lives of Others. Instead, he had turned his focus to Netflix.

After nearly a year of preparation and over six months of negotiations, Netflix had reached an agreement with Motorola and Samsung. Netflix’s mobile client would become a pre-installed app on both companies’ smartphones.

Services like Netflix Video, Netflix Rental, and Netflix Streaming would begin their specific collaborations next year.

The most anticipated feature, Netflix Sharing, was the first to launch, serving as the pioneer.

If the response was positive, starting in January of next year, other business modules would gradually be integrated into the Netflix Sharing micro-client.

Due to the high cost of smartphones limiting market penetration, the mobile client wouldn’t spread as rapidly as social media apps had in the past.

However, the first-mover advantage, along with the exclusive agreements signed with the two major phone manufacturers, would give Netflix a significant lead over its competitors.

Ronan had been closely monitoring the social media, video, and streaming markets.

It was still the era of blogs; Twitter was nowhere to be found. Netflix stood alone in online video, YouTube was non-existent—it probably hadn’t even been founded yet. Aside from Netflix, the market had no concept of streaming services.

The freedom and immediacy of Netflix Sharing had already attracted many celebrities. Hollywood, always at the forefront of trends, was an obvious adopter, but even business districts and political circles had seen many prominent figures actively opening accounts.

For example, that New York real estate mogul with the surname Trump had become an active user of Netflix Sharing, frequently posting messages, mocking and satirizing others.

Netflix governance didn’t seem far off.

In Washington, many young congressmen were also Netflix Sharing users. For instance, that dark-skinned congressman from Illinois was not only extremely active on the platform but had also used this increasingly expansive open platform to attract a large number of left-wing supporters.

As for the Democrats and Republicans, they often engaged in verbal sparring on Netflix Sharing.

Netflix Sharing was gradually infiltrating every aspect of American life through the increasingly widespread internet and computers.

Unfortunately, the banking industry was an almost insurmountable mountain. Otherwise, Ronan would have considered venturing into online payments.

But this field was entirely different from the internet industry. Not only did it require caution, but without a powerful alliance, one couldn’t even attempt to enter.

Who knew how much that person had invested, or how much they still held? It was impossible to say.

Some industries and business circles allowed for fierce competition and development, with ample space for growth. But some things, if touched, could have severe consequences.

Becoming the enemy of American capital wasn’t out of the question.

Ronan was well aware that in Hollywood, its related industries, and the emerging internet sector, as long as he partnered with a few capable allies, the future held great promise. There was no need to invite unnecessary trouble.

A snake swallowing an elephant might happen by chance, but what would happen if an ant tried to swallow an elephant?

Netflix was still in negotiations with Nokia and Sony Ericsson. Since there were no other competitors in the market, the negotiations were nearing a successful conclusion.

While negotiating with these phone manufacturers, Netflix had also proposed that the parties form a cooperative alliance to safeguard the interests of major manufacturers and brands in the industry, thereby raising the entry barriers for phones and their smart operating systems as much as possible.

Such discussions were inevitably a long-term process of competition and compromise; they couldn’t be resolved overnight.

Netflix also needed greater strength to promote the Android system, which was still in development.

Fortunately, this proposal aligned with the interests of the major phone giants. None of them wanted another giant to emerge in the phone industry and divide the market. They were all quite interested.

Nokia was the least enthusiastic. They were in the process of acquiring Symbian.

As for how things would develop in the future, it seemed to depend on how Netflix would evolve.

If Netflix remained as it was now, promoting the Android system worldwide would be a pipe dream.

But after going public next year, once Netflix became an internet giant, the situation would be entirely different.

Honestly, who could have predicted that Nokia, one of the two giants in the phone industry, would end up in such a state in the phone market, ultimately having to spin off its phone business?

When Ronan had heard that Nokia was spinning off its phone business, he could only describe his reaction as shock.

At the time, Nokia phones were synonymous with durability. On the internet, they were rumored to be the favorite of African mercenaries, said to be able to stop bullets when tucked into a chest pocket.

The credibility of such rumors was unknown, but Ronan had firsthand experience. During his school days, his Nokia brick phone had fallen from over two meters high and shattered, yet the screen remained intact. After picking up all the pieces and having a repairman reassemble it, the phone still worked normally.

Back then, Nokia phones were almost a religion. Later, however, the Nokia brand, like Motorola, gradually became more of a nostalgic symbol.

Georgia, the capital city of Atlanta.

An old secondhand Ford sedan pulled up in front of a standalone house. Adrian picked up the phone box from the passenger seat, got out of the car, and without even locking the door, rushed toward the house.

Once inside, he opened the box and took out the brand-new Motorola E680, a smartphone that had only been released in September.

The silver phone boasted a large screen unmatched by other models, featuring not only touchscreen capabilities but also internet access through mobile networks.

Of course, such a phone didn’t come cheap.

Adrian had just received his first official paycheck and had bought this phone as a reward for himself.

“Hey, Ed,” his mother called from the living room. “We’re going to the supermarket. You coming?”

Adrian was completely absorbed in his new phone. He waved her off. “No.”

His parents left quickly. Adrian fiddled with the phone for a while and noticed a familiar icon—flix!

As a loyal Netflix user, he immediately tapped the icon. Following the simple and clear prompts, he logged into his Netflix account and was delighted to find that his Netflix Sharing interface appeared on his phone screen in a new form.

Though different from the computer webpage, the operation was just as simple and intuitive. After a little experimentation, Adrian became familiar with features like friends, recent messages, followed accounts, Netflix news, and the feed.

What interested him most was a new feature in the feed—it allowed users to take photos and videos and upload them instantly.

Adrian immediately opened this feature and entered the camera interface. He took a few pictures of the living room and uploaded them, then recorded a short video and posted it to his feed.

The phone’s three-hundred-thousand-pixel camera had excellent clarity.

Adrian saw his feed instantly gain over a dozen likes, filling him with joy. He inserted an SD expansion card and decided to go out and shoot more videos to upload, making those still using the computer version green with envy!

Chapter 722: The Gunshot

Stepping out of the house, Adrian first filmed his home and the community before uploading the video to Netflix sharing. Soon, a flood of replies poured in.

Since Netflix had already signed a contract with Motorola, the video upload also displayed the phone model.

“OP, is that the latest Motorola smartphone? Five hundred dollars? Damn… rich people!”

“Jealous of OP!”

“OP seems so happy.”

Adrian gazed at the likes and comments in his feed, basking in the hidden sense of pride, his inner desire to show off satisfied.

Though the internet speed on his phone was painfully slow, the videos shot with the 300,000-pixel camera weren’t too large. After uploading two videos, he earned another wave of praise.

“OP’s house is so beautiful!”

“This is definitely middle-class!”

Seeing dozens of likes and over ten comments under his shared videos, Adrian was nearly drunk with joy.

Social media had always served one major function—showing off!

Showing off wealth, travel, inspiration, taste, food, even children…

This function was the easiest to accept, spreading the fastest and widest.

Adrian didn’t need anyone to teach him. Picking up his Motorola smartphone, opening Netflix sharing, he had already mastered it without instruction.

In a daze, Adrian left his neighborhood, deciding to film the upscale community where he lived.

Instantly, he began to elevate his display—from showing off his home to showing off the city.

Walking, filming, and uploading as he went, Adrian wandered aimlessly through the community’s streets.

This was a typical white middle-class neighborhood—clean streets, orderly security. At first glance, it seemed like a paradise on earth.

In Georgia and Atlanta, where racial tensions were high, black faces were rarely seen in white communities.

Good security was proportional to police presence.

Patrol cars passed by frequently. In just over ten minutes, Adrian had already encountered two.

He had lived here for years and was long accustomed to it.

This city, and even the entire state, was clearly divided along racial lines.

Turning a corner, near the edge of the community, Adrian suddenly spotted a black man.

He was a burly man dressed in an unconventional style, with a head of dreadlocks. His dark face seemed naturally fierce.

The man was holding a pipe wrench, limping as he walked, like a gang member who had just been injured.

Adrian, influenced by his surroundings, instinctively felt this wasn’t a good person. Who with any decency would sport disgusting dreadlocks?

A black man in the community?

And one who looked so menacing?

Adrian stopped, hiding behind a large tree, intending to avoid him. But the black man was on the other side of the road, and Adrian thought this might become a topic among his friends. He took out his phone and turned on the camera.

Creak—

In the few seconds it took him to adjust his phone, the screech of brakes suddenly rang out. A patrol car stopped diagonally across the street.

The car doors opened, and two white police officers got out. One used the car door as cover, warily eyeing the black man, while the older white officer pointed at the black man and shouted loudly.

Adrian was close enough to hear clearly. The officer ordered the black man to drop his weapon immediately, put his hands behind his head, and crouch on the ground for inspection.

Adrian continued filming, not thinking much of it. This was normal. A fierce-looking black man appearing in a white neighborhood—if the police didn’t question him, wouldn’t that be a disservice to the taxpayers?

Only those who contributed significant taxes were true citizens. In Atlanta, those who couldn’t even support themselves were considered the dregs of the South.

The police, of course, defended the rights of taxpayers like them.

Adrian didn’t think the police were wrong, but he didn’t stop filming.

The older officer shouted again. The black man with dreadlocks looked bewildered but didn’t follow the officer’s orders to drop the wrench and crouch.

The young white officer by the car door drew his gun, moving so quickly it seemed he had no psychological barrier.

From Adrian’s angle, he could see the older officer’s hand resting on the holster of his sidearm.

In Atlanta, a city sharply divided by race, black people were essentially synonymous with chaos, filth, crime, and mindlessness.

Though the slogans against discrimination were shouted loudly, the actions of the enforcers here reflected the true situation.

The black man raised his hand, looking at the pipe wrench in confusion. Had he come here to fix a pipe and been mistaken for a suspect? Were these two officers out of their minds?

The moment the black man moved his hand, it triggered the white officers’ sensitive nerves. The older officer immediately drew his gun, gripping it tightly with both hands, aiming at the black man’s broad chest.

Guns were no joke. The black man finally realized the severity of the situation and was about to drop the wrench.

But in this eccentric land of America, white police officers were a special breed, known for their lack of patience.

Especially when faced with a tall, strong, fierce black man with disgusting dreadlocks.

The older officer hesitated for no more than a second before pulling the trigger.

Bang—

The gunshot rang out.

Adrian’s mouth fell open, unable to believe what he had just witnessed. Even in Atlanta, where racial divisions were stark, someone raised in a decent environment would struggle to imagine a shooting unfolding before their eyes.

The black man with dreadlocks froze, thinking, What the hell is wrong with this guy? I don’t have a gun! I don’t have a gun! I’m just a regular worker!

Thud—

The black man’s burly body fell to the ground, returning to the embrace of Mother Earth.

The white officer who had fired the shot immediately called for backup, reporting to the command center that he had been violently attacked by a black thug armed with a weapon.

Adrian quickly ducked back behind the tree, instinctively turning off his phone’s camera. His heart pounded.

This was shock, but also fear.

Leaning against the thick tree, he didn’t dare to breathe loudly.

The area was eerily quiet. No one came to gawk. In this land where bullets flew and the air was thick with the sweet scent of gunpowder, ordinary people had some experience in dealing with shootings.

In such situations, you absolutely must not go near the scene right after it happens.

The two white officers were still handling the emergency. Adrian peeked out from behind the tree, saw them seemingly discussing something, and quickly hid again.

Adrian was, after all, a young man with a sense of adventure. As time passed, the shock faded, the fear subsided, replaced by excitement and thrill!

Moreover, incidents of white police oppressing black people were not uncommon, but back then, there was no readily available recording equipment to capture them.

Without footage, such incidents could only spread within a very limited scope.

Today, Adrian had come out to film videos for showing off on Netflix sharing. What he had just captured wasn’t the best material?

Adrian couldn’t hold back any longer. He opened his phone and, as quickly as possible, uploaded the video to Netflix sharing, then pressed confirm.

The phone’s network speed was painfully slow, and the upload progressed at a snail’s pace.

After several minutes, when the sound of police sirens filled the air, the upload finally completed.

Perhaps due to the arrival of numerous police cars, people who had been hiding nearby began to emerge. Seeing no danger, the crowd of onlookers instantly surrounded the scene.

Rubbernecking was a universal pastime.

Adrian stepped out from behind the tree and took a look from the outskirts. The black man had already been covered with a sheet.

Though he didn’t fully understand the situation, he knew the man had been shot dead.

Poor guy!

Adrian lost interest in continuing to film and share. He turned and headed straight home. As he walked, thinking about the video he had just uploaded, he couldn’t resist checking Netflix sharing again.

In just over ten minutes, the video already had several comments.

“Shocking! The police went too far!”

“Is this real? I’ve already shared it!”

“White police officers pressuring an unarmed black man…”

“There’s more to this! Definitely more! Sharing first, asking questions later!”

Adrian suddenly realized a problem—if this video spread, would it cause trouble for him?

It seemed very unfavorable to the white police. I’m not even black! Why did I post this video?

The racially divided social environment of Atlanta had long subtly influenced many young people like Adrian. Their stance determined their thoughts.

After coming to his senses, Adrian immediately regretted it and quickly deleted the video.

But it was too late. The real-time nature of Netflix sharing demonstrated its incredibly powerful dissemination ability.

This short, not particularly clear video spread like wildfire through Netflix sharing, its speed far surpassing any virus.

The replicative power of viral marketing was nothing compared to Netflix sharing.

As the video continued to spread, the direction it would take was easy to imagine.

Perhaps in Atlanta, or even Georgia, this wasn’t a big deal.

Racial division was tradition here.

But on a national scale, it was an instant powder keg. The black community was already sensitive, and white liberals had hearts of martyrs.

Netflix quickly captured the video and clearly predicted the effect it would have. They immediately listed it as a top news story, and related videos appeared in the most prominent positions on the video section’s homepage.

Since Ronan had always had people monitoring and collecting such news, the information was immediately relayed to Connie, who reported it to Ronan without delay.

Undoubtedly, this was an opportunity.

Ronan didn’t do much for the time being. He only called Marc Randolph, instructing Netflix to note that other media outlets could freely republish the related news.

This kind of news was certainly politically correct, but it wasn’t without trouble. Other media would surely pay attention and follow up. It was best to let them hype it up first.

That evening, almost all major news stations across the country reported the story.

Suddenly, the quiet community was no longer quiet. People began to gather spontaneously near the scene of the incident to mourn, and some groups even assembled nearby.

Chapter 723: Seizing Every Opportunity

Such incidents were not the first, nor would they be the last, but each time they were exposed, they sent shockwaves across the entire nation.

The media—whether the internet-driven new media or traditional outlets like newspapers, magazines, radio, and television—could never resist such explosive news.

The night the incident occurred, the media erupted, and soon after, the public followed suit.

The most immediate reaction was a wave of large-scale protests that quickly spread from Atlanta to the rest of the country.

A national discussion on racial issues had begun.

Under Ronan’s guidance, Netflix remained quiet, merely serving as a platform for news and public opinion, as long as it stayed within certain bounds. After all, freedom of the press was the norm here.

Even after a certain dark-skinned congressman and other officials voiced their opinions on the matter and called for further advocacy for certain groups, no relevant authorities troubled Netflix.

If anyone wanted to silence Netflix, they would have to shut down the four major television networks and the three largest newspapers in the country first.

Plans never kept up with reality. Ronan had originally intended to gather material and, through long-term reporting and publicity, turn similar issues into a hot topic of public discourse once again.

Who could have predicted that the Atlanta police would hand them such a perfect opportunity? Even with video evidence, they still insisted on their own correctness.

A little analysis made it clear—they could never admit their mistake. Doing so would only bring more trouble.

The Atlanta police merely gave the two white officers an extended leave, refusing to suspend them.

As a result, large-scale protests erupted across the country. From the media to the public, and even celebrities, everyone condemned the actions.

Then, as expected, a massive Black protest at Nokia Plaza in Los Angeles turned into a riot, even escalating into violence.

The Black community in Los Angeles, especially the gangs scattered throughout downtown, had a fine tradition of looting and burning during chaos.

As the City of Angels’ darker side, Sin City, Los Angeles erupted once again, bringing the deep-seated racial conflicts back into the spotlight.

This was one of the strongholds of the white liberals. With such favorable conditions and an excellent environment, how could they resist jumping into the fray?

Will Smith had a keen sense of opportunity. Even if he didn’t, Ronan’s reminder would have been enough.

After a face-to-face meeting with Ronan, Will Smith sought out Spike Lee, the leader of Hollywood’s Black community and a renowned Black director.

“These past few years, it may seem like society treats us fairly and justly,” Will Smith said after his secret meeting with Ronan, understanding the importance of the moment. “But that’s far from enough. Lee, our people aren’t just shedding tears—they’re bleeding!”

Spike Lee, wearing his signature black-rimmed glasses, looked serious. “I bought a watch last year! I’m going to rally our people. I’m going to protest!”

Will Smith declared, “We must set an example for our people across the country! We must fight for our legal rights in Hollywood! We must demand a greater voice!”

Spike Lee, wise with age, glanced at Will Smith and said, “You’re absolutely right! Rights aren’t given—they’re fought for!” His voice rose. “It’s awards season. We must make our mark at this year’s Oscars! No nominations for Black actors, no awards for Black actors—that’s discrimination!”

Will Smith nodded in agreement. “We must make our voices heard.”

Spike Lee was the most radical among Hollywood’s Black community. “I’ll contact our people right away. You get ready on your end.”

His status in the industry was closely tied to his directorial skills, but his role as a leader in the Black movement was equally crucial.

Will Smith understood. “Don’t worry, I’ll get to work immediately.”

After leaving Spike Lee’s mansion, Will Smith sent Ronan a message with just two letters—OK!

Then, he began making calls.

Having spent over a decade in Hollywood, Will Smith had his own network of connections. This time, he was riding the wave of momentum, and in every sense, he was on the right side of history.

He also needed to act fast—to be the first major Hollywood Black star to speak out on a large scale.

This would help establish him as a representative figure, benefiting his future endeavors.

After numerous calls, Will Smith sat in his car, deep in thought. Ronan was truly a great friend.

Using this incident to push for an award was not only in Relativity Entertainment’s commercial interest but also helped him.

Not every Hollywood studio head was so considerate!

Will Smith felt that friends like Ronan were rare. If possible, he would be happy to continue working with him.

As his car drove through Hollywood, passing near the Kodak Theatre, Will Smith deliberately glanced in that direction.

He was certain that since entering the acting world, this was the closest he had ever been to that little golden statuette.

If he missed this chance, he might have to wait another ten or twenty years—or never get another opportunity.

Winning an Oscar for Best Actor didn’t mean everything, and it wouldn’t drastically elevate his status in Hollywood. But a career without an Oscar for acting would always feel incomplete.

Jamie Foxx had a completely different perspective. For him, an Oscar for Best Actor would be a qualitative leap, allowing him to jump from a salary of two to three million dollars to seven or eight million, or even over ten million.

Originally, Jamie Foxx had considered pushing for an Oscar, though not with great urgency.

But as awards season began, he won the Gotham Independent Film Awards’ Breakthrough Actor Award, followed by the Boston and Los Angeles Film Critics’ Best Actor Awards. The Oscar for Best Actor seemed within reach—just a little effort, and he could grasp it.

Jamie Foxx went all in, mobilizing every resource he could to charge toward the Oscar for Best Actor.

Recently, as Black protests erupted across the country, Jamie Foxx was no fool. He quickly realized this could work in his favor. After all, in this social climate, his skin color was his greatest advantage.

Watching the news, Jamie Foxx pondered how he could gain even more from the situation.

Protests in Atlanta, protests in Los Angeles, protests in New York, protests in Seattle—even Washington, D.C., saw demonstrators.

Black congressmen and officials had already made their stance clear through Netflix sharing.

Jamie Foxx nodded. It was time to step forward and make his presence known.

But just as the thought crossed his mind, the TV screen changed, and Will Smith’s familiar face appeared!

At a press conference, Will Smith faced a sea of reporters, expressing his support for the fight for legal rights.

This was a one-man show—a complete personal performance. Will Smith seemed to have become the representative of all Black people in Hollywood, speaking on behalf of every Black person in the industry!

How could he react so quickly? Jamie Foxx realized his moment in the spotlight had been stolen, and he felt an uneasy sensation.

Could Will Smith also be aiming for this year’s Oscar for Best Actor? What film did he have? I, Robot, which came out this summer?

No, that was a commercial sci-fi flick.

The only answer left was the biographical film The Pursuit of Happyness, which hadn’t yet been released in North America!

A knock sounded, and his agent walked in, beaming. “Jamie, good news.”

Jamie Foxx looked at his agent. “What’s the good news?”

“The current situation is perfect for our Oscar push!” The agent, quick on his feet, suggested, “You should stand up for your Black brothers. I’ll arrange a press conference for you, and then—”

“We’re already too late.” Jamie Foxx pointed at the TV.

The agent finally noticed the broadcast, seeing Will Smith passionately addressing the crowd. He frowned slightly. “Why is he so eager?”

Jamie Foxx said, “The Pursuit of Happyness is about to hit theaters. It’s another biopic, and Will Smith must be eyeing this year’s Oscar for Best Actor.”

The agent’s frown deepened as he watched the program, seemingly searching for a flaw in Will Smith’s speech.

But Will Smith’s words were clearly well-prepared. Criticizing him now would only invite trouble—given the current climate, it could backfire.

Jamie Foxx sighed. “We’re a step behind in this.”

The agent first nodded slightly, then said, “Late or not, we have to act. Jamie, at a time like this, you must show the world your stance.”

Jamie Foxx replied, “Go ahead and arrange it.”

“Actually, no matter how much Will Smith jumps around, he might not gain much of an advantage,” the agent analyzed. “After all, in the eyes of the Academy voters, Will Smith will never shake off his image as a comedic actor!”

Comedic actor? Jamie Foxx suddenly realized something, but what exactly?

After a long pause, his already dark face grew even darker. Comedic actor! That was it—comedic actor!

“There have been a lot of reports about me in the media lately,” Jamie Foxx said hurriedly. “I’ve read a few. I didn’t pay much attention at the time, but you just reminded me—the focus of those reports was that I’m also a comedic actor!”

The agent immediately grasped the severity of the issue. “When did you start seeing those reports?”

Jamie Foxx recalled, “They started when Ray was released!” As he said this, he felt a chill run through him. “Someone’s been targeting me for a long time!”

The agent met his gaze, and they said the same name in unison: “Will Smith?”

Chapter 724: Chicken Soup Is Still in Vogue

Mid-December, with the Academy of Motion Picture Arts and Sciences set to distribute Oscar nomination ballots on December 31st, the most confident Oscar contenders began to emerge, each holding limited releases in Los Angeles to secure their spot in the Oscar race.

This game of art, awards, money, and PR known as the Oscars had entered its first phase of explosion.

Clint Eastwood’s Million Dollar Baby opened in eight theaters, averaging $22,494 per theater in its first weekend.

Embassy Pictures’ Crash, distributed through a buyout, also opened in a minimal five theaters. Thanks to the current social climate, this film, which directly addressed racial conflict, averaged over $30,000 per theater in its North American opening weekend!

A new wave of Black civil rights movements sweeping across the nation had become a catalyst for Crash. Los Angeles had never been peaceful, and though the film’s ending was overly idealistic, its story was one that unfolded daily in the city.

Martin Scorsese’s The Aviator, starring Leonardo DiCaprio, was the film with the most theaters in its limited release, opening in forty theaters and grossing over $850,000.

Leonardo’s appeal remained as strong as ever.

Howard Hughes, the character he portrayed, was also fascinating. It was said that Stan Lee drew inspiration from Howard Hughes when creating Tony Stark.

Crash and Million Dollar Baby would continue their limited releases, but The Aviator was different. The film seemed more commercially driven and would expand to nearly two thousand theaters across North America starting next weekend.

But this week, all eyes were on another film—a Black biopic, The Pursuit of Happyness.

With Will Smith, a box office powerhouse, at the helm, Embassy Pictures secured nearly three thousand nine hundred theaters for its wide release.

Currently, the events in Atlanta had become the focal point of national discourse. This Black film’s premiere had invited numerous Black actors and directors from the industry.

Everything was riding the wave of publicity.

With thorough preparation, riding this wave wasn’t difficult.

Ronan did not make a direct appearance at the premiere, remaining inside the theater, watching as one Black star after another walked the red carpet, appearing quite composed.

This had nothing to do with personal stance. The promising future earnings of both films dictated Relativity Entertainment’s promotional strategy.

“The Atlanta police are really doing us a favor,” said Tom Cruise, already inside the theater, standing beside Ronan and looking out the floor-to-ceiling windows at the surging crowd of reporters and Black film fans outside. “Given the current social climate, Hollywood has to make a statement, especially since the Atlanta police still don’t think they did anything wrong.”

Ronan watched as Spike Lee stepped onto the red carpet. “The Atlanta police must not admit their mistake. That’s the only way to keep the public opinion heated.”

Facing a close friend like Tom Cruise, he didn’t hide much. “I hear the victim is about to appeal to the court.”

Tom Cruise asked, “Ronan, do you want the two police officers to be found guilty or not guilty?”

Ronan didn’t answer but countered, “What do you think?”

The two exchanged a glance and smiled knowingly. They had the same answer.

This was Georgia. This was Atlanta. Even if the legal process were made public, the outcome was predictable.

Tom Cruise crossed his arms. “It looks like Will has a good chance of winning Best Actor.”

“There’s strong competition,” Ronan said simply. “This awards season, there’s more than one Black actor vying for the Best Actor Oscar.”

Tom Cruise nodded. “Jamie Foxx from Ray? I worked with him on Collateral. He’s a great actor, but overall, he’s not on Will’s level.”

This wasn’t just about helping Will Smith win an award. A Best Actor win would effectively boost the earnings of both The Pursuit of Happyness and Crash. Ronan added, “Hopefully, the other judges think the same way.”

Oscar campaigns weren’t just about self-promotion; they also involved undermining competitors.

In recent years, the smear campaigns against direct competitors had become less subtle, with many tactics almost semi-public.

For example, a couple of years ago, after years of being ignored, Roman Polanski’s scandals were widely publicized in North America. Was it the news media and the Department of Justice that suddenly remembered this fugitive?

Of course not. It was because Roman Polanski’s The Pianist had blocked Miramax’s Chicago.

Due to the natural advantage of race, the PR team hired by Embassy Pictures didn’t foolishly try to smear Jamie Foxx, as that might bring unexpected trouble.

Their strategy was simple: continuously emphasize through media reports that Jamie Foxx was a comedic actor.

They couldn’t let Jamie Foxx shed the label of a comedic actor.

Tom Cruise then said, “Recently, on your Netflix sharing platform, many people have been exposing discrimination they’ve experienced.”

Ronan shrugged slightly. “Freedom of speech, freedom of the press. Netflix sharing is just a platform; it doesn’t get involved.”

In reality, Netflix had benefited greatly from this incident. As the origin of related videos, many people saw the convenience and immediacy of Netflix sharing. Ordinary people could have their own voice, and more people became registered users of Netflix.

Just like how the 911 event was to blogs, Netflix sharing’s response speed far exceeded other media.

In less than a week, Netflix’s total registered users exceeded twenty-two million, and it had successfully entered the markets of other English-speaking countries.

Versions in other languages were also under development.

Additionally, Netflix sharing had shown mobile phone manufacturers the power of social networks. Nokia and Sony Ericsson had basically reached agreements with Netflix.

The Netflix mobile app would become a pre-installed app on the four major phone manufacturers’ devices.

Moreover, with Ronan’s mediation, Netflix had also begun negotiations with Apple, with hopes of becoming one of the pre-installed apps on Apple’s computers and mobile devices.

Social networks were beginning to show their power.

Tom Cruise said, “Recently, many incidents similar to Atlanta have been exposed. It feels like there’s been too much bad news this month.”

“Actually, these incidents have always been happening,” Ronan stated a fact. “In the past, without easy-to-use recording devices and accessible media, many things could only circulate within a very small range.”

He smiled. “But smartphones and Netflix sharing have provided the greatest convenience for all this. Tom, as Netflix sharing users increase and smart mobile devices become widespread, more of these incidents will be exposed in the future.”

As the old saying goes, without photos or videos, such incidents wouldn’t get any attention. Even photos alone weren’t enough; videos were necessary to stir up a storm.

Tom Cruise nodded slightly. “Your Netflix sharing is also a great platform for Hollywood. It allows us to truly voice our opinions.”

In the past, even if stars held press conferences, their statements could still be misinterpreted by many media outlets with ulterior motives.

Ronan slightly lowered his voice and asked, “Tom, what do you think about the plan I mentioned to you?”

“The one about ALS patients?” Tom Cruise had already seen the power of Netflix sharing. “I’m ready anytime.”

Ronan didn’t stand on ceremony with him. This was a mutually beneficial arrangement, and Tom Cruise would enjoy a significant halo effect for a long time. “I’ll give you a call in advance when the time comes.”

Tom Cruise, of course, wouldn’t refuse. “No problem.”

Some promotional plans were to be carried out simultaneously with Netflix’s network listing in the future, aiming to boost Netflix’s stock price.

Through the large glass window, Ronan saw Will Smith step onto the red carpet, driving the fans nearly wild.

Will Smith of this era was truly a bug-level existence in the film market.

Did Will Smith’s movies need a reason to be popular? Will Smith alone was enough.

Entering the media area, Will Smith accepted interviews from reporters, constantly steering the conversation toward the current social hot topics.

Riding the trend was a skill every Hollywood star had to master.

Facing numerous cameras, Will Smith spoke righteously, “This is a land of freedom and democracy. Apart from our skin color, we are no different from others. Like me, like George, like Harley, like Spike, and many Black professionals in Hollywood, and Chris Gardner, we all prove one thing: given a fair and equal environment, Black people can achieve the same success as others.”

He passionately declared, “I want to tell my people, if you have a dream, defend it! If you have an ideal, strive to achieve it!”

At this moment, Will Smith was particularly inspiring. Regardless of their motives, the surrounding crowd erupted in enthusiastic applause.

The atmosphere was perfectly set. The PR expert gave Will Smith a signal, indicating it was time to wrap things up.

Will Smith was a smart man. With a serious expression, he declined further questions from the reporters and headed toward the theater entrance, giving each of his Black peers a firm hug.

At that moment, the atmosphere was truly moving.

It was as if all Black people had united.

Since the year 2000, the Black community in Hollywood had become an indispensable force.

This thick, sweet chicken soup was particularly suited to the current social climate.

As the guests entered the theater, the premiere screening began, and the American Dream once again took center stage.

With films like this, you could guess the ending from the beginning, but that wasn’t important. What mattered was the journey to achieving the dream.

After all, chicken soup was still in vogue and thriving.

Chapter 725: The Hot Favorite

With a heart full of gratitude, never admit defeat, never give up, and happiness will come knocking at your door.

Thus, the most fitting song for The Pursuit of Happyness is the motivational anthem Grateful Heart.

Countless training programs, marketing teams, and even multilevel marketing groups will inevitably adopt The Pursuit of Happyness as a mandatory course in the future.

Naturally, many once despised this film.

The stark contrast in The Pursuit of Happyness’ reception on the other side of the Pacific is a perfect example of how deeply a film can be influenced by its social environment.

The film has thus been treated like Grateful Heart—a bitter dose of chicken soup that life forces you to swallow.

Unfortunately, Grateful Heart doesn’t resonate with the North American market; otherwise, it would have been the perfect theme song for The Pursuit of Happyness.

At the premiere, audiences, critics, and media alike were fed a steady diet of inspiration.

Fortunately, in this era, chicken soup is still palatable, and many so-called motivational experts thrive on serving it.

Unsurprisingly, The Pursuit of Happyness garnered widespread acclaim.

CinemaScore’s opening-night audience survey gave the film an average grade of “A+.”

Media and critics were equally praiseworthy.

Ordinary audiences might have mixed opinions, but given the current social climate, the media and critics are bound to rally behind a Black film.

Moreover, The Pursuit of Happyness is genuinely well-made—politically correct and aligned with mainstream aesthetics.

Chris Gardner’s success story is right there in New York.

This Black stockbroker, after achieving success in Chicago, relocated his company to New York and thrived on Wall Street—a quintessential American Dream.

The so-called American Dream isn’t about happiness knocking on your door; it’s about relentlessly pounding on happiness’s door until it opens.

As for the film’s heavy-handed inspiration and motivational tone, none of that matters in the face of Will Smith’s skin color.

Given the current social climate and Will Smith’s proactive efforts, his performance in The Pursuit of Happyness has been universally praised.

The Hollywood Reporter lauded the film as a fresh showcase for Will Smith, marking a transformation in his mindset and an elevation in his acting.

Entertainment Weekly noted that Will Smith’s performance was remarkably authentic for obvious reasons.

Even critics who had never been fond of Will Smith agreed: he had finally delivered an outstanding, heartfelt performance.

Frankly, this was Will Smith’s breakthrough role. By today’s standards, he turned an ordinary story into something profound and moving.

Regardless of the future, for this era, it’s an incredibly inspiring and uplifting film that gives people strength!

The praise from critics and Hollywood insiders greatly boosts Will Smith’s awards prospects.

Most importantly, Will Smith has positioned himself at the pinnacle of political correctness.

In the new century, no one should underestimate Hollywood’s determination to appease the Black community.

It’s not as complicated as it seems. Just as Ronan and Will Smith have always been close, many Oscar voters have Black friends they hold in high regard.

“Another film is also doing well,” Garcia said to Ronan in the Relativity Tower office. “Crash has received high praise in the media. I think we should ramp up our PR efforts, especially since we’ve bought out all its rights.”

Ronan replied, “Go ahead, but keep the budget under control. Our only target is Best Picture; everything else is secondary.”

David Villa added, “Paul Haggis has contacted us several times, asking about our plans to push for Best Director.”

Ronan responded directly, “We can submit his name, but we won’t divert resources.”

How could a director like Paul Haggis, with no track record, compete with Martin Scorsese and Clint Eastwood?

Garcia said, “The current situation is the best opportunity we’ve had. Embassy Pictures has never won any of the four major Oscar categories, but this time, we have a real shot at one or two.”

Ronan agreed, “This kind of social climate won’t come around again anytime soon.”

It might take years before Relativity Entertainment can leverage such favorable conditions for another awards push.

The Atlanta police had handed them a golden opportunity—there was no reason not to go all out for these two awards.

The Pursuit of Happyness was bound to perform well at the box office.

Crash, on the other hand, without an Oscar nomination, might turn a profit, but its earnings would be limited.

Even with all the hype, convincing audiences to sit through such a film in theaters isn’t easy.

Of course, there’s a niche audience that prefers independent films, especially those who can’t stand the distractions of a theater—like the sound of a girl crunching on popcorn next to them.

At the end of the day, movies are meant for entertainment.

Not everyone praised Crash. Renowned critic Roger Ebert criticized it for oversimplifying and exaggerating racial issues, delivering heavy-handed moralizing with an overly contrived approach.

After all, this was Paul Haggis’s first feature film.

Even geniuses like Christopher Nolan and Steven Spielberg had flaws in their debuts.

Moreover, Crash tackles racial tensions, but as a white man, Paul Haggis inevitably approaches the subject from his own perspective.

The film carries a distinctly white liberal mindset, adopting a savior complex toward immigrants and migrant workers. Freedom and democracy come with prerequisites—if skin color is a crude dividing line, then influence and discourse become even more powerful markers.

This isn’t necessarily a bad thing, as the film advocates for racial equality while inherently reflecting a white perspective.

Ultimately, the Oscar voters are predominantly white and middle-aged.

Many on the other side of the Pacific once believed Ang Lee’s Brokeback Mountain losing to Crash was unfair. In terms of quality and direction, Brokeback Mountain seemed superior.

But the final decision rested with those white, middle-aged voters. A film like Crash, which aligns with their tastes and reflects American societal issues, winning wasn’t surprising—let alone an upset.

This weekend, Crash continued its limited release, though its per-theater earnings dropped to just over twenty thousand dollars.

The Pursuit of Happyness, however, enjoyed a double victory in both critical acclaim and box office.

In its opening weekend, the film grossed forty-eight million six hundred fifty thousand dollars in North America, easily claiming the top spot on the box office chart.

Based on audience reception, CinemaScore predicted the film’s North American box office would reach around two hundred million dollars.

For now, the film won’t be released overseas—it will wait until the Oscar nominations are announced.

Still, this quintessentially American motivational story won’t perform as well internationally as it does in North America.

Another Oscar contender, The Aviator, expanded to nearly two thousand theaters this weekend, but its reception was lukewarm, averaging just over four thousand dollars per theater, with a weekend gross of eight million six hundred thirty thousand dollars.

With a production cost of one hundred ten million dollars, The Aviator will struggle to break even without significant Oscar nominations.

Martin Scorsese abandoned his signature gangster films to craft a biopic tailored for the Oscars, but its prospects have been shaky from the start.

As for Leonardo, though he may have been reckless in his youth, he’s no fool.

“Darling, you promised…” Gisele Bündchen said across the table in a luxurious restaurant. “If you win the Oscar for Best Actor, we’ll get married.”

She had waited so long, and finally, she had gotten that promise. Her heart swelled with joy. “Shouldn’t we start preparing? The Oscars aren’t that far away.”

Leonardo was reading the newspaper, filled with reports on the protests sparked by the Atlanta incident.

Seeing his distraction, Gisele Bündchen tapped her spoon against her plate, the sharp clink drawing his attention.

“We might have to wait a while,” Leonardo said.

Gisele Bündchen’s face fell. “Why?”

This man had broken his promises time and again, and her patience was wearing thin.

Leonardo took a long sip of water, his mood somber. “Given the current climate, I won’t win.” He did care about Gisele Bündchen and offered a simple explanation. “Right now, Black people across America are protesting, and most people sympathize with them—Hollywood included. Several Black actors are in the running for Best Actor, and the Academy might want to show their support.”

“How can they do that?” Gisele Bündchen’s voice rose involuntarily. “This is the Oscars—the highest honor in American cinema. How can they decide the winner like that?”

Leonardo had successfully shifted her focus. “That’s just how Hollywood is,” he said. “The best actor doesn’t always win.”

Gisele Bündchen asked, “Who has the best chance?”

Leonardo thought for a moment. “It’s hard to say, but among the Black actors, Will Smith has the biggest advantage.”

Thinking of Will Smith, Leonardo recalled the investors behind The Pursuit of Happyness—Relativity Entertainment. Rumor had it that Ronan Anderson had personally greenlit the project.

He never expected Ronan Anderson to save him! Leonardo glanced at Gisele Bündchen and decided that not winning Best Actor this year wasn’t such a bad thing.

As for his promise to her—well, he had broken plenty of promises before. One more wouldn’t hurt.

Chapter 726: Beautiful Memories

In some ways, Leonardo had never changed—his taste in women, his attitude toward life, all remained the same.

Marriage was just a means to keep the woman he loved by his side.

After breakfast, Gisele Bündchen didn’t have to go to the set that day, so Leonardo first dropped her off to go shopping with Angela Lindvall before heading to his office.

Awards season had arrived, and there was too much work that required his personal attention.

The Academy encouraged Oscar competition, which indirectly encouraged appropriate PR. Leonardo also needed to show his commitment to the Oscars.

Looking back on his actions during Titanic’s Oscar campaign, Leonardo now felt he must have been out of his mind back then.

Even now, he believed that if he had appeared at the Oscar ceremony, he would have stolen all the spotlight. But he knew better than to say that out loud to the media.

Knowing what to say and to whom in any given situation—perhaps that was one of the marks of maturity.

Leonardo had truly matured so much more than before.

His assistant came in at that moment, handing him an elegant invitation. “Boss, this is from Relativity Entertainment. They’ve invited you to their Christmas reception.”

Leonardo picked up the invitation, glanced at the date, and saw Ronan Anderson’s signature. He nodded. “I see.”

Relativity Entertainment—the rising new power in Hollywood, with business capabilities rivaling the Big Six.

The man he had once mocked as a failure had now become one of the top figures in the industry.

Leonardo couldn’t help but shake his head and smile. Fortunately, his period of recklessness after Titanic hadn’t lasted long. He hadn’t completely alienated Ronan Anderson and had made amends in time. Otherwise, having such a formidable enemy would have made life unbearable.

Looking back on his past conflicts with Ronan Anderson—those Middle Eastern Arabs, fighting over such trivial matters…

Who in Hollywood didn’t know Ronan Anderson’s rise to power? He had never cared for those people; the Arabs were just a stepping stone for him.

Ronan Anderson truly was the most outstanding young capitalist of his generation—skilled in every form of deception.

Leonardo compared his current situation to Ronan’s. His chances of winning Best Actor at the Oscars this year were slim. If he wanted to continue pursuing the Oscars, he would have to star in films specifically made for that purpose.

Pushing for the Oscars was risky—it was easy to lose money. The best way for an actor to gain enough influence was to bring personal funding into a project, but using his own money to make a film…

Only a fool would do that!

Leonardo lowered his head and pulled out a document. A Philippine company had been eager to invest in his films for a while now. Maybe it was time to consider it.

As for how to collaborate, Ronan Anderson had already set the best example with the Arabs.

Foreign investors’ money was there to be spent. If it failed, it was their loss. If it succeeded, it was his gain.

Leonardo made up his mind and called his manager, asking him to come in for a face-to-face meeting.

Over the past two years, through his collaboration with Martin Scorsese, Leonardo had gained many insights. He greatly admired how Old Marty had broken free from CAA’s constraints. He was preparing to bid farewell to CAA once his contract expired, no longer employing an agent. Instead, he would have his manager handle all his business affairs.

Though this went against industry norms, Leonardo had noticed that since the turn of the century, more and more people were abandoning agents in favor of trusted managers to handle all their affairs.

Before his manager arrived, Leonardo had his assistant inform Relativity Entertainment that he would attend their Christmas reception.

Between him and Ronan Anderson, even if they couldn’t be friends, they couldn’t afford to be enemies.

In Beverly Hills, on Rodeo Drive, after shopping, Gisele Bündchen and Angela Lindvall found a café and sat down to rest.

“Last time you mentioned holding a wedding next year?” Angela Lindvall sipped her lemon water. “How are the preparations going?”

She smiled like a beautiful golden fox. “Oh, Gisele, I haven’t congratulated you yet.”

Gisele Bündchen’s sharp features softened with a hint of embarrassment. “Angie, let’s not talk about that.”

Angela Lindvall grew curious. “What happened?”

“The wedding has been postponed indefinitely.” Gisele Bündchen stated simply. “That’s about it.”

Angela Lindvall had some unpleasant suspicions but, glancing at Gisele Bündchen, wisely chose silence. Meddling in others’ relationships was a losing game—no matter what you said, you’d end up in the wrong.

Gisele Bündchen suddenly thought of something and asked tentatively, “Angie, can I ask you something personal?”

“We’re friends.” Angela Lindvall smiled. “Ask away.”

Gisele Bündchen hesitated slightly before speaking. “I remember you dated Ronan Anderson. Later…”

She realized she might be overstepping and didn’t know how to continue.

Angela Lindvall, unfazed, said, “You want to know why we broke up, right?”

Gisele Bündchen apologetically smiled and nodded slightly.

Angela Lindvall seemed lost in thought. “It was a beautiful memory, even though I didn’t date Ronan for long. For a while, I really liked him and was convinced he was the one. When we were together, I could feel that Ronan’s entire world revolved around me. He was the best lover in the world…”

Gisele Bündchen unconsciously nodded. It seemed she and Leonardo had been the same way.

“But it was just an illusion.” Angela Lindvall said frankly. “When he’s not with you, he becomes someone else. You’re just a small part of his life, and he could meet someone new at any moment…”

“No sense of security.” Gisele Bündchen summarized.

Angela Lindvall lightly tapped her chin. “Maybe one day he’ll settle down, but how long would I have to wait? Five years? Ten? By then, my youth would be gone. Would it really be worth the wait?”

She thought of Gisele Bündchen’s on-and-off relationship with Leonardo over the past few years and ultimately said, “If you know waiting won’t lead to anything, why waste your youth? During my time with Ronan, I figured out the mindset of men like him. They’re like woodpeckers—when they’re with you, you’re the only tree in their eyes. But when they fly away, all they see is the forest.”

Gisele Bündchen, lost in thought, said, “They really only see the forest.”

Angela Lindvall smiled. “I still remember Ronan vividly, even now. But I won’t be with him again, and I won’t look back. That would only hurt me.”

The phone rang. Gisele Bündchen took it out and answered. After a brief conversation, she hung up and looked at Angela Lindvall. “That was Leo. Relativity Media is holding a Christmas reception in a few days. Ronan Anderson invited him.”

Angela Lindvall’s fox-like eyes darted about.

Gisele Bündchen asked, “Angie, do you want to go?”

“No.” Angela Lindvall didn’t even hesitate. “I won’t go. I absolutely won’t.”

With just over a week left until Christmas, Ronan, aside from sending out invitations, personally called some VIP guests to invite them.

This was Relativity Entertainment’s first Christmas reception. Not only Hollywood but also many figures from other business circles would attend.

For example, some investment firms from Wall Street.

Those in the know were keeping a close eye on Netflix, waiting for its IPO to share in the profits.

Some even believed Netflix might create a miracle on Nasdaq.

Relativity Entertainment now had two major divisions: the entertainment industry centered around Hollywood and its peripherals, and the internet industry with Netflix at its core.

Thus, many of Netflix’s partners would also be in attendance, such as Samsung, Nokia, and Motorola from the mobile industry.

Since Netflix had partnered with the four major phone manufacturers, Qualcomm had also expressed interest in joining the alliance and had reached out to Ronan. They would send representatives to the reception.

The guest list for the reception spanned too many industries.

While Relativity Entertainment prepared for the reception, the North American film market was heating up during the Christmas season. The Pursuit of Happyness continued to gain momentum in both reputation and influence.

This uplifting, feel-good film had won widespread acclaim.

With strong word of mouth, The Pursuit of Happyness sailed through its second weekend in North America, maintaining a steady box office performance with a second-weekend gross of thirty-one million two hundred thousand dollars.

After ten days in North American theaters, the film had easily crossed the ninety-million-dollar mark.

Yet, The Pursuit of Happyness relinquished its box office crown to Meet the Fockers 2, starring Ben Stiller, which opened this weekend with a strong forty-six million one hundred twenty thousand dollars, claiming the top spot.

This holiday season, Ben Stiller had become Hollywood’s most commercially successful star.

Embassy Pictures’ Night at the Museum, also starring Stiller and released during Thanksgiving, had already grossed two hundred twenty-one million six hundred eighty thousand dollars in North America, with global earnings nearing four hundred million.

With these two films, Ben Stiller had firmly established himself as a top-tier star, poised to replace Jim Carrey as Hollywood’s leading comedy actor.

Shai Entertainment’s new contract with Ben Stiller for Night at the Museum 2 included a twelve-million-dollar salary for the actor.

Of course, Shai Entertainment stood to gain even more from the collaboration.

This weekend, Embassy Pictures also hosted consecutive screening events for Crash and The Pursuit of Happyness, directly targeting the Oscars.

Both films had generated significant buzz, especially the latter, with Will Smith quickly becoming a hot topic.

As Christmas approached, Relativity Entertainment’s reception took place on schedule. The Ritz-Carlton Hotel in Beverly Hills welcomed many heavyweights from the business world.

Chapter 727: Infinite Future

That evening, the Ritz-Carlton Hotel was ablaze with lights, media reporters gathered, and countless A-list stars walked from the cameras into the hotel’s main entrance.

But most of the guests had already entered the hotel.

Ronan, Mary, Robert Iger, George Clint, Robert Lee, Garcia-Rodriguez, and Marc Randolph stood at the entrance of the banquet hall, welcoming the guests.

Regardless of past differences, tonight, everyone who came was a guest.

Among the Wall Street’s four major investment banks, Goldman Sachs and Morgan Stanley had sent representatives. Many more from small and medium-sized companies had arrived early.

From the mobile phone manufacturers, the crown prince of Samsung Group, the Chief Executive Officer of Sony Ericsson, the operating president of Motorola, and the Chief Executive Officer of Nokia’s U.S. subsidiary had all arrived one after another.

Apple, preparing to enter the mobile phone industry, had not seen Steve Jobs in attendance, but he had sent his capable assistant, Tim Cook, as a representative.

With the mobile phone giants present, Qualcomm naturally would not be absent.

From Hollywood, the Chief Executive Officers of the Big Six had accepted the invitation, and companies like DreamWorks and Lionsgate Films had also come.

Countless more from related industries were present.

Compared to these business titans, the Hollywood stars were just a small, unremarkable group.

The cocktail party began on time. After Ronan’s opening remarks, he immediately became the focus of the banquet hall.

Since he was involved in the business world, such business socializing was unavoidable. Although there was no forced drinking or the vulgar notion that not drinking was a sign of disrespect, the occasional clinking of glasses and sipping of wine meant that in just over half an hour, Ronan had drunk quite a bit.

Jessica Felton saw Ronan raise his glass again and waved over a server, whispering a few words.

The server left and returned a few minutes later with a glass of water.

Marc Randolph, along with several major mobile phone manufacturers and representatives from Qualcomm, approached Ronan.

“Just now, I heard Marc mention that all of Netflix’s business comes from Mr. Anderson’s design,” Li Danyong said with a smile. “A brilliant concept. We can expect a bright future for Netflix.”

Ronan was far less professional than the experts before him, but he knew more about some things. “Gentlemen, I have always believed that the future of mobile phones lies in smart technology and integration with the internet. If we work together to promote this, the largest internet terminal in the future will undoubtedly be the mobile phone.”

The Qualcomm representative chimed in, “I believe that.”

Marc Randolph said, “After Netflix sharing started promoting on mobile devices, in just three weeks, the number of global users surged by nearly three million.”

The people present were all insightful. It wasn’t hard to analyze that Netflix’s model and the alliance it was promoting might very well represent the future.

Only the Nokia representative remained silent. They also saw potential in Netflix but had reservations about the alliance Netflix was forming.

However, the other companies were very enthusiastic because they could see excellent development prospects.

To form such a business alliance, the participating parties must see a profitable future.

After clinking glasses and drinking together, Marc Randolph and these people went elsewhere. It was rare for them to gather, and there were more topics to discuss.

After more than half a year of effort, the parties had also reached the most basic cooperative intentions.

But they would not easily reach an agreement because Netflix’s future was limitless, but it was just a future.

This would undoubtedly be a long negotiation, like a marathon.

At this moment, Tim Cook came over. Looking at the departing mobile phone manufacturers, he said, “Ronan, don’t forget you’re a major shareholder of Apple.”

Ronan shrugged slightly, “Tim, can I even be considered a major shareholder?”

Over the past few years, most of his personal income and company dividends had been invested in Apple, with another portion invested in Amazon.

In August of this year, after Google officially went public, Ronan had also invested a small portion of his funds in Google’s stock.

But the investment amount wasn’t large.

Android had already been acquired by Netflix, and Ronan had people keeping an eye on the internet video business. As soon as YouTube appeared, Netflix would have countermeasures.

These would more or less affect Google’s future.

Of course, Google would still be an internet giant. After all, Google’s operating income last year had reached nearly three hundred million dollars.

Tim Cook smiled at this moment and said, “With a total share of two point seven five percent, Ronan, you are already one of the largest individual shareholders of Apple.”

Ronan shrugged slightly, “If someone wants to sell shares for liquidation, or if Apple wants to raise funds to expand its shares, Tim, you must notify me.”

“This is a wise decision,” Tim Cook said. “Apple’s future is limitless.”

Ronan then asked, “Has the release date for Apple’s first-generation smartphone been confirmed?”

On the other side, as a shareholder of Apple, the Apple management had already announced related news at the shareholders’ meeting. Tim Cook directly said, “It will take two more years.”

Ronan nodded lightly, “In two years, with Netflix’s development speed, it might become the next Google. Doesn’t Apple consider fully cooperating with Netflix?”

“We are considering this matter,” Tim Cook said seriously. “The board of directors is formally discussing whether it is necessary for Apple to invest in Netflix if it goes public.”

Ronan smiled, “Welcome to Apple’s investment.”

In reality, Apple was also short of money now. Even if it could invest, if Netflix went public next year, Apple wouldn’t be able to buy too many shares.

Tim Cook specially ordered a glass of wine and clinked glasses with Ronan, “Looking forward to our future cooperation.”

“Cheers,” Ronan also raised his glass.

After Tim Cook left, Ronan finally had a moment of peace, but the alcohol was starting to affect him, and his stomach wasn’t feeling great.

Jessica Felton silently walked over.

“Have a glass of water,” Jessica Felton handed over the cup. “It’s light salt water, it can help with the alcohol.”

Ronan took it without hesitation and slowly drank a sip. The warm water flowed into his stomach, bringing a wave of warmth that suppressed the alcohol.

Jessica Felton looked at him, “Feeling better?”

“Thank you,” Ronan took another sip and said, “Much better.”

Jessica Felton casually said, “My mother used to give this to my father often. It’s said to be very effective.”

Ronan smiled, “It is indeed effective.” He finished the water in the cup. “Jesse, you really care about me.”

Jessica Felton didn’t mind at all, “Mainly because I have nothing to do. I don’t know most of your business partners, and those actors are all like peacocks. I’m not interested. I just happened to see you.”

Ronan asked, “Is Lindsay not coming?”

He knew that Jessica Felton was close to Lindsay Bill at Relativity Entertainment.

“David Finch is going crazy over that movie project,” Jessica Felton simply said. “He took Lindsay to New York to see her classmate. They probably won’t be back by Christmas.”

Ronan nodded, “These great directors all have a crazy side.”

Jessica Felton reminded him, “Someone is coming.”

Ronan also saw them. Gisele Bündchen and another model walked over. It was a very familiar face, a superstar in the current fashion world, often referred to by the media as the “old fox,” Angela Lindvall.

She was also his former lover.

“Good evening, Gisele,” Ronan, of course, wasn’t embarrassed. He first greeted Gisele Bündchen, then shook hands with Angela Lindvall. “Long time no see, Angie.”

Looking at Ronan and the beautiful woman with a hot figure beside him, Angela Lindvall’s mood was somewhat complicated, but she quickly adjusted. After all, the past was the past.

“Good evening, Ronan,” Angela Lindvall’s eyes turned to Jessica Felton.

Gisele Bündchen took the initiative to greet, “Good evening, Jesse. Let me introduce you. This is Angela Lindvall, my friend. Angie, this is Jessica Felton, the producer of the ‘Pirates of the Caribbean’ series.”

Angela Lindvall greeted Jessica Felton, and they chatted briefly.

“When did you come to Los Angeles?” Ronan asked Angela Lindvall.

“It’s been a while,” Angela Lindvall’s fox-like eyes turned back to Ronan. “I don’t have your contact information anymore.”

This remark had a double meaning, and Ronan understood it clearly. He didn’t dwell on it and said, “If you have anything, you can come to Relativity Tower to find me.”

“I will,” Angela Lindvall saw that Ronan showed no reaction and gave up any illusions.

At her level in the modeling world, the range of choices was actually very wide, and there was no need to hang onto someone.

The entertainment and fashion industries had many intersections. Everyone here was a seasoned professional. Even Jessica Felton had seen all kinds of storms in the industry.

Ronan didn’t linger on Angela Lindvall and turned to ask, “Gisele, why haven’t I seen Leo?”

Gisele Bündchen smiled, “Leo met Mr. Clint. He’s chatting with Mr. Clint about movies and didn’t come over to disturb you.”

Ronan asked, “I heard you and Leo are getting married next year?” This news had already spread in the industry. “Have you set a date…”

He didn’t finish his sentence because Jessica Felton beside him gently tugged at his sleeve.

Gisele Bündchen vaguely said, “We haven’t set a date yet. When we do, we’ll let you know.”

Ronan nodded slightly. Although Jessica Felton beside him didn’t say anything, he could guess that there must be new rumors about these two.

Marc Randolph came over with several people again. Ronan saw several faces from Wall Street and said, “Sorry, Angie, Gisele, some friends are coming over.”

“We won’t disturb you,” Angela Lindvall took the initiative to say goodbye and left with Gisele Bündchen.

Chapter 728: Money Never Sleeps

In the banquet hall, Jim Prather of 20th Century Fox exchanged a few words with Michael Eisner of Disney, finding the Disney tyrant’s words too harsh. He ended the unpleasant interaction and walked toward the terrace.

No wonder Disney’s people were rebelling—he wouldn’t be able to tolerate such a boss either.

Jim Prather grumbled to himself, his eyes suddenly landing on the center of attention tonight.

Ronan Anderson was once again surrounded by a crowd.

Among them were several familiar faces: Lloyd Blankfein from Wall Street, the Chief Operating Officer and President of Goldman Sachs Group; Howard Johnson, Senior President of Morgan Stanley; and the Chief Executive Officer of Merrill Lynch…

These people gathered together represented an extremely massive capital force.

They were currently engaged in lively conversation with Ronan Anderson.

Relativity Entertainment was about to receive support from major capital groups. Jim Prather also knew that Netflix was preparing for its IPO, and Wall Street generally had high expectations for this internet company. It was said that Wall Street’s expectations for Netflix far exceeded those for Google, which went public this year.

A successful IPO meant abundant funds, more and stronger partners, and a broader platform and development prospects.

Ronan Anderson was sharing the most anticipated internet company under his umbrella with the capital group. At least for a long time, many people would support him.

Relativity Entertainment would likely accelerate its development again with this wave.

Hollywood would find it even harder to stop him.

At least 20th Century Fox alone couldn’t do it.

Jim Prather shook his head. The Big Six of Hollywood had never united; they could tacitly suppress, but it was impossible for them to join forces against one company.

“Netflix needs to go public to continue its rapid development.”

At the center of this small circle formed by Wall Street figures, Ronan spoke eloquently: “Netflix also needs to rely on everyone’s strength to develop. We welcome every investment institution to invest in Netflix.”

These people nodded in agreement—they liked Ronan’s attitude.

Similarly, they liked the man himself.

Netflix’s development had already proven Ronan Anderson’s vision and decision-making ability. Investing in a company led by such a person gave the same reliable feeling as investing in Microsoft.

These people had participated in countless investments and were very clear about the importance of an outstanding leader for a company’s rapid development.

Today, their presence here already indicated their stance—they were extremely interested in investing in Netflix on Nasdaq in the future.

Netflix was preparing for its IPO with the help of Goldman Sachs. Next year, Nasdaq would likely welcome a new star stock.

Ronan continued: “But we can’t rush the IPO. The more prepared Netflix is, the greater its future development potential will be.”

Lloyd Blankfein responded: “Ronan is absolutely right. We expect high returns and are willing to wait.”

Howard Johnson of Morgan Stanley also said: “We will wait for the moment Netflix goes public.”

“Hopefully, there will be surprises,” someone added.

A company has a massive amount of preparation work before going public, often even securing investors in advance.

This party was very successful. After the party, many people did not leave Los Angeles. For example, major phone manufacturers, along with Netflix and Qualcomm, held joint talks in Los Angeles and reached several agreements.

Some people from Wall Street went to the San Francisco Bay Area to visit and understand Netflix’s business on-site.

Netflix was not a company that sold concepts with hype; it had rapidly developing businesses to support it. Especially, the streaming media business was in its final preparation stage and would soon launch.

Meanwhile, with the help of Relativity Entertainment and Embassy Pictures, Netflix signed licensing agreements with several overseas film companies before Christmas, including Red Bus Films from the UK, Luc Besson’s EuropaCorp, and Constantin Film from Germany, securing more internet rights for film and television works.

Netflix’s DVD rental and sales business had completely surpassed the traditional rental industry led by Blockbuster, becoming an important merchandise channel in Hollywood.

Now, DVDs were the most important profit point in the film industry. The revenue that Netflix’s merchandise channel could create had reached a level that no film company could ignore.

Even 20th Century Fox temporarily set aside its conflicts with Relativity Entertainment and reached a film library licensing agreement with Netflix.

At this point, among Hollywood’s medium and large film companies, only Paramount Pictures, which, like Blockbuster, belonged to the Viacom Group, had not yet opened its film library to Netflix.

Netflix did not slow down its pace of collecting overseas copyrights. Although in the future, many markets, such as the other side of the Pacific, Netflix would definitely not be able to enter, Netflix would inevitably take the path of internationalization.

At the very least, the Western market was open to Netflix.

Ronan had never been greedy about Netflix entering the market on the other side of the Pacific. Not to mention anything else, the piracy problem was difficult to solve.

Once, he could be said to be a direct beneficiary of the rampant piracy.

How many people were eyeing the high-definition versions on the internet, with various download tools emerging one after another, and some even ending up in prison.

Moreover, regional protection strategies existed everywhere. Ronan had never expected Netflix sharing to enter all markets worldwide.

The licensing fees for overseas films were very low, and there were no industry regulations like those in Hollywood. Netflix successively reached licensing agreements with many overseas companies. By the time Christmas arrived, Netflix had already obtained internet-related rights for nearly one hundred thousand films and TV series.

This was an enormous film library that could provide ample support for the upcoming streaming media business.

At the same time, Netflix achieved 14 million paying users and rented or sold its five hundred millionth DVD.

This series of data made Netflix highly anticipated.

Coupled with Netflix sharing, which continuously broke news in the Black movement, Netflix had become a star company in Silicon Valley in name and reality.

Its momentum even surpassed Google, which had just gone public this year.

Lehman Brothers once again quietly contacted Ronan, expressing their willingness to invest in Netflix, but not after Netflix went public on Nasdaq—now.

They offered a price that seemed impossible to refuse.

A share price of 80 dollars, acquiring 10% of Netflix’s shares for 1.6 billion dollars.

In other words, Lehman Brothers valued Netflix at 16 billion dollars!

This offer could make many people dizzy. In August this year, Google went public with a share price of 85 dollars and a total market value of 23 billion dollars.

Going public was both finance and mathematics, as well as a kind of magic. There were no shortage of past cases where highly anticipated IPOs turned out to be flops.

Judging from Google’s IPO situation, the offer Lehman Brothers made to Netflix again was quite good.

But today’s Netflix was not the Netflix of the past.

After Relativity Entertainment took over Netflix, Ronan provided not only development ideas and future decisions but also relatively abundant funds. Based on the original DVD rental and sales business, Netflix also developed video and social business segments, acquired Android, and was actively building a smartphone alliance. Next, the streaming media business would also launch.

Regardless of Lehman Brothers’ future, from Wall Street’s attitude toward Netflix, it was not difficult for someone like Ronan to analyze that Netflix’s future IPO would at least not be worse than Google’s.

Therefore, Ronan once again decisively rejected the hand of friendship extended by Lehman Brothers.

Soon, rumors began to spread that some Wall Street companies would ambush Netflix’s IPO plan.

But Netflix was not fighting alone. Goldman Sachs quickly stepped in to stabilize the situation.

Lloyd Blankfein directly pointed out at Goldman Sachs’ board of directors meeting that operating this Netflix IPO and financing, Goldman Sachs’ efforts might yield more than ten times the return in the future!

The development data of Netflix over the past two years he provided quickly convinced the Goldman Sachs Group.

As long as there was profit to be made, Goldman Sachs did not mind standing with the devil.

On Wall Street, money never slept.

Marc Randolph’s joint meeting with Qualcomm and several major phone manufacturers, after reaching several initial agreements, also temporarily concluded.

A Netflix that was not strong enough couldn’t even push for the establishment of the alliance, let alone lead it.

Business alliances could only be negotiated step by step; the key was still Netflix itself.

Compared to Netflix, Blockbuster had already fallen into a difficult situation.

Once, seven out of ten Americans could find a Blockbuster store within a ten-minute drive. At its peak, Blockbuster had over 8,000 physical stores across the United States, reaching its zenith.

Over the past two years, Blockbuster had continuously closed underperforming stores, and now only over 5,000 stores remained nationwide.

Moreover, Viacom’s acquisition of Blockbuster was more for capital operation needs and was not particularly attentive to Blockbuster. Every year, Viacom withdrew large amounts of cash flow from Blockbuster. Now that Blockbuster was in trouble, Viacom’s support was far from sufficient.

Sam Leisure directly dismissed Blockbuster’s Chief Executive Officer and replaced him with a new leader who better understood the internet industry, preparing to transform Blockbuster into an internet rental business.

Turning a massive aircraft carrier, one that was leaking everywhere, in an extremely short time was not an ordinary difficulty.

Netflix had already left other companies far behind in the internet DVD rental and sales business.

With Christmas arriving, Ronan held a Christmas party at home, inviting friends who were not in Los Angeles and were single to come and gather.

Somewhat unexpectedly, the old fox Angela Lindvall came after hearing about it.

“In the future, we might not meet again.”

After the party, Angela Lindvall said to Ronan: “Consider this a final keepsake.”

Ronan, of course, would not be rude enough to drive someone away and would definitely satisfy the guest’s needs.

Angela Lindvall went upstairs to take a bath first, leaving Ronan to see off the other guests.

After seeing off James Wen, Ronan received a text message: The cannon is already set up. When will the gunner arrive?

Chapter 729: The Age Factor

Christmas had just passed when Ronan saw a shocking piece of gossip in the entertainment papers—Gisele Bündchen had announced her breakup with Leonardo DiCaprio, officially ending their relationship!

The golden couple had reached the end of the road.

According to reports, Leonardo had been spotted entering a hotel with Kirsten Dunst on Christmas Eve, and Gisele Bündchen could no longer tolerate it, deciding to break up.

It seemed Leonardo and the Spider-Girl were just collecting stamps from each other.

Earlier, Ronan had heard that Kirsten Dunst had once caused a scene on the set of Brokeback Mountain before breaking up with Jake Gyllenhaal.

The associate producer on set had secretly wondered if Jake Gyllenhaal had gone bent from filming Brokeback Mountain.

Gisele Bündchen, who longed for marriage, ultimately couldn’t stay with Leonardo.

The two had irreconcilable differences—one wanted marriage, the other refused to give up his freedom.

“This is why I don’t look for new girlfriends anymore.”

Riding a tall black horse, Tom Cruise skillfully controlled the reins. “As long as I don’t settle down, I’ll always have plenty of options and avoid a lot of trouble.”

Ronan cautiously rode a chestnut horse, unfamiliar with riding. The reins were held by a horse trainer leading the way.

“You live such a free and easy life, Tom,” Ronan said, sitting steadily in the saddle. “Hollywood’s top diamond bachelor.”

He had barely ridden a horse before—this outing was Tom Cruise’s suggestion.

There was once a saying from the other side of the Pacific: the poor play with cars, the rich play with watches. There was some truth to that.

But playing with horses was even more accurate.

Nowadays, a purebred horse was practically priceless.

Back in his childhood in the countryside, horses were common. Back then, horse-drawn carts were essential for transportation—plowing fields, hauling soil, manure, and grain.

Ronan had ridden a cow before.

The horse trainer led the horse around twice with Ronan before letting go of the reins, giving him a few instructions to learn how to control the horse himself.

“Start with a slow walk,” Tom Cruise said, staying beside Ronan. “It’s not that hard.”

Ronan nodded slightly but didn’t dare relax—he really didn’t know much about horses. His impressions of them came mostly from childhood memories and a film called The Horse Whisperer, in which Scarlett Johansson had played a supporting role.

There was also a novel he had read long ago called The Great Horse Owner, but he couldn’t remember the details.

More people began to gather at the riding grounds. The area where Ronan was belonged to the “newbie village.” Through two fences and a wide passage, he could see another riding ground where many people were galloping, including some familiar faces.

Most of those who came here were wealthy. Many celebrities and rich people kept their horses at this stable.

On one trotting horse, Ronan spotted Spielberg’s wife, Kate Capshaw.

The newbie area was also crowded. As Ronan and Tom Cruise walked and chatted, they didn’t go far before Keanu Reeves and Charlize Theron came toward them.

Ronan was familiar with them and exchanged greetings.

“Keanu, any filming plans recently?” Ronan asked directly.

“Not for now,” Keanu Reeves said with a smile. “The Matrix left me exhausted, and I just finished Constantine. I might take a long break.”

Ronan asked curiously, “Is that DC’s Constantine?”

Keanu Reeves nodded. “Yes.”

Ronan had seen the film before, and John Constantine’s reputation was legendary across multiple universes. “Keanu, I hope you’ll consider Marvel in the future.”

Keanu Reeves smiled. “If the opportunity arises, I definitely will.”

Ronan turned to Charlize Theron. Shai Entertainment had worked with her on Hitch. “Sally, you’re looking more beautiful than ever.”

Charlize Theron smiled. “Thank you.”

Ronan casually said, “I hope we can work together again in the future.”

“You can call me anytime,” Charlize Theron said earnestly. “Working with Shai Entertainment is always a pleasure.”

After winning the Oscar for Best Actress, she had two films released this year—Head in the Clouds and The Life and Death of Peter Sellers. The former was a favor for Stuart Townsend, but both received mediocre responses.

Ronan glanced at Charlize Theron’s noticeably shorter hair. “There will be opportunities.”

It seemed Charlize Theron would be better suited for Captain Marvel. In the comics, Carol Danvers was about 5’11”, which translated to around 1.8 meters in the metric system, and she was known for her strong, heroic presence.

As for toughness, her role in Monster was proof enough of her ability to handle action roles.

Rumor had it that Marvel had once considered Charlize Theron as their first choice for Captain Marvel, but due to her age, they quickly ruled her out.

Ronan remembered that when Captain Marvel was being filmed, Charlize Theron was already in her forties. Many of the action scenes might have been too physically demanding.

After all, Captain Marvel was meant to span about a decade.

Even though the South African beauty had aged gracefully, the decline in appearance could be rapid.

But on the other hand, the square-faced actress in her late twenties seemed to look older than Charlize Theron in her forties.

After Captain Marvel was released, someone had Photoshopped a poster of Charlize Theron as Captain Marvel, and it looked perfect.

Ronan remembered the Photoshop artist saying: This woman looks exactly like the comic book version of Captain Marvel! No exaggeration—she’s even more perfectly cast than Robert Downey Jr. as Iron Man! Brie Larson is a great actress, but she’s not right for the role.

Some analyzed another reason—Charlize Theron’s aura was too cold and elegant, neither goofy nor funny, which didn’t fit Marvel’s requirements.

But if Ronan had to say, age was probably the main factor.

Hollywood had never trusted the appeal of older actresses. Once women in Hollywood reached a certain age, the roles available to them became scarce—it was the industry’s reality.

Now that Marvel Entertainment was under Relativity Entertainment, if all went according to plan, the Marvel Cinematic Universe would expand much faster than before, and Captain Marvel would arrive sooner.

Keanu Reeves and Charlize Theron soon took their leave.

Tom Cruise suggested, “Should we head back?”

Ronan nodded. “Let’s go.”

Tom Cruise asked, “How’s your Marvel plan coming along?”

“Very smoothly,” Ronan said simply. “Iron Man has already started filming. The Hulk is in the scriptwriting phase and should start pre-production next year.”

Tom Cruise reminded him, “Such a big investment comes with big risks.”

Ronan said, “That’s why I’ve been cautious. I’ve had the rights for years, studied the market, and made thorough plans before launching.”

Tom Cruise looked thoughtful. “Ronan, does that mean comic book adaptations have a bright future?”

Ronan paused for a moment before saying, “Superhero comic adaptations are gaining more and more audiences. In the future, there will likely be even more superhero films as successful as the Spider-Man series.”

Hearing this, Tom Cruise said, “A few days ago, during Christmas, I heard someone in my company mention that Universal is negotiating with Mark Millar for the rights to his comic Wanted.”

“Wanted?” Ronan thought the name sounded familiar.

Tom Cruise said, “I haven’t read it myself, but I hear the protagonist has superpowers—it’s probably a superhero comic. My company hasn’t done anything like that, and I can’t afford to provoke Universal, so don’t say you heard it from me.”

Ronan laughed. “Don’t worry, Relativity Entertainment has many sources of information.” He then changed the subject. “Tom, I heard Scientology is holding a grand bride-selection event for you?”

Tom Cruise saw no need to deny it in front of Ronan. “It’s true, and it’s been going on for a while.”

Ronan teased, “You’re too lucky.”

“Just people being kind,” Tom Cruise shrugged. “I can’t refuse.”

Ronan was speechless for a moment before asking, “Found any suitable candidates?”

Tom Cruise shook his head. “Tried a few, but none were right. Didn’t I just tell you? I don’t want to settle down yet.”

Ronan called him out directly. “You just want to try more candidates, don’t you?”

Tom Cruise smiled without answering.

Perhaps because of Ronan’s influence, that Katie hadn’t appeared around Tom Cruise since. For Miss Holmes, this might have been a stroke of luck.

But whether the girls who wanted to climb the ladder felt the same—only God knew.

Ronan and Tom Cruise slowly made their way back to the stables. After two rounds, Ronan had gained a little experience, but he was still far from being able to gallop freely.

There were many girls at the riding grounds—it seemed many young women were passionate about the sport.

Ronan recalled that Bill Gates’ daughter and Steve Jobs’ daughter were both equestrians.

When he had the time, maybe he could build his own stable.

The horse trainer took the horses away, and as Ronan and Tom Cruise were about to leave, they encountered three girls.

“Wow, it’s Tom Cruise!”

The youngest, a chubby blonde, was overjoyed. “It’s really Tom Cruise!”

“Liz, you’re so rude,” the older blonde scolded, pulling her back.

Another girl, who looked about eight or nine parts similar to her, glanced at Ronan, seemingly recognizing him. She stepped forward to greet him. “Hello, Mr. Anderson.”

She then politely greeted Tom Cruise as well.

Chapter 730: Chubby Round Face

The three girls, two older and one younger, bore a striking resemblance, with the two older ones clearly in their late teens. However, in terms of height, it was the opposite—the youngest was the tallest, standing a full five inches above her sisters.

The youngest, a plump girl, looked to be around fifteen, a middle schooler at most.

Ronan had seen the two older girls before in other settings and recognized them. After all, in Hollywood, famous female twins were a rarity—there was only one such pair.

The girl with platinum blonde hair introduced herself first: “Hello, Mr. Anderson. I’m Ashley Olsen.”

Ronan shook her hand lightly. “Hello, Miss Olsen.”

The girl with honey-blonde hair stepped forward next, offering her hand. “I’m Mary Olsen.”

Finally, the tallest and chubbiest of the three followed her sisters’ lead, shaking Ronan’s hand gently. “I’m Elizabeth Olsen.”

Ronan responded to each in turn. The legendary Olsen sisters were all here—enough to summon Thanos.

Mary and Ashley Olsen greeted Tom Cruise as well, but Ronan’s gaze lingered on Elizabeth Olsen.

Once, she had been Hollywood’s poster child for the “pleasantly plump.” And she still was—her face full of baby fat, even more so than Scott’s daughter, Taylor, the voice of Peppa Pig.

Ronan asked, “Miss Olsen, are you still in school?”

Elizabeth Olsen, who had been staring at Tom Cruise, quickly turned her attention back to Ronan, smiling as she replied, “Yes, I attend a middle school in North Hollywood.”

Perhaps influenced by her sisters, Elizabeth didn’t know Ronan, but anyone who could make her sisters so enthusiastic must be someone important. She quickly added, “Call me Liz. That’s what my friends call me.”

Ronan nodded. “Pleased to meet you all.”

“It’s my honor,” Elizabeth Olsen replied, far more polite than most girls her age.

The Olsen sisters had grown up in an exceptional environment.

“Mr. Anderson,” Ashley Olsen said with a smile, “this is a beautiful encounter for us.”

Ronan chuckled. “Call me Ronan.”

The Olsen sisters had been in the entertainment industry since infancy, growing up in Hollywood. Though not yet nineteen, they were already seasoned women.

Mary Olsen immediately picked up on Ronan’s lack of resistance and suggested, “Why don’t we find a place to chat?”

Tom Cruise glanced at Ronan, who checked the time and said, “Another time.”

But Ashley Olsen stepped forward, inviting, “Ronan, when might you be free?”

Elizabeth Olsen looked back and forth between her sisters, deep in thought.

It seemed like her sisters were up to something—but what? She couldn’t quite figure it out.

Tom Cruise took a step back, leaving the Olsen sisters to focus on Ronan.

It wasn’t surprising. The Olsen sisters had already started their own business, but last year, a major box office flop had tarnished their reputation and hurt their company. Ronan’s status and abilities could be of great help to them.

Ronan said, “I’ve been quite busy with work lately.”

Mary Olsen seized the moment. “Could you give us a way to contact you? So we can reach out.”

Ashley Olsen added, “Yes, you’re our business idol.”

Ronan’s gaze flickered over Elizabeth Olsen before he handed Ashley a business card. “Here’s my contact information. Keep it private.”

It was Connie’s office number.

“Of course,” Ashley Olsen said solemnly, tucking it away. “Ronan, we look forward to seeing you again.”

Ronan nodded slightly at the three girls before leaving the stable with Tom Cruise.

“Those two may be young, but they’re not simple,” Tom Cruise warned. “Be careful not to get played by them.”

Ronan shrugged. “I’ve dealt with far more complicated people.”

Recalling the actresses linked to Ronan in past scandals, Tom Cruise nodded. “True.”

They didn’t dwell on the topic further and got into the same car back to Beverly Hills.

Ronan’s thoughts, however, lingered on Elizabeth Olsen—the Scarlet Witch’s battle against Thanos had left a lasting impression.

Back at the stable, the three sisters were also leaving.

“We’re not riding today,” Ashley Olsen said as they walked. “Let’s head back.”

Mary Olsen agreed. “Yes, after meeting someone so interesting, riding seems boring.”

Elizabeth Olsen puffed up her cheeks. “You said you were bringing me to ride, but I haven’t even seen a horse, and now you’re backing out. What kind of sisters are you?”

Ashley Olsen soothed her. “Dear, we can invite Ronan Anderson another time and ride together.”

Elizabeth Olsen was confused. “But we just met him today, right?”

Mary Olsen said, “He’s easy on the eyes.”

“You two are acting weird,” Elizabeth Olsen scratched her chubby cheek. “What are you planning? Ever since we met that Ronan Anderson, I’ve felt something’s off.”

Ashley Olsen said, “Trust in your sisters’ charm.”

Mary laughed. “Dear, don’t you want to be an actress? We’re just paving the way for your future.”

Ashley Olsen nudged Mary to stop and turned to Elizabeth. “Alright, let’s go home.”

Back at work, Ronan recalled Tom Cruise’s warning and immediately instructed Connie to gather information on the Wanted comic’s copyright and related details.

Within half an hour, Connie had sent over the collected materials.

Ronan skimmed through the comic’s content and, upon seeing elements like the Fraternity, the Loom of Fate, and curved bullets, immediately recognized the prototype for a certain film.

After all, the original female lead had been Angelina Jolie, and the male lead, James McAvoy.

The Chinese translation at the time was more commonly known as Assassin’s Alliance. The characters’ abilities—bullets bending, explosive physical prowess, leaping between skyscrapers—had always felt like superheroes.

Sure enough, the film was based on a comic.

The original author of Wanted was Mark Millar, whose comic work was just one of his professions—he was also a Hollywood screenwriter and producer.

The adaptation rights for Wanted and his other comics were all held by Mark Millar himself, not the publisher.

In other words, the negotiation partner Tom Cruise had mentioned for Universal should be Mark Millar.

Ronan vaguely remembered that this film had been James McAvoy’s breakthrough role before he played Professor X and eventually became bald.

He had no idea what 20th Century Fox was thinking—Professor X and Magneto had such great chemistry, yet they made them sidekicks to a chubby Phoenix, ruining the entire series.

Assassin’s Alliance was a purely commercial film, judged by one standard alone: cost. James McAvoy’s rise to fame proved the film had at least some commercial success.

Just as Ronan was about to forward the materials to Robert Lee, there was a knock at the office door. Connie entered, placing freshly printed documents on the desk.

“I just confirmed,” Connie said simply, “the day after Christmas, Universal officially signed an agreement with Mark Millar. They now hold the film adaptation rights to Wanted.”

Ronan frowned slightly. “Universal moved fast.”

With the rights in the hands of one of the Big Six, acquiring them would be difficult. Unless there was a special opportunity—like a change in company ownership or a major crisis—the chances were slim.

“Forget it,” Ronan decided to drop it.

Connie pointed to the documents. “This is Mark Millar’s information. He has other works.”

Ronan nodded, flipping through the materials until he found a familiar name—Kick-Ass!

This one had been adapted into a film!

Recalling the title, Ronan soon remembered—a purple-haired, ultra-violent little girl!

Hit-Girl! And her dad was Big Daddy!

There was also some guy in a green suit…

But who remembers extras?

The only reason anyone remembered the film was because of Hit-Girl.

Ronan gradually recalled more—Hit-Girl was violent, foul-mouthed, and killed bad guys without hesitation.

What was the name of the little girl who played her? She grew up awkwardly, and people online had nicknamed her “Chubby Round Face.”

Ronan skimmed through the Kick-Ass comic to confirm his memory.

Then, to his embarrassment, he realized the guy in the green suit was actually the main character…

Kick-Ass was like Deadpool in the superhero comic world—unlike Spider-Man, which was a proper noble hero, or The Dark Knight, which delved into depth and gravitas. From its name to its content, Kick-Ass exuded a rebellious, roguish energy.

Unfortunately, like Deadpool and the X-Men, the adaptation rights for these mutants were all held by 20th Century Fox.

After confirming with Connie that the rights to Kick-Ass were still with Mark Millar, Ronan left the rest to Robert Lee. The legal and rights departments quickly made initial contact with Mark Millar.

Just as he had sold the rights to Wanted to Universal, Mark Millar was open to selling the film adaptation rights to Kick-Ass to Relativity Entertainment. The first round of negotiations went smoothly.

But Mark Millar had one request.

This not-so-pure comic author had his eye on Ace Agents from Shai Entertainment’s film library. Since Ronan was the screenwriter for Ace Agents, Mark Millar wanted Ronan’s permission to adapt the film into a comic.

Chapter 731: The Script Tossed in the Trash

“Mark Millar really loves the setting and structure of Ace Agents,” Robert Lee said to Ronan in the office. “So, I want to secure the rights from Shai Entertainment to adapt Ace Agents into a comic.”

Ronan cut straight to the heart of the matter: “What about the copyright?”

Robert Lee replied, “My proposed terms are that the comic adaptation will be published by Marvel Entertainment, with the copyright retained by Relativity Entertainment. Mark Millar can share in the comic’s revenue, similar to how Marvel hires external writers.”

Since it didn’t involve film or other merchandise profits, Ronan had no objections. He asked, “Has Mark Millar agreed?”

“He’s agreed in principle,” Robert Lee said, turning to Ronan. “But he wants to make significant changes to the film’s plot. I can’t make that call, so I had to come to you, the screenwriter.”

If it weren’t for this, Robert Lee would have had the authority to decide everything else and sign the contract with Mark Millar directly.

The film in Shai Entertainment’s library was Ronan’s heavily modified Arab protagonist version of the original Ace Agents film. The setting and structure weren’t much different from that film, but the content was entirely distinct.

The original film was also an adaptation—could it have had something to do with Mark Millar? Ronan’s interest was piqued. “How does he want to change it?”

Robert Lee had discussed it with Mark Millar and summarized, “The protagonist will be changed to a British man. The spy organization will no longer be global but an ancient British organization similar to the Knights of the Round Table. Then, following the standards of British gentlemen, they’ll recreate the suave spy archetype.”

The Bourne Identity series had popularized a new wave of hard-hitting, gritty spy thrillers, making the traditional Bond-style spy films seem somewhat outdated.

But films were always evolving, and audience tastes were constantly changing.

Ronan understood this well. These changes seemed to harken back to the old formula. After a moment’s thought, he said, “Fine, I agree to grant Mark Millar the rights. You handle the specifics of the negotiations.”

“I’m good on my end,” Robert Lee said, picking up a Kick-Ass comic. “I’m going to read about the violent little loli.”

As he walked away, he added, “You know, this dark type of comic is actually pretty interesting.”

Ronan had already browsed through the comic. Compared to the original film, the source material was far more bloody, violent, and dark, with a scale much larger than traditional Marvel comics.

A film adaptation couldn’t possibly be made like this—otherwise, it wouldn’t just be R-rated; it would definitely fall into NC-17 territory.

Of course, one of the key factors in the film’s popularity was the ultra-violent, moe loli character.

The original actress seemed quite young, but the role wasn’t irreplaceable. There were plenty of talented young actresses from the post-90s era, like Dakota Fanning, who were equally clueless.

After securing the rights, there was no rush to adapt the film. Shai Entertainment wasn’t short on adaptation projects.

Starting this year, a significant portion of Shai Entertainment’s resources had been allocated to television production. Netflix’s streaming service wouldn’t serve as the primary platform for Relativity Entertainment’s film premieres in the short term; instead, it would focus on original television series.

Prison Break and Wild Survival had already completed filming and were awaiting the launch of Netflix’s streaming service.

Additionally, several television projects were in the works. Maryann DeLeo, the Oscar winner for Best Documentary Short Film, had received the green light for her Chernobyl project after the test footage was approved. The crew was fully assembled and had begun filming in early December.

Currently, the crew had moved to Ukraine and was shooting exterior scenes near Kyiv.

After wrapping up filming for Hurricane Rescue 2 and moving into post-production, Jerry Abrams had begun splitting his focus. He was overseeing the film’s post-production while also preparing for the television series Lost.

For Lost, Abrams would personally direct the first few episodes before taking on the role of producer to oversee the entire project.

Similarly, both Lost and Chernobyl had been packaged by Shai Entertainment and handed over to CAA for comprehensive services.

Ronan didn’t trust CAA’s packaging capabilities for major tentpole films or even second-tier commercial films because their packaging services had rarely been involved in large-scale commercial productions.

But packaging television series—that was CAA’s specialty.

However, CAA’s recent actor recommendations had been unreliable. Likely under pressure from high-profile actors jumping ship, CAA had signed many new actors over the past year, seemingly aiming to cultivate clients more loyal and appreciative of CAA.

It wasn’t easy for newcomers to make it big. This was true in all industries unless they were second-generation stars.

For example, CAA had been pushing Lindsay Lohan and Blake Lively to the already-filming Gossip Girl crew. They were marketing their new clients all over Hollywood.

The results were mediocre at best. Ronan had Lindsay Bill strike Lindsay Lohan from the list.

For Lost, CAA had recommended a young actress named Evanjelin Lily for the female lead. After seeing her headshot—with that naturally mature face—Ronan firmly rejected her.

CAA’s recommended actresses kept failing the basic “beautiful and sexy” requirement for the decorative role, making Ronan want to drop CAA and work with another agency.

First Lindsay Lohan, then Evanjelin Lily—what was going on?

Was the simple requirement of “pretty and sexy” for a decorative role really that hard to understand?

Brian Lord quickly called Ronan, promising to personally oversee the actor recommendations for the role.

Regardless, CAA was Hollywood’s top agency. Ronan couldn’t easily drop such an important partner over a momentary dislike.

Relativity Entertainment collaborated with all major Hollywood agencies. For Shai Entertainment’s film projects, Ronan never restricted actors or crew members based on their agency. But for television projects, they always prioritized CAA’s clients.

Shai Entertainment’s first television series, Intern Grey, which had already aired three seasons, owed much of its success in securing a public television slot to CAA’s efforts.

Back then, Relativity Entertainment wasn’t what it was today.

Relativity Entertainment’s television series would no longer premiere on traditional TV platforms. In the future, Netflix’s streaming service would be the primary platform.

After the series became a hit, including DVD rentals and sales, everything would be handled through Netflix.

Lost, Gossip Girl, and Chernobyl—the latter would only have one season, while the former two would have their fates decided by market response after the first season.

All three series would finish filming by mid-next year and be gradually released on Netflix’s streaming platform.

Additionally, House of Cards, The Walking Dead, and A Game of Thrones had been assigned to suitable writers by Shai Entertainment’s script department, and work on the first season’s adaptations had begun.

But to maintain momentum on Netflix’s streaming platform, potential hit series needed to be rolled out gradually, not all at once.

Preparation and filming for these two would have to wait.

Ronan had watched far fewer American TV shows than films, so his backlog was limited. He could only rely on some impressions and have the script department create appropriately.

For example, collecting horror legends from across the United States and seeing if they could be adapted into a horror television series.

There was also a famous television series—though he hadn’t seen it, he had heard of Sheldon’s fame. There had even been a lot of online chatter about a certain series plagiarizing Sheldon.

Ronan had also emphasized this concept during a script department meeting, asking the writers if they could create a suitable sitcom based on a few nerdy guys and beautiful women.

This type of series had a low investment for the first season. Once the script was completed and approved, they could film a season to test the waters.

Ten episodes for the first season would cost a few million dollars.

With Shai Entertainment’s current strength, even if it failed, the loss would be entirely bearable.

If it succeeded, even if it didn’t reach half of The Big Bang Theory’s success, it could still mean significant profits.

DVD sales alone could be massive.

Many of Netflix’s hit series, even when available online, still had large numbers of consumers buying DVDs.

Ronan had never seen The Big Bang Theory, so he could only proceed cautiously.

Fortunately, sitcoms were a common genre in Hollywood, and filming them wasn’t difficult.

After the script meeting, George Clint chatted with Ronan for a while and recommended a project.

“A television project,” George Clint said, pouring Ronan a glass of water and placing it on the coffee table beside him. He then took a thick file from the desk and handed it to Ronan. “The person behind it is Vince Gilligan.”

Ronan was honest: “I’ve never heard of him.”

George Clint smiled. “Actually, I hadn’t heard of him before either.” After a small joke, he continued, “He was recommended by James Wong and Glen Morgan.”

Ronan had already opened the file. Hearing those two names, he had some expectations for the contents.

James Wong and Glen Morgan had both worked with Shai Entertainment. The former was still collaborating on Final Destination 4. Both were reliable, so their recommendation shouldn’t be off the mark.

George Clint went on, “Vince Gilligan worked with James Wong and Glen Morgan on The X-Files for two years. Before this project came to us, it had been rejected by Showtime, FX, TNT, HBO, and others. The most extreme reaction was someone throwing it in the trash after reading it.”

He added, “According to James Wong, the reason for the rejections was consistent—no one wanted to watch a story about a middle-aged man selling drugs in New Mexico…”

Chapter 732: Old White Doesn’t Run the Show

“This isn’t just a story about a middle-aged man dealing drugs in New Mexico,” George Clint continued. “The protagonist is a major villain!”

Ronan pulled the documents from the file and looked up at George Clint. “There must be other reasons why so many TV stations and production companies rejected it, right?”

Hollywood had no shortage of films and TV shows with absolute villains as protagonists, and successful ones were not uncommon.

For example, The Sopranos, which premiered in 1999.

This HBO fictional TV series about the mafia saw its ratings soar and became a frequent winner at the Golden Globes and Emmys in recent years.

George Clint nodded slightly. “Because this is a project strongly recommended by James Wong and Glen Morgan, I had someone look into it.”

A successful director and a successful screenwriter willing to endorse a project was more persuasive to George Clint than the project itself. “Besides those two reasons, almost every company has labeled this project with three tags: dark, cult, and niche!”

Ronan understood. Once a project was positioned as niche, any production company would become extremely cautious about investing, even for a TV series with relatively low first-season investment.

After all, no one’s funds came from the sky.

In Hollywood’s tradition over the years, having a villain as the protagonist for a TV series carried significant risk.

George Clint added, “I’ve been in contact with Vince Gilligan. He was very straightforward with me—the project’s main creative concept is firm. It’s about fully documenting how a good man, oppressed for half his life, transforms into a demon.”

Ronan opened the project book and began browsing. Villains could have charm too. The good guys in Hollywood films and TV shows didn’t differ much, but the bad guys each had their own brand of evil.

Moreover, this project reminded him of a middle-aged man he barely remembered—Old White.

This was a TV series whose first episode he had never finished watching. The first time, he had watched most of it before leaving for something, and later, it was completely taken down, and he was too lazy to search for resources for just one TV series.

So, Old White had left almost no impression on him. If he tried to recall it himself, he might never remember.

He didn’t even know Old White’s character name.

After hearing George Clint’s words and seeing the story’s opening in the project script, he only had a vague impression. The colleagues who had recommended the series to him always called him Old White.

There were many TV characters named Old White, like the one who knew the Sunflower Point Technique, but this Old White wasn’t a waiter.

Looking at the protagonist’s name, “Walter White,” Ronan understood why he was called Old White.

His surname was “White.”

Having watched the first episode before, as memories gradually returned, and after reading the script for the first episode, Ronan felt this must be the Breaking Bad with the protagonist named Old White!

Ronan first read the summary of the first episode’s story. In New Mexico, Walter White was an ordinary man who worked as a chemistry teacher at a high school. But he was diagnosed with late-stage lung cancer. Facing this sudden misfortune, his first thought was his family’s future livelihood because he had a pregnant wife in her 40s and a son with mild cerebral palsy, and he was the family’s only source of income.

George Clint saw that Ronan was reading very seriously and didn’t say anything else.

This wasn’t the first time he had seen this. Projects that other companies wouldn’t even look at could attract Ronan, who would then push for their approval and turn them into hits.

How did The Blair Witch Project come about? How many people thought Crouching Tiger, Hidden Dragon would be a huge box office success in North America? The pirate movie, widely considered box office poison, was turned into the super hit Pirates of the Caribbean by Ronan.

Although Ronan thought it might be Breaking Bad, his previous impression was too faint. He could only say it was better than nothing, so he carefully read the script to confirm if it truly had selling points.

Frankly, the script’s plot wasn’t very gripping at first, but as it progressed, the protagonist’s life was pushed to the edge of a cliff. Taking risks seemed convincing, but the allure of money led him down a path of no return. The struggle between evil and redemption was particularly tangled, and the battle between justice and evil was always difficult to resolve…

Old White went from a worker who planned to quit after one job to a drug lord aiming to build an empire.

Ronan closed the script and made a decision: “Have someone negotiate with Vince Gilligan. Shai Entertainment will buy out this project and all related copyrights.”

George Clint said, “Vince Gilligan wants to be a producer, at least one of them.”

“That’s fine.” Since they were buying the copyright, the ultimate power would be in Shai Entertainment’s hands. Ronan didn’t object. “Tell Vince Gilligan that if he can prove his abilities, I can give him the same treatment as Shonda Rhimes.”

“The negotiations shouldn’t be difficult.” George Clint had been in contact with Vince Gilligan and was optimistic. “In the short term, Vince Gilligan won’t find a buyer.”

Ronan nodded slightly. Being rejected by multiple TV stations and production companies could effectively lower Vince Gilligan’s expectations.

In fact, production companies often preferred negotiating with industry veterans who had been around for years. Although their prices weren’t low, they wouldn’t demand exorbitant sums that were completely out of touch with reality.

Some newcomers with unclear heads were the most troublesome. They thought geniuses like themselves could conquer the world and demanded sky-high prices, along with high percentages of future profits…

Acquiring this project wouldn’t be difficult. If things went smoothly, preparations could start this year, and it could be released on Netflix’s streaming platform next year.

Ronan left George Clint’s office and went to the Shai Entertainment Animation Studio. Although the studio’s first animated feature, Despicable Me, wouldn’t be released until the summer of 2005, the success of Peppa Pig had made the studio’s funds abundant.

In this commercial society, money could bring many things, like high employee morale.

No amount of motivational speeches could compare to compensation that matched the value of their work.

“Currently, there are over a dozen licensing negotiations underway.”

Chris Renaud, the head of the animation studio, informed Ronan, “Just the Peppa Pig merchandise will bring in over two hundred and fifty million dollars this year.”

Ronan nodded and said, “You’ve all done a great job. I’ve already spoken to the finance department. The studio’s bonuses this year will be a pleasant surprise.”

Chris Renaud smiled and said, “The initial creative idea came from you. We’re just benefiting from your light.”

Ronan half-joked, “So, the company will also give me a big bonus and dividend.”

This was indeed the case. For all projects initiated by Ronan, in addition to company stock dividends and regular salary, he, like the top producers in Hollywood, enjoyed various project bonuses and dividends that complied with laws and regulations.

For example, in 2004 alone, including the later-stage profits and project income dividends from previous years, as well as project initiation bonuses, Ronan’s pre-tax income as a producer reached seventy-eight million and two hundred thousand dollars.

Among these, Peppa Pig contributed more than an eighth.

Once the merchandise for a popular animated series took off, it never followed any logic.

Including his salary as the president and Chief Creative Officer of Relativity Entertainment, Ronan’s pre-tax income from his job easily exceeded one hundred million.

In fact, people in the industry had already started calling Ronan the third-richest person in the entertainment industry, after George Lucas and David Finch.

This, of course, didn’t include media moguls like Sam Leisure and Rupert Murdoch.

Lloyd Blankfein, the Chief Operating Officer of Goldman Sachs, had assured Ronan of one thing: as soon as Netflix went public on Nasdaq, Ronan would definitely become the richest person in Hollywood!

Ronan reinvested most of his personal income, which legally reduced his tax burden. Moreover, with the dollar continuously depreciating, even from a wealth preservation perspective, investment was the most worthwhile.

His personal foundation kept buying circulating stocks of Apple, Google, and Amazon in the market. At this point in time, regardless of the price, buying was very worthwhile.

Ronan didn’t speculate in stocks; he bought and held long-term.

The two chatted for a while about Peppa Pig, which was making waves worldwide, and then the topic turned to Kung Fu Panda, which the animation studio was currently producing.

“The preliminary design is basically complete. After the New Year, multiple teams will start production,” Chris Renaud explained. “The studio has hired Mark Osborne, the director and producer of SpongeBob SquarePants, to direct the project.”

This was a director Ronan had approved. His resume was very impressive, and he was one of the main contributors to the success of the SpongeBob SquarePants series.

Chris Renaud continued, “Mark Osborne and I both have children. Our production philosophy is consistent: to create a work that brings joy and education to our kids. The central theme is ‘Be your own hero,’ which can be understood as ‘Don’t judge a book by its cover.’”

Ronan approved and said, “That works. Kung Fu Panda creates a story theme that conveys a very positive, uplifting message we all want to believe in. Then, we need to find a way to enrich this theme with interesting experiences, humor, and spectacular action scenes.”

Chris Renaud nodded and added, “The production cycle will take two years.”

“No problem.” Ronan said, “At the next joint meeting between Shai Entertainment and Embassy Pictures, you can discuss the release date in detail.”

Before the New Year arrived, amid the escalating Black Lives Matter movement, the Academy of Motion Picture Arts and Sciences mailed Oscar ballots to all its members.

Given the current social climate, Will Smith and Crash were both hot favorites in their respective Oscar categories.

Chapter 733: Streaming Media Launch

Relativity Entertainment mobilized the entire company’s resources to drive the awards season publicity campaign, but Ronan also ensured that the intensity was carefully controlled to avoid overhype, which could backfire and lead to the “overhyped curse” phenomenon.

In the past, the Oscars had seen their share of upsets, but overall, such surprises were relatively rare in the ceremony’s nearly eighty-year history.

Unlike the FIFA World Cup, where favorites often faltered, the Oscars tended to follow a different pattern. During awards season, the front-runners usually maintained their momentum and ultimately secured the corresponding awards.

The probability of winning major Oscar categories was often directly proportional to the film’s popularity and exposure.

As soon as the ballots were distributed and the year 2005 began, Embassy Pictures’ screening events and Will Smith’s parties followed one after another. The combined publicity and PR investment for Crash and The Pursuit of Happyness had already exceeded ten million dollars.

Naturally, the majority of the investment was allocated to The Pursuit of Happyness, which was still widely screening across North America.

After the New Year, the film’s North American box office had accumulated to one hundred forty-six million eight hundred seventy thousand dollars.

This box office success became a focal point for competitors’ attacks, as they repeatedly criticized The Pursuit of Happyness in the media for being too commercial and lacking artistic merit.

With the box office numbers speaking for themselves, it was difficult to refute such claims. Ronan couldn’t possibly sacrifice the film’s profitability just for the sake of the Oscars, could he?

What was the ultimate goal of Hollywood films vying for awards? At the end of the day, it was all about commercial profits.

As the awards season progressed into the Oscar phase, the situation gradually became clearer, and the front-runners for each category emerged through the preliminary awards.

Crash had secured multiple Best Picture awards, Will Smith was the top contender for Best Actor, Clint Eastwood was widely praised for his enduring talent, and Hilary Swank had won over eighty percent of the Best Actress awards since the release of Million Dollar Baby.

In terms of popularity and exposure, these four were the highest.

However, the biggest buzz in North American entertainment news wasn’t about the award front-runners but about Netflix!

Starting in early January, Netflix’s advertisements had blanketed the entire United States. Whether in traditional media like newspapers, magazines, and television stations, or in emerging internet platforms, including Netflix sharing, advertisements for Netflix’s new business—Netflix Streaming Media—were everywhere.

“Do you want to watch movies and TV shows without leaving your home? Do you want to play high-definition movies and TV shows on your computer screen with just a click of your mouse? Netflix Streaming Media provides the most convenient film and television services for you.”

After entering the new year, Netflix’s advertisements began to bombard the market relentlessly. Apart from the necessary working capital, all income from the DVD rental and sales business was being funneled into developing the new streaming service.

Although the DVD business was at its peak, Ronan knew that Netflix had to transform.

Over the past year, Netflix had begun uploading all its offline disc resources to its online platform, officially embarking on the path of streaming media transformation.

With a vast library of one hundred thousand film and television works, personalized recommendations, a large user base accumulated from existing businesses, the pull of social sharing, and personalized recommendations, Netflix had laid a solid foundation for its next phase of development.

If Netflix were merely a streaming media platform, its related businesses would soon face difficulties, even if they initially ran smoothly.

In the past, Netflix had experienced rapid growth, and content copyright holders and publishers had seen the enormous market potential of online content consumption. Some entered the competition, while others raised their prices. At that time, Netflix discovered its biggest weakness: as a streaming media platform, content was the foundation of its vitality. If high-quality copyrighted content were cut off, the consequences would be dire.

After much consideration, Netflix’s internal team decided to take a risky venture into content production. In 2013, Netflix invested one hundred million dollars to produce a thirteen-episode TV series, House of Cards.

This marked Netflix’s true entry into content production.

Due to the late start in content production and being an outsider in Hollywood, Netflix faced increasing restrictions in content acquisition.

At that time, many Hollywood companies even refused to cooperate with Netflix.

But now, the situation was entirely different.

Relativity Entertainment had made Netflix a part of Hollywood, an important peripheral sales channel, and even a key source of DVD income for many companies.

In terms of production, Netflix had the support of Relativity Entertainment. Ronan had prepared a large number of series projects for Netflix Streaming Media. Even though Netflix still had to pay fees to Shai Entertainment, content production would no longer be a limiting factor.

The most troublesome issue of copyright libraries had been addressed by Ronan’s foresight. Before the streaming media business went public and while Hollywood largely ignored it, he had leveraged Netflix’s near-monopoly in the DVD rental and sales business to integrate content copyrights.

Among all the medium and large Hollywood companies, only Paramount Pictures had not granted Netflix the rights to its film library.

All the others had been secured by Relativity Entertainment.

In Ronan’s later years, Netflix had paid one hundred thirty million dollars over five years to Sony Columbia Pictures for the exclusive internet rights to Seinfeld.

Now, not to mention Seinfeld, Netflix had even secured the rights to Friends.

No one took online video streaming seriously, considering it merely an auxiliary business to Netflix’s DVD rental service.

Content richness was always one of the most critical factors in the development of streaming media business.

As Netflix’s streaming media service was about to launch, Ronan made a special trip to San Francisco and once again convened Netflix’s senior executives for a meeting.

While Ronan was not an expert in the specific professional operations, he outlined Netflix’s goals for the next phase.

Attract a larger number of users, especially paying users; establish a user database guided by user needs; optimize network technology to provide faster and cheaper operations for all Netflix businesses; optimize content services across all businesses; continue global expansion, and for each overseas market entered, conduct localized improvements based on specific market conditions.

Most importantly, increase investment in smart mobile business.

Before leaving San Francisco, Ronan met with the team leader from Goldman Sachs Group stationed at Netflix. Now that it was 2005, the time for Netflix’s Nasdaq listing was drawing nearer.

The success of Netflix’s streaming media business would directly impact the company’s performance upon going public.

Shai Entertainment was also intensifying the promotion of the two original series it provided for Netflix Streaming Media. Bear Grylls and Dwayne Johnson maintained high exposure.

Netflix’s target was for Wild Survival and Prison Break to attract one million new paying users.

Due to its first-mover advantage and richer content offerings, Netflix’s long-standing monthly payment plan had been very successful. Currently, there were nearly fourteen million paying users, most of whom were on the twelve dollars and ninety-nine cents per month plan.

After the streaming media service launched, monthly subscribers could directly stream content online.

For most people, especially those who could access the internet on their computers, this expense was minimal, sometimes even less than the cost of a legitimate DVD.

The key to attracting users to pay was whether there was content that interested them.

Thus, both in the past and present, the critical factor for Netflix’s streaming media business was content copyright.

On January 11, 2005, after a year and a half of preparation, Netflix’s streaming media business officially launched. The three major sections—Netflix Rental, Netflix Video, and Netflix Sharing—all prominently featured the new service.

Especially Netflix Sharing, where messages spread rapidly, reaching the spaces of twenty million users.

At the same time, Netflix’s other business mobile clients were all launched.

The newly optimized Netflix apps constituted the largest customer service software group in the current smart mobile market.

Not just in North America.

Overseas, in the other four English-speaking countries and Western Europe, as well as the most important Latin American markets of Mexico and Brazil, Netflix launched its related businesses.

In the office at Relativity Tower, Ronan opened the Netflix website and selected the streaming media video service. The video homepage appeared.

Prison Break and Wild Survival occupied the most prominent positions. Other popular films and TV series like Pirates of the Caribbean, The Bourne Identity, Spider-Man, Friends, and ER were also easily visible.

Various film and television categories were clearly displayed, and the site’s keyword search was simple to use.

Ronan chose to search for World War II and epic films, and Pearl Harbor and Saving Private Ryan quickly appeared on the page.

Searching by actor or director was even easier to accomplish.

Ronan selected the director category and chose Peter Jackson from the P section. Braindead and The Lord of the Rings trilogy immediately appeared.

As the company’s boss, Ronan was also a Netflix paying user, but he had chosen the highest package, the nineteen dollars and ninety-nine cents per month premium plan.

He opened the interface for The Return of the King, which offered two options: online streaming and DVD. The former provided streaming media online service, while the latter was the DVD online rental service.

Ronan’s office computer wasn’t the top configuration on the market, but it was among the best of common types. After opening The Return of the King, he directly selected the highest BD clarity. Thanks to sufficient bandwidth and hardware, the playback was smooth, and after watching for nearly half an hour, there was no stuttering.

The video clarity was basically the same as that of a high-definition Blu-ray disc played on a DVD player.

Ronan directly dragged the video to the Battle of Minas Tirith. The buffering took about ten seconds, but the subsequent playback remained smooth.

As long as the hardware and bandwidth were sufficient, the video clarity and smoothness provided by Netflix were not issues.

In addition to the highest BD quality, there were three other clarity options available. The lowest quality was roughly equivalent to that of a legitimate videotape.

Even low-configuration computers and the most basic dial-up internet could ensure a decent viewing experience.

Chapter 734: Binge-Watching

Georgia, Atlanta.

In an office building, Adrian returned to his office after lunch and sat in front of his computer, browsing the news. The recent situation was chaotic—things were about to boil over with the Black community.

If he had known this would happen, he never would have uploaded that video.

Though he deleted it quickly, in that short time, the video had already spread across the entire country through Netflix sharing.

Over the past month, the residents of his community, including his parents, had nearly gone mad.

Black protesters were constantly lurking near the neighborhood, staging demonstrations at the slightest provocation. How could anyone stay sane?

Wasn’t Atlanta clearly divided between Black and white? People from the south were flooding into the northern neighborhoods—what were the police even doing? If this continued, would Atlanta still be Atlanta?

Adrian deeply regretted his moment of impulsiveness. A single short video had thrown the entire city into turmoil.

Fortunately, he had found something good to watch lately, or else he would have been driven crazy by the Black protesters when he got home from work.

Adrian glanced at the latest news about the Black community—they were still causing trouble. Who knew when Atlanta would finally quiet down.

He yawned, suddenly overcome with drowsiness. After two consecutive nights of staying up late in front of the computer, he was barely holding on.

The company allowed nap time, and no one would fire him for taking a midday break. Adrian decided to rest his head on the desk and close his eyes for a bit.

“Hey, Ed!” someone suddenly called out. “Asleep?”

Adrian lifted his head and saw his close colleague, Edward.

“Something up?” he asked.

Edward pointed at his face. “What’s been going on with you these past two days? You look exhausted. You’ve got dark circles under your eyes.”

Adrian rubbed his sleepy eyes. “I’ve been staying up late binge-watching. Haven’t been sleeping well.”

“Bought new DVDs?” Edward asked curiously. “What show could be that addictive?”

Adrian shook his head. “Not DVDs. You know Netflix, right?”

Edward quickly replied, “I don’t use it, but a lot of people around me do. They use Netflix sharing.” He leaned in, lowering his voice mysteriously. “Let me tell you a secret—I heard that the mess with the Black community in Atlanta recently was caused by someone uploading a video to Netflix sharing.”

Instantly, Adrian’s expression became quite interesting.

“What’s wrong?” Edward asked, looking at him.

“Nothing, nothing.” Adrian quickly changed the subject. “Netflix recently launched a new feature for watching movies and TV shows. They released two new series—both are really good.”

Edward was skeptical. “New series? Even if they’re great, they shouldn’t keep you up all night. Unless you’re rewatching the same episode.”

Adrian explained, “No, Netflix’s online streaming model is completely different from TV. They release all the episodes of a season at once. You wouldn’t believe how addictive these shows are. Once you start, you can’t stop. Finishing a whole season in one go is so satisfying.”

Edward was full of questions. “There’s a new way to premiere shows?”

Adrian took out his Motorola smartphone, opened the Netflix app, and showed Edward the two new series one after another. “These two right here.”

Edward saw the titles: Prison Break and Wild Survival. Both had multiple episodes listed.

“Are they good?” he asked.

Adrian pointed to his dark circles. “They’re the proof.”

Then he launched into a long praise of the shows.

Edward couldn’t resist. “I’ll check them out when I get off work.”

“This isn’t free—it’s a paid service,” Adrian reminded him. “It’s a monthly subscription. You have to pay $12.99 a month to watch.”

Edward didn’t mind at all. “That’s just the price of two hamburgers.”

As soon as work ended that afternoon, Edward hurried out of the office, drove home, and even stopped to pick up dinner on the way since he lived alone.

Back at his place, he sat in front of his computer, eating pizza while waiting for it to boot up.

Once it was on, he went to the Netflix website and took a look at Prison Break and Wild Survival. The reviews were overwhelmingly positive—praise was through the roof.

“Binge-watching an entire season at once is so satisfying.”

“This streaming model is way better than TV’s weekly episodes. Waiting every week is so frustrating.”

“So convenient—like an upgraded version of TV.”

“The best part is how amazing the shows are. I stayed up all night watching!”

“Prison Break and Wild Survival next door are both addictive. Once you start, you can’t stop!”

“Totally hooked. The best part is being able to watch it all at once without waiting.”

Seeing all this, Edward couldn’t resist. He quickly registered an account and, following the prompts, paid the $12.99 monthly fee with his credit card.

The process was incredibly simple—unlike some websites where registering was a nightmare.

Edward quickly became a paying Netflix subscriber. He clicked on Prison Break and started watching intently. Before he knew it, he couldn’t stop.

As they say on the other side of the Pacific, this was an entry-level American drama, suitable for most audiences—tense and gripping.

Humans always had a great enthusiasm for suspense and tension.

Edward ate his pizza while watching, completely losing track of time. After a few episodes, he had only one thought: this kind of high-quality drama was the ultimate enjoyment of life.

The $12.99 was absolutely worth it!

Finally, at midnight, Edward paused only because he desperately needed to use the bathroom. He hit play, went to relieve himself, and came back to keep watching!

After all, tomorrow was a day off—no work. If he didn’t stay up to finish it, he wouldn’t be able to sleep!

Netflix’s new service was fantastic, especially this premiere model. It was so user-friendly.

In the past, following a show with weekly episodes was torture.

Netflix was so much better.

The online streaming quality was excellent—hardly any buffering, and no ads to wait through!

When he signed up, Edward also took a rough look at the site. The selection of movies and TV shows was vast. It seemed like he could use Netflix to watch whatever he wanted from now on.

Edward was a man of some insight. As he switched episodes, he thought of something—Netflix’s TV show premiere model was a revolutionary breakthrough!

The series was so gripping that he only stopped when he couldn’t keep his eyes open in the early hours of the morning.

The next morning, after waking up and washing up, he had no motivation to go out. He ate the leftover pizza from the night before and, unable to resist the urge, continued binge-watching.

Compared to his initial frenzy, Edward was much calmer now. The series was indeed excellent, and the unique subject matter was fascinating.

Of course, this kind of show probably wouldn’t last long.

The mystery of the prison was the most appealing part. Once the escape succeeded, much of Prison Break’s charm would fade.

But that didn’t stop him from continuing to watch.

For lunch, Edward ordered takeout. He only truly stopped when he finished the entire first season.

Then, resisting the urge to watch Wild Survival next door, he first activated Netflix sharing, spent some time exploring it, and then returned to the streaming interface to search for movies and TV shows he was interested in.

Edward discovered that almost every title he wanted was available. All he had to do was type the name into the search bar.

This was incredibly convenient.

No waiting for DVDs to be mailed, no searching through Blockbuster stores—just a few clicks, and he could watch whatever he wanted.

Edward specifically checked the number of works listed on the streaming page. Including both movies and TV shows, there were over one hundred thousand titles!

This film library was astonishing! Even at Blockbuster’s peak, they only had around thirty thousand titles.

Netflix’s new service was a godsend for all film and TV enthusiasts!

After resting for a while, Edward went to watch Wild Survival. This type of show was quite unfamiliar to him.

At first, Edward didn’t have high expectations, but as he watched the man’s incredible feats in the harsh wilderness, he was drawn in.

This was a man who dared to eat anything!

By the later episodes, when the man at the top of the food chain lit a fire, Edward couldn’t help but worry—would he roast the entire planet and eat it?

This was a man of extreme tastes—a real man!

And it wasn’t just entertainment. After watching, Edward felt he had expanded his knowledge—it was truly enlightening.

Who knew when he might need these skills on a self-driving trip…

Edward thought about it. Eating fish, snakes, tree roots, leaves—he could barely tolerate that. But eating ants and bugs raw…

Forget it. He had to kneel before Bear Grylls.

What the hell did this guy not eat?

This weekend off was exceptionally fulfilling for Edward. After Prison Break and Wild Survival, he watched several more movies on Netflix’s online streaming service.

Compared to traditional TV and DVDs, the selection was broader, faster, and cheaper. Click and watch—it was tailor-made for someone like him who frequently used computers and the internet.

Edward even felt that, to some extent, he could give up TV and DVDs altogether.

Netflix was using internet technology to innovate how users watched content. Ronan had always instilled in Netflix the idea of how to help consumers find the “entertainment” they loved.

To solve this problem, Netflix provided everyone with a platform—Netflix Streaming Media.

It allowed users to find content that suited their tastes.

In the first week of Netflix Streaming Media’s launch, with massive promotion, the innovative episode release model, and the explosive word-of-mouth for the shows, the service rapidly expanded across the English-speaking world, Western Europe, and Latin America, including Mexico and Argentina.

In North America alone, paying users surged by three hundred fifty thousand.

At the same time, Netflix’s external survey and consulting firms provided the latest market data feedback.

Ronan was well aware that Netflix’s model of releasing entire seasons at once would change many viewers’ habits.

Netflix typically released full seasons, allowing audiences to binge-watch entire seasons in one go. This viewing model quickly earned a nickname on Netflix sharing—binge-watching!

Market feedback showed that sixty-seven percent of viewers were very interested in binge-watching. Among those who had used Netflix Streaming Media, an overwhelming eighty-nine percent said that Netflix’s binge-watching made them feel amazing!

Chapter 735: The Rise of a New King

Wall Street, a narrow and short street near Broadway in southern Manhattan, barely a third of a mile long, nestled between towering skyscrapers.

Yet, this was the world-renowned financial center.

In the Goldman Sachs office, Chief Operating Officer Lloyd Blankfein reviewed the latest data summaries he had just received.

The project manager, Custer, who had delivered the documents, sat across from him.

Lloyd Blankfein did not immediately look at the data. “Tell me the specifics.”

“The streaming media business has achieved the success Netflix anticipated, and Netflix’s promotional efforts have been substantial,” Custer said quickly. “The binge-watching model for Netflix’s new shows is extremely popular. The streaming media business has been on the market for ten days, and Netflix has gained five hundred and ten thousand new paying users in North America. This number continues to grow, and the growth effect is expected to last for about half a year.”

Lloyd Blankfein nodded slowly. “This exceeds our most optimistic estimates.”

Custer continued, “Netflix’s business has successfully launched in multiple overseas markets.”

“A broader global market,” Lloyd Blankfein murmured.

The North American market was vast, large enough to create companies worth hundreds of billions in certain industries, but the global market was even larger!

“Netflix’s current overseas markets are limited to English-speaking regions, Western Europe, and Latin America, specifically Mexico and Brazil. This is already pushing the limits of Netflix’s resource allocation,” Custer, the direct manager of the Netflix project, explained in more detail. “Without the assistance of Relativity Entertainment’s global overseas branches, Netflix’s overseas expansion would not have been so smooth.”

Lloyd Blankfein acknowledged frankly, “Ronan Anderson’s decisions and Relativity Entertainment’s platform are key to Netflix’s rapid development.”

Custer nodded. “Just as Bill Gates is to Microsoft, Ronan Anderson is crucial to Netflix.”

“We are investors in the future,” Lloyd Blankfein smiled. “We need someone to create value for our investments, and Ronan Anderson is an excellent decision-maker.”

Wall Street capital rarely directly participated in the management of invested companies; they sought profits. Of course, if the invested company could no longer create value, Wall Street would not hesitate to unite and replace the leadership for their investments.

Lloyd Blankfein asked, “How is the overseas data?”

Custer replied, “Currently, there are only preliminary statistics. The total registered users in several overseas markets exceed five million, with an extremely high proportion of paying users. However, due to the limited penetration of computers and the internet in the short term, subsequent growth will be relatively slow.”

Lloyd Blankfein said, “We have investments in the computer and communications industries, and there is clear data indicating that computers and the internet will experience explosive growth in the coming years.”

“With the explosion of computers and the internet, Netflix’s registered users are also highly likely to explode,” Custer stated a fact. “Globally, including North America, the only large company providing legitimate online streaming media services is Netflix. In the DVD industry, social networking, video sharing, and other businesses, Netflix is also in an absolute leading position, either without competitors or with competitors too weak to pose a threat.”

He continued, “Netflix is also involved in and promoting the smartphone business. They have established stable communication channels with several major phone manufacturers, software service providers, and chip manufacturer Qualcomm. They have been working for over half a year to form a common business alliance. The only limiting factor is that Netflix’s strength is not yet strong enough.”

Lloyd Blankfein understood his meaning. “Once Netflix goes public, these problems will be resolved.”

“Yes,” Custer completely agreed. “Netflix’s model is very successful, and Ronan Anderson’s vision is extremely forward-thinking. Netflix’s development trajectory after being acquired by Relativity Entertainment has fully proven this.”

Lloyd Blankfein nodded slowly and firmly. Wall Street’s optimism about Netflix was not without reason.

“In recent months, Netflix sharing, as the first launch site for the Atlanta event, has attracted constant attention and continues to draw new users,” Custer slowed his speech. “The streaming media business attracts users to pay for consumption, the largest online film and television copyright library, the explosively popular new shows, and Ronan Anderson’s ability in film and television production—these are all guarantees for Netflix’s future development.”

“Boss!” he said very seriously. “Once Netflix goes public, it might create a miracle!”

Lloyd Blankfein acknowledged, “Our commissions will also increase.” He smiled. “The value Netflix has demonstrated has already surpassed Google’s at the time of its IPO last year.”

With that, he pressed the intercom and said to his secretary, “Gather all managerial-level staff from the operations department for a meeting this afternoon!”

Goldman Sachs was also going to push Netflix to a higher level.

Netflix’s new streaming media business had achieved tremendous success. Hollywood’s classic old movies had never lacked an audience, and the two newly released “binge-watching” shows had both been explosively popular.

Under the promotion of Relativity Entertainment, Bear Grylls quickly gained the title of “The Man at the Top of the Food Chain.”

Dwayne Johnson, after The Scorpion King, once again attracted nationwide attention.

The orders for the second seasons of Prison Break and Wild Survival were also delivered to Shai Entertainment by Netflix. Since the main creators had signed long-term contracts for at least a trilogy, both projects were immediately put on the preparation schedule.

The difference was that Wild Survival would have a third and even a fourth season, while Prison Break would conclude with the second season.

At the end of the first season, the protagonists had already successfully escaped from prison, and the second season would tell the story of their evasion from the police.

This type of script was heavily constrained by the subject matter and could not be filmed long-term.

Ronan would not wait until the reputation was completely ruined before ending it. The reputation of Netflix’s original programming was very important in the early days of Netflix’s streaming media.

Cutting Prison Break did not pose any psychological barriers. After all, the subject matter determined that Prison Break could not become a long-running hit like Friends, Seinfeld, and ER.

This show was typical of a flash in the pan.

Several other original shows prepared by Shai Entertainment for Netflix were in intense production, ready to be launched.

…

Dallas, Texas.

Sandy Harding stood silently by the rear door of a cargo truck, watching the workers on the scaffolding remove the Blockbuster sign from the storefront nearby.

In the specially cleared pathway at the entrance, several workers carried out large cardboard boxes.

“Ms. Harding,” the leading worker asked. “Is this all?”

Sandy Harding counted the boxes and said, “That’s everything.”

The workers gradually loaded the boxes onto the cargo truck. Several boxes were not sealed, and after being jostled, they opened, revealing stacks of videotapes inside.

Sandy Harding climbed into the truck, took out a roll of small tape from her pocket, and silently packed and sealed the boxes.

Before sealing the last box, Sandy Harding took out a Star Wars videotape, silently looking at it, her eyes gradually becoming moist.

Sandy Harding had worked at Blockbuster for a full fourteen years, seven years at this large store, and five years as the store manager. She knew every remarkable loyal customer of this store and could even call them by name.

But in the past two years, the number of customers whose names she could recall had dwindled because many familiar faces had not come to rent videotapes again.

This store was operating at a loss, and Blockbuster decided to close it.

Seeing the sign being taken down and the videotapes being packed and taken away, Sandy Harding felt a deep ache in her heart.

People of her age could never understand how Blockbuster had failed.

At least a third of Blockbuster stores in Dallas had closed.

For many Americans, the classic Blockbuster stores had become a memory etched in the hearts of a generation, much like the impression Nokia phones later left in the minds of some consumers.

Just as when someone dies, people often remember only the good things about them.

Facing the emerging Netflix, the giant Blockbuster was slow to pivot strategically.

It was not until the end of 2004 that Blockbuster, with limited support from Viacom, launched Blockbuster Online—a service offering online DVD and videotape rentals.

But Blockbuster Online could not pose a substantial threat to the already dominant Netflix.

Moreover, Blockbuster and its parent company Viacom’s actions left Ronan completely baffled, unable to understand what the decision-makers at Blockbuster and Viacom were thinking.

Because Blockbuster’s store customer resources were not shared with Blockbuster Online!

Could there be anything more absurd than this?

Blockbuster Online was not just a step behind Netflix; the gap between them was as vast as the distance from New York to Los Angeles. As a result, when Blockbuster Online tried to take off, its fuel tank was empty.

How could such a Blockbuster Online be competitive?

Blockbuster wanted to compete with Netflix online but was unwilling to give up its vast physical resources, and the outcome was already predictable.

In January 2005, the once-giant Blockbuster decided to fully retreat from the North American market, closing 1,800 overseas stores and largely withdrawing from overseas markets.

From beginning to end, Viacom did not provide strong support to its subsidiary Blockbuster.

Perhaps, in Sumner Redstone’s eyes, Blockbuster, which could no longer serve as a cash cow, was no longer worth Viacom’s massive resources to save.

The rise of a new king was always accompanied by the fall of a giant.

The era of offline movie rentals was gradually fading away.

Like video halls, it would not be long before movie rental stores existed only in the memories of many people.

With the development of the times, many things were destined to become memories.

Chapter 736: The Superiority of Being a Good Person

“Congratulations, Will.”

In the stable, Tom Cruise bumped fists with Will Smith. “Congratulations on winning the Golden Globe for Best Actor.”

Will Smith smiled, then looked at Ronan and said, “The real winner is him.”

Ronan led his horse over and said, “Will, you seem to have forgotten, you’re the one who went up to accept the award.”

The chestnut horse snorted, as if agreeing with Ronan.

Will Smith patted the horse’s head. “Earl, I’ve only been gone a few weeks, and you’ve already betrayed me.”

“Earl clearly prefers Ronan,” Tom Cruise said, leading his black horse into the ring. With the help of the groom, he mounted and began to ride slowly.

Ronan and Will Smith also mounted their horses with the help of their grooms and followed Tom Cruise.

Once the two caught up, Tom Cruise continued the earlier topic: “The preliminary awards have basically all been won. Will has also been nominated for Best Actor by the Actors Guild. If nothing unexpected happens, he’ll win that too. The chances of winning this year are very high.”

Will Smith had high hopes for this awards season: “Hopefully.”

Tom Cruise looked at Ronan: “The chances for Crash should be pretty good too, right? It just won the Golden Globe for Best Drama.”

“This award is very helpful for publicity and momentum,” Ronan said, controlling his horse at a slow walk without much difficulty. “What I’m most worried about is Million Dollar Baby.”

Will Smith grinned, showing a mouthful of white teeth: “The situation is in our favor.”

Tom Cruise reminded them: “Georgia is about to hold a hearing. A grand jury of twelve will decide whether to prosecute those two police officers.”

“Will they get the punishment they deserve?” Will Smith asked, though he already knew the answer.

Ronan said, “I have confirmed information that Georgia is already prepared for the situation to worsen.”

This topic was heavy. Once you reach a certain height, what you see is completely different from what you see at the bottom. Whether it was Ronan, Will Smith, or Tom Cruise, they all knew that Georgia would inevitably maintain its traditions.

What were the traditions of Georgia and Atlanta?

The answer was obvious.

Will Smith asked, “What preparations?”

Ronan did not answer.

“Calling in the National Guard?” Will Smith thought of an answer.

Tom Cruise said, “Will, we can voice our support, but there are some things we can’t interfere with. Even Ronan can’t do anything about it.”

Ronan nodded slightly: “That’s Atlanta, not Los Angeles.”

Frankly, even in Los Angeles, he wouldn’t do anything. He would continue to be a relatively pure observer.

This was actually beneficial to Relativity Entertainment!

Ronan was on good terms with Will Smith, which was their personal relationship and had nothing to do with the black community.

Just like Ronan was also on very good terms with Jessica Felton, it was impossible for him to completely shift his stance to the Latino side just because they were discriminated against.

“Forget it, let’s not talk about this,” Will Smith said. “We can’t control these things anyway.”

He turned to Ronan: “I heard from Tom that you met a pair of twin sisters here?”

Ronan turned his horse and shrugged: “It was just a chance encounter. You know them too, the Olsen sisters.”

Will Smith rubbed his ears under his hat: “A pair of sisters who are very good at business.”

Tom Cruise added: “They are very interested in Ronan.” He looked at Ronan: “I heard they invited you to go horseback riding together?”

Will Smith suddenly changed his tone: “Invited you to ride what? Together?”

Ronan held the reins with one hand and pointed at Will Smith with the other: “Your mind is too dirty. Am I that kind of person?”

“That’s hard to say.” Tom Cruise said directly: “The tabloids reported that the day after your Christmas party, Angela Lindvall only left Future World the next morning.”

“Sisters,” Will Smith completely forgot about his so-called suffering black brothers: “Ronan, how about we have a sisters-themed party? I can invite the Williams sisters.”

At first, Ronan was somewhat interested, but when he heard the Williams sisters, he almost collapsed: “You should keep them for yourself.”

These three men in Hollywood were not good people. Like industrious woodpeckers, they liked to fly around the forest.

Tom Cruise, who used to be somewhat reliable, had completely gone astray under Ronan’s influence.

Tom Cruise said at this time: “You know about Scientology choosing a partner for me, right?”

Will Smith and Ronan had already heard him talk about it.

“Kate Mara was also considered a candidate. I’ve been in contact with her.” Tom Cruise said meaningfully: “She has a sister named Rooney Mara who also wants to be an actress.”

Ronan took a deep breath and said, “I’ve discovered something.”

“What?” Will Smith asked curiously.

“In front of you two villains,” Ronan said, holding back a laugh, “I can find the superiority of being a good person!”

Tom Cruise and Will Smith were immediately shocked by this man’s thick skin.

The three of them rode around the ring twice. For those unfamiliar with this sport, it was inevitable to feel tired after a while.

Returning to the stable, they went straight to the rest area.

“Look over there,” Will Smith nudged Ronan directly. “Your chance to be a good person has come.”

Ronan had already seen one tall and two short blonde girls.

The other party had clearly seen him too.

“I told you,” Ashley Olsen said. “He’s here today.”

Mary Olsen said, “You win.” She whispered, “This man is not stupid. Last time he gave us his assistant’s number. All calls were intercepted by the assistant. Are you sure he can help us?”

Strictly speaking, the two were already has-beens. They could only boost their visibility through fashion. Their so-called Dualstar Entertainment Group’s business was completely dependent on their fame.

After they turned sixteen, they suddenly seemed to become unpopular.

For more than a year, the Olsen sisters had been looking for a new breakthrough, but Hollywood’s attitude towards has-beens was not worth mentioning.

In fact, they had been casting a wide net and felt that Ronan was a very suitable candidate.

Unable to contact Ronan, Ashley Olsen used the simplest method: bribing the stable’s servers to notify them when Ronan appeared.

This was a tactic the paparazzi often used when chasing them.

“I’m going horseback riding,” Elizabeth Olsen glanced at Ronan and the others and walked directly to the other side.

Ashley Olsen and Mary Olsen greeted Ronan and walked straight over.

Tom Cruise pulled Will Smith, who was about to watch the show, away: “Let’s go, we’ll go somewhere else.”

Before leaving, Will Smith deliberately muttered: “Ronan, I’m going to invite the Williams sisters.”

Ronan secretly turned his hand behind his back and gave him the middle finger.

“Do you have time to chat this time?” Ashley Olsen asked Ronan.

Ronan pointed to a nearby table in the rest area and said, “It’s my honor, two beautiful Olsen sisters.”

Sitting at the table, Ronan ordered drinks for the Olsen sisters and asked, “What a coincidence, you’re here to ride horses too?”

“We actually wanted to invite you to come together,” Mary Olsen said. “When we called your assistant, she said you didn’t have time.”

Ashley Olsen smiled and said, “I didn’t expect to meet you here.”

Ronan was not embarrassed at all: “I was dragged here by Tom and Will.”

Mary Olsen tilted her head slightly and looked at Ronan: “Been busy lately? When we call the number you left, we can never find you.”

“Very busy,” Ronan said truthfully. “I have a company that’s about to go public. There’s a lot to do.”

Ashley Olsen thought this was a very good entry point and deliberately exclaimed: “Wow, is your Relativity Entertainment going public?”

Ronan shook his head: “No, it’s a subsidiary of Relativity Entertainment.”

Perhaps twins had a special tacit understanding. Mary Olsen said, “I wonder when our Dualstar Entertainment Company will go public.”

Ronan was not someone who couldn’t hear the hidden meaning in these words. He didn’t respond but instead asked, “Was that Elizabeth just now?”

Compared to these sisters, he was more interested in dramas like the Scarlet Witch battling Thanos.

Mary Olsen was a little surprised. This man didn’t follow the script at all.

Ashley Olsen quickly responded: “Yes, Elizabeth went horseback riding. She really likes this sport.”

Ronan didn’t intend to continue and said, “Sorry, ladies, I should go.”

“Anderson,” Ashley Olsen quickly spoke up. She realized that if she didn’t say something now, there might not be another chance: “We came to find you because we have something we want to ask for your advice on. We want you to guide us.”

Mary Olsen looked pitiful: “Yes, we’re in big trouble.”

Without waiting for Ronan’s response, Ashley Olsen said, “Mary and I released a movie last year called New York Minute. The film failed and lost a lot of money, even dragging us down with it.”

“Hollywood thinks we’re has-beens,” Mary Olsen said. “No one wants to hire us for movies or TV shows anymore.”

Ashley Olsen added, “The company is built on our fame. Over the past year, the company’s books, DVDs, dolls, clothing, jewelry, and cosmetics have all seen a sharp decline in sales.”

Ronan had heard a little about it. All of Dualstar Entertainment’s products were produced and sold around the Olsen sisters.

When a star was popular, these weren’t problems. Once the star had issues, the company’s business would inevitably be greatly affected.

Ashley Olsen said, “Ronan, you’re a top producer. Can you help us find suitable roles?”

Mary looked at Ashley Olsen, and the two sisters were very tacit: “As long as you can help us through this difficult time, we will definitely repay you.”

Chapter 737: Bountiful Harvest

On the way back to Beverly Hills, Will Smith couldn’t contain his curiosity and asked, “Ronan, what did you talk about with the Olsen sisters?”

Ronan shrugged. “Their business isn’t doing well. They wanted me to help promote them.”

Tom Cruise nodded. “I’ve heard about their situation. Child stars usually end up like that—adorable when they’re young, but once they grow up and lose that cuteness, they fade from the public eye. Very few manage to make a comeback.”

“That’s too heavy, too real, Tom,” Will Smith joked. “This could be a script—a billionaire and a pair of bankrupt sisters, a story that must be told.”

Ronan seemed to catch a familiar name and asked, “What did you say, Will?”

Will Smith spread his hands. “Nothing much. Just you and the Olsen sisters—a story that must be told.”

Ronan looked at this unreliable man and said directly, “I didn’t agree to help.”

Tom Cruise, thinking of Ronan’s good-natured superiority complex, revealed, “But you didn’t refuse either, did you?”

“Your usual style.” Will Smith pointed at Ronan. “We know you.”

Ronan shrugged. “Refusing outright would be rude. Shai Entertainment has limited projects, and there aren’t any suitable roles for them.”

Will Smith and Tom Cruise still looked skeptical.

The awards season was drawing to a close, and various awards were still announcing their winners. On the most important barometer awards, Relativity Entertainment’s two major contenders were still performing well.

At the British Academy Awards, Will Smith successfully took home Best Actor, while Crash, due to its subject matter, only received nominations for Best Director and Best Picture.

At the Actors Guild Awards, directly related to the Oscar performance awards, Will Smith also won Best Actor.

But Paul Haggis only received a Best Director nomination from the Directors Guild, with the award going to Clint Eastwood.

However, at the Producers Guild Awards, Crash made a comeback, winning the Best Picture trophy.

Throughout the awards season, all the Best Actress awards went to Hilary Swank.

As the awards season progressed, the outlook for the four major Oscar categories became increasingly clear.

The top contenders for each major award had been sweeping the season since their release.

Of course, there were naysayers.

While it was rare for an Oscar favorite to lose, it did happen occasionally.

According to media predictions, the most likely to be upset were The Pursuit of Happyness and Will Smith.

Following the Academy’s past conventions, the Oscars didn’t favor actors like Will Smith—his identity as a comedy and commercial superstar was the biggest obstacle to winning.

Hollywood had too many actors of this type.

But many voters, influenced by social trends, wanted to vote for a Black actor, only to find that the only two worthy of their Best Actor vote were Jamie Foxx and Will Smith.

“Jamie Foxx is also a comedy actor,” many discussed privately. “As comedy actors, in every aspect, he doesn’t measure up to Will Smith.”

They couldn’t possibly vote for the aging Clint Eastwood.

Besides, Best Director was the only category that could truly highlight Clint Eastwood’s value.

Amidst all the buzz, the 77th Oscar Nominees Luncheon was officially held at the Ritz-Carlton Hotel in Beverly Hills. Although Ronan didn’t attend in person, since multiple Relativity Entertainment films were in contention, Garcia Rodriguez, the Chief Executive Officer of Embassy Pictures, attended the luncheon and immediately relayed the news.

This awards season, Relativity Entertainment had four films vying for Oscars: The Lives of Others, March of the Penguins, Crash, and The Pursuit of Happyness.

The first two had limited resources invested, but the competition for their respective categories was also smaller.

The Lives of Others secured a Best Foreign Language Film nomination as expected.

March of the Penguins received a Best Documentary nomination.

Apart from submitting for awards, Relativity Entertainment hadn’t done any specific Oscar PR for this film. With its North American box office reaching fifty-five million six hundred eighty thousand dollars, it was already a commercial success. The Oscar prestige effect wouldn’t make much of a difference.

Even with the nomination, Ronan remained hands-off with March of the Penguins. Winning an Oscar would be nice, but if not, it didn’t matter.

Including marketing and distribution costs, just the North American box office share alone had already given Embassy Pictures more than double their investment returns.

This documentary was very interesting, beloved by animal conservationists and fans of cute creatures. Unlike The Lives of Others, which was a slow film, even maintaining the most basic limited release in five theaters, the weekend per-theater earnings had dropped below five thousand dollars.

The Lives of Others had already turned a profit in Europe for Relativity Entertainment and Koch Films, with a total European box office of thirty-two million one hundred forty thousand dollars.

The film’s production costs were only two million dollars.

But to achieve better results in North America without an Oscar win was difficult. After a month of limited release, The Lives of Others had only grossed a little over seven hundred thousand dollars in North America.

Of course, this performance was also due to the extremely limited release scale and almost no promotional investment from Embassy Pictures.

After all, what kind of news could attract North American audiences to this film? Who would be foolish enough to pour in millions of dollars?

After The Lives of Others received the Oscar nomination for Best Foreign Language Film, Embassy Pictures began printing more film copies. To save costs, some copies were even shipped from the UK, where the film had already ended its theatrical run.

They were all German film prints, so there wasn’t much difference in use.

This also saved a significant amount of money.

Before this, Embassy Pictures had only prepared ten copies for The Lives of Others.

Compared to these two films, each with only one Oscar nomination, Crash, a film that perfectly aligned with the current social climate, could be described as a bountiful harvest.

Crash received six nominations, including Best Picture, Best Director, and Best Editing.

The Pursuit of Happyness fared slightly worse but still secured nominations for Best Adapted Screenplay and the coveted Best Actor for Will Smith.

Meanwhile, Don Cheadle, who had high expectations for Hotel Rwanda, didn’t make the nomination list.

This wasn’t hard to understand. North American Black communities had enough to worry about; who had time to care about the massacres orchestrated by African chiefs?

In the eyes of North American Black people, Africans had never been their kin.

In a way, Will Smith had edged out Don Cheadle’s nomination spot.

The Pursuit of Happyness had been in theaters for seven weeks, with a North American box office of one hundred eighty-eight million nine hundred ten thousand dollars. Its market potential was already limited.

But the film hadn’t been released in any overseas markets. If Will Smith won the Best Actor statuette, it would significantly boost the film’s performance in overseas markets.

With the Oscar nominations announced, the winners from the Nominees Luncheon began expanding their screenings. For example, Million Dollar Baby quickly expanded to two thousand ten theaters, with weekend box office surging nearly seven hundred percent, earning thirteen million two hundred eighty thousand dollars in its first expanded weekend in North America.

For Relativity Entertainment, The Pursuit of Happyness had always been the largest-scale response, so there was no need for expansion.

As one of the big winners at the Nominees Luncheon, Crash naturally had its screening scale expanded by Embassy Pictures to one thousand nine hundred ninety-eight theaters, bringing in eleven million eight hundred seventy thousand dollars that weekend.

Including previous limited release earnings, Crash had accumulated eighteen million seven hundred twenty thousand dollars in North American box office.

The North American box office had already far exceeded Embassy Pictures’ total investment in the film.

The expanded release of Crash had just begun.

Due to the film’s subject matter, content, and language factors, the expanded release of The Lives of Others wasn’t as smooth.

Even with the Oscar nomination for Best Foreign Language Film, Embassy Pictures only managed to secure two hundred twelve theaters in North America for expansion. The weekend per-theater earnings were less than six thousand dollars, bringing in one million one hundred fifty thousand dollars that weekend.

The first weekend’s performance after expansion wasn’t great, but it wasn’t bad either. Strictly speaking, for the North American film market, this box office could be considered good.

The Lives of Others could continue to expand, but the scale wouldn’t exceed five hundred theaters, and even three hundred would be difficult.

The investment and revenue in the North American market were separately accounted for within Embassy Pictures. The film’s type, subject matter, and limitations were clear. Blindly increasing investment would inevitably lead to losses in the North American market.

But controlling the investment scale could yield profits.

With four films receiving multiple Oscar nominations, Relativity Entertainment instantly attracted attention from many companies. However, upon careful analysis, people found that among the four films, only The Pursuit of Happyness was internally produced by Relativity Entertainment. The others were either co-productions or acquired from overseas.

Simultaneously operating four films for an Oscar push would be challenging for any Hollywood company, severely straining resources.

Thus, after the nominations were announced, Ronan directed all PR and promotional resources toward Crash for Best Picture and Will Smith for Best Actor.

As for the other awards, they would have to rely on luck.

Receiving a Best Director nomination, Paul Haggis was ecstatic. As a seasoned Hollywood veteran, seeing Martin Scorsese and Clint Eastwood on the Best Director nomination list, he knew he had no chance of winning the statuette. His personal PR efforts also shifted toward Best Picture.

Although the Academy stipulated that no PR was allowed after the Oscar nominations were announced, every year at this time, the Oscar race would enter a white-hot phase.

At this moment, Georgia sent over a divine assist.

Two police officers acquitted of charges.

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Chapter 738: The Alien

The power of conservatives in many southern states of the United States should never be underestimated. Even if the entire state had descended into chaos, they would not easily compromise.

In early February, after a series of hearings, a grand jury of twelve members ruled that there was no substantial evidence to prove that the police had intentionally shot the African-American youth. Therefore, the jury decided not to prosecute.

The eyes of the entire nation were fixed on Georgia. The outcome was predictable.

On Netflix Sharing, where reactions were swiftest, protests erupted everywhere. Many called for public demonstrations.

In just one afternoon, Netflix Sharing became the most active media platform in the country. People concerned about the issue not only voiced their opinions but also captured photos and short videos of nearby protests, sharing them on social media in real time.

After the uproar in December and the brewing tensions in January, the situation had now spiraled out of control. Netflix Sharing was not only deeply embedded in social life but was also gradually changing the way people lived.

Using Netflix Sharing had even become a popular trend.

The situation in Georgia, and indeed across America, was becoming uncontrollable.

After the grand jury announced its decision, large-scale demonstrations erupted across the country. Protests spread to nearly ninety cities in thirty-four states, including several residential areas in Canada.

In Los Angeles, it wasn’t just African-Americans protesting. Under the leadership of Will Smith and Spike Lee, Hollywood’s black stars took to the streets of Hollywood to rally and protest.

As one of the strongholds of America’s liberal left, Hollywood never lacked supporters of the black movement.

Many Hollywood stars of other ethnicities joined the protest, even if it was just to maintain their “woke” persona.

Will Smith naturally became one of the leaders of Hollywood’s black community.

Hollywood, being the center of public opinion, naturally attracted attention. After the protests in Hollywood, large-scale demonstrations quickly spread to nearly one hundred and eighty cities across the country.

Ordinary people saw protests and a chaotic society, but those with insight saw the power of new media.

In the office of the Los Angeles Times, Editor-in-Chief Connors was scrolling through his Netflix Sharing feed. As soon as he spotted the latest news, he immediately sent someone to gather related reports.

There was no other way.

The impact of the event was too significant, but the number of Los Angeles Times reporters was limited. Even with correspondents in every city, there were only two or three, far from enough to cover all areas.

Watching the constantly updating news and information on Netflix Sharing, Connors felt a sense of helplessness. Although Netflix Sharing wasn’t a news media platform, it spread messages faster and more widely than all traditional media combined.

Compared to traditional news media, Netflix Sharing was like a cheat code. With over twenty million users across America, everyone could become a news discoverer and uploader.

How could traditional media compete?

The only natural flaw was that, due to the lack of publishing thresholds, there were too many fake news stories that needed to be discerned.

Connors called his deputy.

“What do you think of Netflix Sharing?” Connors asked.

The deputy spoke honestly, “Its influence is expanding rapidly, creating a new form of social interaction.”

Connors asked again, “You often communicate with internet media. What’s the outlook for Netflix Sharing?”

“Wall Street’s assessment,” the deputy said, sharing the latest news he had received. “They believe that within the next two years, the number of users will exceed fifty million.”

Connors nodded slowly. “I have an idea. We should set up a Netflix Sharing account under the name of the Los Angeles Times to establish a closer connection with Netflix Sharing. It would also allow people to follow the Los Angeles Times’ updates in real time.”

The deputy agreed, “That’s possible. The trend of the internet is irreversible. We can only go with the flow. Besides, Netflix Sharing isn’t a news media platform, so it’s not a direct competitor.”

“That’s settled then,” Connors decided quickly. “I know Ronan Anderson. I’ll call him directly today.”

In just over a week, Ronan was surprised to find that many traditional media outlets had registered accounts on Netflix Sharing, becoming users of the platform.

Ronan had never intended to compete directly with these large traditional media outlets. Netflix wouldn’t delve deeply into the news industry either. After discussing with Mark Randolph, he specifically gave these media accounts official verification status on Netflix Sharing.

Since the beginning of the year, Netflix Sharing and Netflix Streaming Media had been like two engines of the Netflix train, one pushing and one pulling, driving Netflix’s rapid development at a speed of two hundred miles per hour.

By February, Netflix’s registered users in North America had reached a new high, surpassing the twenty-five million mark for the first time.

Additionally, all of Netflix’s businesses in overseas markets were guided by localization, avoiding many detours and progressing smoothly. The number of overseas registered users was growing rapidly.

“Relying solely on Relativity Entertainment, Netflix will struggle to achieve significant growth,” Ronan said to Robert Iger in the Relativity office. “The funds we have prepared cannot all be invested in Netflix.”

He continued, “If Netflix wants to expand globally, the only way is to spend money.”

Robert Iger completely agreed with Ronan. “Netflix’s globalization strategy will require more than five billion dollars in the next phase. Moreover, many issues require not just funding but also partners and development platforms.”

Ronan nodded. “The only way is through financing. Relativity Entertainment also needs partners.”

“Wall Street’s evaluation of Netflix is continuously rising,” Robert Iger said. “Netflix has a promising future. With the temptation of huge investment returns, Goldman Sachs and its partners will support us, at least for a long time to come.”

Ronan reminded him, “Don’t let your guard down against Wall Street.”

Robert Iger said very seriously, “I know what they are like. I never let my guard down. Ronan, Wall Street is powerful, but as long as we can create enough value for their investments, they will stand by us.”

He smiled. “Don’t forget, we have more than just Wall Street as a financing channel. We also have the Pacific Investment Foundation.”

The Pacific Investment Foundation had a relatively broad overseas financing channel. It couldn’t compare to Wall Street’s large investment banks, but it also had strong liquid capital.

At the beginning of this year, a batch of financing projects from the Pacific Investment Foundation matured. Without any delay, the foundation returned all the principal and dividends to the investors.

Good reputation and stable investment returns were attracting new investments.

Investments from South Korea, Japan, Netflix, and India continued.

In addition, Scott Swift had recently gone to Brazil and Mexico, where there were new potential investors.

Just like many investment institutions on Wall Street, once a name and reputation were established, attracting new investments became relatively easy.

“We need a large amount of funds for the next step of the plan,” Robert Iger said. “In addition to the cash flow of Relativity Media Group and the financing from the Pacific Investment Foundation, I have already communicated with Bank of America. As long as we need it, they will provide high loans to Relativity Entertainment.”

Ronan nodded slightly. “Bob, go ahead and do what you need to do.”

Robert Iger said, “In some situations, with some people, your presence would be more effective than mine.”

“I understand,” Ronan said calmly. “When you need me, you can notify me at any time.”

The two discussed for a long time.

After Robert Iger left, Ronan called Alan Horn and arranged to play golf together in the afternoon.

The co-chairman of Disney Pictures had been under a lot of pressure lately. After taking over the mess at Disney Pictures, the board of directors had given him a new responsibility: overseeing Disney Animation Studio.

For example, the live-action film production was more than just a mess.

Unfortunately, the Disney board of directors wanted Alan Horn to restore the prestige of Disney Animation Studio.

Hand-drawn animation was completely outdated. Disney Animation was no longer what it had been ten years ago.

Nowadays, Disney Animation Studio relied entirely on old films.

Later, Ronan met with Harvey Weinstein. Miramax didn’t have any heavyweight works this awards season. The purchased “The Chorus” was destined to flop in North America and naturally wouldn’t receive much investment for the Oscars.

Most importantly, Ronan wanted to find out how much longer the Weinstein brothers could hold on at Miramax.

Michael Eisner wanted to directly kick out these two, but it wasn’t easy. When Walt Disney acquired Miramax years ago, it wasn’t as powerful as it was now. The acquisition was done with cash and mergers, and the Weinstein brothers were also shareholders of Walt Disney, holding a significant amount of Disney stock.

Unfortunately, Disney was now in internal turmoil, with no strong works emerging, and the stock price kept falling, leading to complaints from shareholders.

Disney only gradually returned to the right track after Robert Iger took over in 2006.

Ronan had poached Robert Iger and was still eyeing Disney, waiting for the right opportunity to continue poaching talent.

This year would be the best chance.

During this time, at the invitation of Tom Cruise, Ronan went to watch the Super Bowl. The New England Patriots defeated the Eagles and won the Super Bowl trophy.

A quarterback named Tom Brady dominated the game.

In the stands, where many celebrities and wealthy people gathered, Ronan saw Gisele Bundchen.

The supermodel, who had firmly established herself in the top tier, was sitting next to an alien—Ronaldo.

Not the “R” from Manchester United, but the one Robson called an alien.

Celebrity romances always turned pages at a speed that caught people off guard.

Chapter 739: The Fashion Waist Fairy

That very evening after the game, the NFL hosted a grand celebration banquet. Ronan encountered Gisele Bundchen and the alien Ronaldo again.

This time, it wasn’t a distant glimpse across a crowded private room—they met face-to-face.

“Hey, Ronan.” Gisele greeted him first.

Ronan shook her hand. “I didn’t expect to run into you here.”

Gisele smiled. “Neither did I.” She introduced the alien beside her. “This is Ronaldo, my friend.”

Ronan shook his hand as well. “The alien’s reputation precedes him—even in the United States.”

“Thank you.” Ronaldo flashed his signature bunny teeth. “Mr. Anderson, I’ve seen the movies your company produces. I didn’t expect you to know Gisele.”

Ronan casually replied, “Gisele and I have been friends for years.”

This was a slight exaggeration, but not entirely untrue. He had known Gisele since Leonardo first started dating her.

Ronaldo might have misunderstood Ronan’s words. “Last spring, Gisele and I were already together.”

At this, Gisele’s expression darkened slightly. She discreetly nudged Ronaldo, who, having grown older and wiser, quickly caught himself and stopped talking.

Ronan acted as if he hadn’t heard. “I also own a club, though it’s a shame you’re at Real Madrid.”

Gisele interjected, “Ronan is the owner of Manchester United in the Premier League.”

Ronaldo perked up. “Mr. Anderson, so you’re the new owner of Manchester United. I’ve always been interested in the Premier League.”

Recently, there had been numerous reports about Real Madrid planning to sell Ronaldo. It seemed Ronaldo was considering his options and looking for a new team.

If this had been a few years earlier, Ronan would have been very interested. But Ronaldo was about to turn thirty.

Superstars from the Brazilian slums who maintained peak performance at thirty were few and far between.

Moreover, Manchester United’s forward line was already well-stocked, with Ruud van Nistelrooy as the starter and Didier Drogba as the backup.

Ronan merely responded politely, “I hope we can work together in the future.”

What ruined the alien wasn’t just injuries—it was his lack of discipline, crucial for any professional athlete.

Having ten or twenty girlfriends wasn’t the issue, but constantly partying in nightclubs would inevitably take a toll.

This Ronaldo, along with another Ronaldo who had transferred to Barcelona, were prime examples.

Many Brazilian players of recent generations had faced similar issues—exceptional talent, leaving home at a young age, achieving fame and fortune, but struggling with off-field problems that ultimately derailed their careers.

This was a common phenomenon in football, but it was particularly pronounced among Brazilian players.

Many grew up in slums, surrounded by poverty, gangs, and crime. They dreamed of using their football skills to escape and improve their families’ lives. But once they became world-class stars, money poured in, and they gained everything at a young age. Their agents and families saw them as cash cows, failing to teach them financial responsibility, turning them into reckless spenders.

Ronan didn’t engage with Ronaldo’s comments, instead chatting briefly with Gisele.

As for whether Gisele had done anything with Ronaldo while dating Leonardo, it was hard to say.

Tom Cruise then approached with a tall man.

He nodded slightly at Gisele and Ronaldo before turning to Ronan. “Let me introduce you to a friend—Tom Brady, the quarterback for the Patriots.”

Ronan shook his hand. “You dominated the game today. Very impressive.”

Tom Brady was quick to respond. “You flatter me, Mr. Anderson.”

As they spoke, his gaze shifted to Gisele.

Tom Cruise introduced Gisele and Tom Brady to each other. Both were top figures in their respective fields, and they quickly hit it off.

By the time Ronan and Tom Cruise left the group, they noticed that Tom Brady and Gisele were already deep in conversation. Ronaldo, who had been accompanying Gisele, was left standing alone.

Ronaldo, a seasoned partygoer, didn’t mind. He simply went elsewhere to find new prey.

The sports world, like the entertainment and fashion industries, was never short of beautiful women.

“You planning to bring Ronaldo to Manchester United?” Tom Cruise asked, glancing in Ronaldo’s direction.

Ronan shook his head. “Manchester United doesn’t need another forward, especially not one like Ronaldo right now.”

Bringing in a player like Ronaldo might disrupt the team’s current balance. Moreover, Ronaldo’s influence was immense, both on and off the field.

Having a bunch of nightclub kings on the team would spell disaster for Manchester United.

Speaking of which, Manchester United already had a Ronaldo, and he had been making rapid progress over the past half-season.

Tom Cruise nodded subtly. “Michelle Braun has approached Ronaldo. They seem to have a lot in common.”

Ronan had heard of this Hollywood industry leader. “One has money, the other has resources. It’s only natural.”

Compared to her predecessor, Heidi Fleiss, Michelle Braun was smarter and more cautious. She never approached untouchable figures unless they came to her first. She would never dare to solicit business from someone of Tom Cruise’s stature.

But Ronaldo was different—he was an outsider to both Hollywood and the country.

Ronan and Tom Cruise found a quiet terrace. Tom Cruise said, “I just spoke with Robert Kraft, the owner of the New England Patriots. He’s interested in bringing in new investors. Are you interested?”

“Only if he’s willing to sell the entire team to me.” Ronan had no interest in being a minority shareholder. “This year, I probably won’t have the funds even if he wants to sell.”

Tom Cruise asked with concern, “Trouble with cash flow?”

Ronan shook his head slightly. “No, I have several major acquisitions planned this year. I can’t spare the capital.”

Acquiring an NFL team, especially a championship-caliber one, would require at least a billion dollars.

“Your business comes first.” Tom Cruise dropped the subject and mentioned a few things about his new movie. His phone rang, and he checked it. “I need to take this. Excuse me.”

After Tom Cruise left, Ronan also stepped out of the terrace. As he entered the banquet hall, he spotted a familiar figure and walked over.

“Good evening, Sally.” Ronan approached Charlize Theron. “I didn’t expect to see you here.”

Charlize smiled. “I came to watch the game.”

Ronan looked at the girl beside her. “And this is?”

The girl was young, around eighteen, and looked somewhat familiar, though Ronan couldn’t place where he had seen her before.

She had golden hair and was tall, wearing a light blue fitted dress that accentuated her nearly perfect figure—voluptuous chest, slender waist, and long legs.

Charlize introduced her. “This is Candice Swanepoel, from South Africa. A friend of mine.”

She then introduced Ronan. “Candice, this is Ronan, Ronan Anderson, the president of Relativity Media and a top Hollywood producer.”

Hearing Charlize’s introduction, Ronan finally remembered who she was—the former Victoria’s Secret Angel nicknamed “Sugar.”

“Nice to meet you, Mr. Anderson.” Candice, though young, was well-mannered. She shook Ronan’s hand. “It’s a pleasure.”

Ronan spoke casually. “Call me Ronan. Sally and I are friends. No need to be formal.”

Candice Swanepoel and Charlize Theron were completely different in style. While Charlize was also tall and leggy, she had a broad back and shoulders, far wider than most men, giving her a cold yet powerful aura—perfect for the role of Captain Marvel, with her female soldier persona.

In contrast, Candice was more slender, with perfect proportions. Her fitted dress especially highlighted her waist, making her look like a fashion waist fairy.

Charlize then said, “Ronan, you must be busy lately. Still have time to watch the game?”

“Taking a break from the busy schedule.” Ronan chatted like an old friend. “Sally, don’t forget to support Relativity at the Oscars. The ballots are about to be collected.”

Charlize laughed. “Will and I are old friends. I’ll definitely support him.”

Candice stood beside Charlize, listening to their high-level Oscar discussion with a mix of envy and inability to interject.

Ronan didn’t let her feel left out. “Candice, you seem to have had professional model training.”

“Over two years of professional training.” Candice seemed a bit shy. “My family knows Sally. They asked her to bring me to the U.S. to broaden my horizons.”

Ronan said, “You’re lucky. Sally is a great teacher.”

“Not really a teacher.” Charlize corrected. “Mostly just helping Candice get a general understanding of the fashion and entertainment industries.”

Candice spoke softly. “Sally has helped me a lot.”

Ronan smiled. “Getting out and seeing more will help your future development.”

“Candice hasn’t just had model training—she’s also taken acting classes. I’ve enrolled her in acting courses in Los Angeles.” Charlize had always been kind, helping her compatriots whenever she could. “Ronan, if there’s a suitable small role—”

Ronan thought for a moment. “Sally, you know George and Jessica. I’ll give them a heads-up.”

Candice seemed to gather some courage, no longer as shy as before. “Thank you, Ronan.”

Chapter 740: Demons Unleashed

After chatting for a while, Ronan prepared to take his leave. Remembering something, he said, “Sally, Candice, Relativity Entertainment has a fashion-themed film premiering next week. If you’re interested, you can come.”

Charlize Theron, a former model and current spokesperson for Dior’s True Me perfume, immediately thought of the film that had displeased Anna Wintour. She asked, “Is it The Devil Wears Prada?”

“Yes,” Ronan smiled. “The premiere will be held at the Nokia Theatre in Los Angeles.”

Charlize Theron thought for a moment and said, “If time permits, I’ll definitely go.”

As an actress, only someone with a screw loose would refuse an invitation from a top-tier producer.

Ronan added, “I have your contact information. I’ll have someone send you an invitation later.” He turned to Candice Swanepoel. “Candice, how can I get in touch with you?”

Candice Swanepoel glanced at Charlize Theron. Seeing no objection, she opened her handbag, took out a business card, and handed it to Ronan. “This is my U.S. phone number.”

Ronan took it and put it away, nodding slightly at both of them. “Hope to see you both at the premiere.” He then took his leave. “I won’t disturb you any longer.”

Watching Ronan walk away, Candice Swanepoel asked softly, “Sally, is this one of Hollywood’s big shots?”

Charlize Theron replied, “A top power player in Hollywood. Even if you don’t plan to enter the entertainment industry, you can’t afford to offend someone like him. His influence extends far beyond the entertainment world.”

Candice Swanepoel nodded slightly and asked, “Are all Hollywood big shots as kind, courteous, and easy to get along with as him?”

“Dear,” Charlize Theron said solemnly, “the big shots in the entertainment industry, like those in the fashion world, are all man-eaters.”

She paused briefly before adding, “Ronan Anderson might be an exception. He treats newcomers in Hollywood much better than other bigwigs.”

Charlize Theron had heard more than once that under Ronan Anderson’s guidance, many new screenwriters, actors, and directors had received rare opportunities and risen to fame.

Candice Swanepoel quietly took note.

Charlize Theron asked, “Candice, have you decided which industry you want to enter in the future? If you want to go into fashion, I can recommend you to Dior. If you want to enter Hollywood, I can also put in a word with someone like Ronan.”

“I haven’t decided yet,” Candice Swanepoel, still just a seventeen-year-old girl, replied. “Sally, I’ve already dropped out of school, but I’ll attend acting classes, and I won’t give up on model training for now.”

Charlize Theron gently patted her back. “Doing more preparation and learning more things is never wrong. It might open up more paths for your future.”

She sighed softly. “Actually, I can help you more in Hollywood. I’ve been away from the fashion world for too long.”

Charlize Theron’s understanding of the fashion world was far inferior to her knowledge of Hollywood.

Finding Tom Cruise, Ronan discovered that Tom Cruise already had a female companion.

“Let me introduce you. This is Alison Mack,” Tom Cruise said to Ronan. “The female lead in Superman Returns.”

She was a blonde actress with the square, broad face that Westerners generally found attractive.

Just as Tom Cruise could be interested in her, such features were highly sought after in Hollywood’s beauty standards.

Ronan shook her hand and said, “I’ll be going now. Let’s talk tomorrow if anything comes up.”

As he was leaving, Ronan ran into Ronaldo, who was now alone.

Ronan smiled and nodded at Ronaldo before leaving the banquet hall.

The next day, Ronan waited for Tom Cruise at the airport, and they boarded a flight together from Jacksonville back to Los Angeles.

“What’s wrong?” Ronan asked, looking at Tom Cruise’s less-than-stellar complexion. “You seem off.”

Tom Cruise muttered, “Don’t ask. It’s too depressing.”

Ronan probed, “Last night—”

Tom Cruise nodded slightly. “Alison Mack approached me with ulterior motives. She was acting on behalf of Keith Raniere, trying to recruit me into their cult.”

Ronan’s knowledge of American cults was limited. “Who’s Keith Raniere?”

Tom Cruise said, “The leader of NXIVM.” Seeing Ronan’s confusion, he added, “This organization is also called the sex cult. Last year—no, it was 2003—Forbes magazine published an article about the Bronfman sisters and the cult, referring to this very organization.”

Hearing the word “cult,” Ronan looked at Tom Cruise strangely.

Tom Cruise shrugged. “Don’t look at me like that. My faith is very firm; I won’t switch easily. They’re just a bunch of brainwashed idiots. Scientology is far more sophisticated than them.”

Ronan roughly understood. These people must have been drawn to Tom Cruise’s influence, wanting to recruit him to attract more followers.

Tom Cruise then said, “Alison Mack is a key figure in this organization. I talked to her last night. She’s completely brainwashed. From being an early follower, she’s become one of Keith Raniere’s important deputies. Her main task is to develop followers for Raniere in Hollywood. She considers it sacred.”

Shaking his head, Tom Cruise continued, “This woman’s mind is completely warped. She thinks serving Raniere is a great honor and even took off her clothes to show me the brand Raniere burned into her private parts with a branding iron.”

Ronan didn’t ask if any Hollywood actresses had been recruited by Alison Mack. The answer was obvious. Hollywood had too many eccentrics, and there were a million ways to court death. Becoming someone’s follower was just one of them.

Compared to the Keith Raniere Tom Cruise described, Hollywood’s big shots, including himself, were nothing.

This heavenly United States, where material life was filled with flying bullets, also had cults running rampant in spiritual life.

What was even more infuriating was that many of these cults were legal.

Ronan asked, “Are there many such organizations in Hollywood?”

Tom Cruise, due to his involvement with Scientology, knew far more than Ronan. “There are many, and some are even more outrageous. Like Manson—many in Hollywood still worship him madly.”

The infamous Manson Family was well-known. Ronan knew that the Manson Family was most notorious for two things: the attempted assassination of President Ford by a family member and the torture and murder of Hollywood star Sharon Tate.

The latter was Roman Polanski’s wife, who was eight months pregnant when she was stabbed sixteen times.

Hollywood had always had Manson worshippers, not in secret but openly.

As for other bizarre organizations, Hollywood was teeming with them.

It was truly a den of demons.

Many such groups always set their sights on Hollywood.

The people here had money, fame, and influence. Many became famous only to feel empty and lonely, seeking excitement. Coupled with generally low educational levels, outside their professions, too many lived as recklessly as Johnny Depp and Nicolas Cage, making them the perfect potential targets.

Accountants and investment managers also loved to swindle Hollywood stars and sports stars for the same reasons.

Countless Hollywood stars went bankrupt mid-career, and countless athletes went broke upon retirement.

Tom Cruise said, “Ronan, you must warn your girlfriend not to let her guard down and get brainwashed.”

Ronan shrugged. “I don’t have a girlfriend.”

Tom Cruise laughed. “Your future girlfriend.”

Ronan calmly replied, “I have no dealings with them. They wouldn’t be stupid enough to come and provoke me, would they?”

“That’s not necessarily true,” Tom Cruise said. “The top people in these organizations must have clear minds, but those who are brainwashed might not.”

Ronan shook his head. Hollywood had always been like this, and he had never thought about changing the industry’s ecosystem because it was simply impossible. Human nature was what it was.

He had never dealt with these bizarre organizations. As long as they didn’t come to him causing trouble, he could pretend they didn’t exist.

Besides, law enforcement didn’t really bother with these people.

Their conversation soon returned to movies. Tom Cruise asked, “Is The Devil Wears Prada premiering next week?”

Ronan nodded slightly. “Next Wednesday in Los Angeles.”

Tom Cruise asked, “I heard there were difficulties during filming due to Anna Wintour.”

“It wasn’t that bad,” Ronan smiled. “She just hinted that some brands shouldn’t cooperate with the production team and that she absolutely wouldn’t watch the movie after its release.”

Tom Cruise said, “I roughly read the original novel. It’s normal for Anna Wintour not to like this film.”

Ronan said, “Boss and employee—it’s an irreconcilable conflict. From the assistant’s perspective, a strict boss naturally has problems everywhere.”

“Will Anna Wintour watch this movie?” Tom Cruise asked.

Ronan was certain. “Tom, I bet you that Anna Wintour won’t just watch this movie. Even if Relativity Entertainment doesn’t invite her, she’ll come to the premiere next Wednesday on her own.”

Tom Cruise directly said, “I won’t take that bet. I know Anna Wintour. Someone like her wouldn’t miss such a great opportunity to expand her fame.”

Ronan spread his hands. “I was hoping to win a good bottle of wine from you. No chance now.”

Starting in February, Embassy Pictures’ 2005 film distribution officially began. Before Valentine’s Day that weekend, The Devil Wears Prada was the first to be released in North America.

The film held a grand premiere at the Nokia Theatre in Nokia Plaza, Los Angeles.

Chapter 741: Just a Fairy Tale

As expected, on the day of the premiere, Anna Wintour—who had not been invited by anyone—appeared at the premiere of The Devil Wears Prada.

Anna Wintour, dressed head-to-toe in Prada, walked the red carpet with her eighteen-year-old daughter, Katherine Shaffer.

The mother and daughter shared an uncannily similar sense of style, both draped entirely in Prada.

“I have no need to quarrel with a failure and a former assistant.”

Facing Ronan, Anna Wintour’s magnanimity carried a sting: “Lauren Weisberger is just my former assistant. She’s a failure in the fashion world. Even if she writes a hundred books, what can she do to me?”

Ronan smiled. As the host, there was no need to argue with a guest. “Welcome, Ms. Wintour.”

Anna Wintour introduced her daughter: “This is my daughter, Katherine. We all call her Bee.”

Ronan nodded to her. Then, Anna Wintour suddenly said, “Bee is studying film production at Columbia University. Ronan, you’re an expert in this industry. This field requires not just theoretical study but also extensive internships.”

Hearing this, Ronan understood why Anna Wintour had brought her daughter to the premiere.

It was just an internship request—this much face he could give. Ronan said, “If Bee is willing, she can intern at Shai Entertainment.”

But he had to make some things clear first: “The workload for an intern on set is heavy.”

Katherine Shaffer replied, “I have no problem with that.”

“Thank you.” Anna Wintour lowered her posture significantly. “Ronan, if the fashion world ever needs my help, don’t hesitate to ask.”

Ronan nodded. “I will.”

Anna Wintour took her daughter to the VIP lounge, and Charlize Theron and Candice Swanepoel approached.

“This is my first time attending a movie premiere.” Candice Swanepoel spoke softly, always giving off a shy impression. “It’s a very rare experience.”

Ronan politely replied, “I hope the film leaves a deep impression on you as well.”

Charlize Theron added, “Everyone in Hollywood knows that your films are synonymous with quality.”

“That’s too kind.” Ronan calmly replied, “The critics certainly wouldn’t agree.”

Charlize Theron laughed, unsure how to respond.

Ronan didn’t say more. “Sally, take Candice inside. The screening will start soon.”

The cast, finished with their photos, approached. Anne Hathaway came up to Ronan and gave him a tight hug.

“I’ll be in Los Angeles for the next two days,” she whispered.

Ronan lowered his voice as well. “Stay at my place.”

Anne Hathaway said, “I’ll listen to you.”

Ronan and Anne Hathaway lagged behind, following the cast into the theater.

Meryl Streep slowed her pace and soon fell into step beside Ronan.

“The Devil Wears Prada and Mamma Mia! were two rare experiences.” Meryl Streep spoke with artistic flair. “They were also important parts of my acting career.”

Ronan said, “Meryl, you are a role model for actresses. Relativity Entertainment is honored to have worked with you.”

Meryl Streep laughed heartily. “Ronan, we can continue our collaboration.”

No matter what, Meryl Streep was an outstanding actress among the older generation. Ronan gave a slight nod. “There will be opportunities for further collaboration.”

Meryl Streep, satisfied with the answer, quickened her pace and caught up with the main creative team ahead.

“That woman,” Anne Hathaway muttered, nodding toward Meryl Streep’s back, “saw that Miramax and Harvey Weinstein were in trouble with Disney and wouldn’t be able to break free for the next couple of years, so she came running to curry favor with you.”

Ronan wasn’t surprised, nor did he mind. This was purely a business collaboration. After all, everyone in Hollywood knew who Meryl Streep was. If he held grudges over such things, he wouldn’t have let Shai Entertainment work with her on Mamma Mia! and The Devil Wears Prada.

Personal character had little to do with film collaborations. Besides, Meryl Streep was highly professional and wouldn’t cause the kind of trouble Johnny Depp did on set.

Moreover, Meryl Streep’s performance in The Devil Wears Prada wasn’t just outstanding—it was breathtaking.

Frankly, in terms of acting and the role in the film, Anne Hathaway was completely overshadowed by Meryl Streep.

The Miranda that Meryl Streep portrayed wasn’t the kind of aloof, stern figure one might expect. Instead, she exuded a sense of distance and detachment.

One had to admit that Meryl Streep possessed exceptional acting talent. In this film, her greatest strength was her ability to blend comedy and drama seamlessly, making it all feel natural and fluid.

She could present comedic scenes perfectly, effortlessly and smoothly.

Under her portrayal, Miranda wasn’t simply a detestable figure or a cold-blooded creature.

No fashion? Create fashion.

No demand? Create demand.

This was how the business world had always operated.

In comparison, the female lead’s character wasn’t particularly likable. Even after Ronan had cut the part where the protagonist cheats in the original novel, Andy still wasn’t a very appealing character.

To be precise, she was an unrealistic figure.

If the film had ended with the female lead, Andy, not quitting her job but gradually becoming a new Miranda, it might have been more realistic and shocking.

Because in reality, most people would make that choice.

When your life is a mess, your work is a success.

For the middle and lower-tier workers, this statement wasn’t entirely untrue.

But Hollywood films had always pursued and created dreams, not the cruel realities that told people to abandon their dreams.

Thus, for audience acceptance and commercial market response, the film had to have Andy leave Miranda and find herself.

In other words, the cruelty in this film was real, but the ideal was fake.

For the audience, what was ideal and what was reality?

This film could aptly express that.

The ideal was that many people were willing to work twenty hours a day to be with Anne Hathaway.

The reality was that even if you worked twenty-four hours a day, you could only catch a distant glimpse of Anne Hathaway.

This reality could be expressed another way: I will be the man Anne Hathaway can never have in her lifetime.

When Ronan had watched this film before, he had hoped that in the end, Andy, burdened with all the helplessness, would become the new Miranda.

Because he, too, had been a worker, had sat in a middle-management position, and knew that progress required so much helplessness and heartache.

Perhaps someone might want to jump into the film and tell Anne Hathaway: Your job isn’t that bad.

The most despised part of the original film was undoubtedly Andy’s infidelity.

This plot, even in the North American film market, had drawn much criticism.

Some had even interpreted it this way: A young girl who had seen the glamour, after having an affair or several with important figures, realizes she doesn’t fit into that circle and can’t break in, then suddenly wakes up and goes back to find a decent man.

There were always decent men to pick up the pieces.

This so-called awakening was nothing more than sleeping with a playboy, then feeling guilty and running away from work.

This easily gave people a similar impression.

Thus, Ronan had cut this part from the original without hesitation. If the female lead was to have an awakening, she could just wake up directly.

Perhaps the original film gave people this implication: No matter what I do, there will always be a decent man to pick up the pieces.

Just like Hollywood fairy tales, this film was also a fairy tale.

The workplace in the fashion world was even more cutthroat than what was shown in the film.

After the premiere, Anna Wintour, in her interview, changed her usual critical and arrogant attitude, praising the film and Meryl Streep endlessly, calling it an outstanding movie.

The reason was twofold: She didn’t want to offend Relativity Entertainment, and Meryl Streep’s portrayal of Miranda, who represented her, was very humanized.

The coldness and harshness of The Devil Wears Prada in the film didn’t even reach a third of Anna Wintour’s real-life demeanor.

Anna Wintour’s real nickname was the Ice Queen, not referring to her facial expressions like Charlize Theron’s description, but to her way of handling things.

One could imagine her work style.

After the premiere of The Devil Wears Prada, it received widespread acclaim.

Both the media and audiences gave the film high praise.

For example, Entertainment Weekly praised the film for its intelligence and Meryl Streep’s performance for hitting the mark; The Hollywood Reporter believed the glamorous costumes and the outstanding fashion female lead made this comedy very appealing; The New Yorker highly praised Meryl Streep, saying it was very smart of her not to imitate Anna Wintour, as she had created her own convincing personality.

Cinescore’s average audience rating was as high as A, and Metacritic’s media composite score reached 79.

Even the critics’ reviews of the film were favorable.

As for the audience, it went without saying. This film, which only scratched the surface of the fashion world, was hailed by many as the fashion bible.

The good word of mouth made The Devil Wears Prada the most anticipated film of the Valentine’s Day schedule.

Perhaps the entertainment section of the Los Angeles Times best captured the reason for the film’s outstanding reputation.

“After watching The Devil Wears Prada, I instinctively thought it was an outstanding film. But it took me a long time to realize why the film felt so comfortable, why I wanted to give it a full five stars—because it was completely a fairy tale.”

Chapter 742: Archenemies

Hollywood—how many people were eagerly awaiting this moment? A Relativity Entertainment film hits theaters, flops at the box office, and they seize the opportunity to dismantle and devour Relativity Entertainment.

Relativity Entertainment had never been short of troubles.

“Over the past few years, the name Ronan Anderson has become synonymous with cinematic success,” Charlize Theron said to Candice Swanepoel in a North Hollywood apartment. “The reputation of a golden producer is built on one hit after another.”

She continued calmly, “The Devil Wears Prada was personally greenlit by Ronan Anderson.”

Candice Swanepoel asked, “Will it continue to succeed?”

Charlize Theron glanced at the time and said, “The newspaper should have arrived. I—”

Before she could finish, Candice Swanepoel rushed out, “I’ll get it.”

Charlize Theron shook her head slightly. Even if it weren’t for someone pulling strings back home, she genuinely liked this girl.

The girl hadn’t yet been tainted by the entertainment and fashion industries.

Two minutes later, Candice Swanepoel returned with the newspaper.

“Today is Monday,” Charlize Theron said. “The entertainment section should have the weekend box office report.”

Candice Swanepoel quickly found the relevant page and, after a glance, said, “The Devil Wears Prada is the box office champion.”

Charlize Theron couldn’t help but shake her head and laugh. “Not a single surprise.”

“I think Ronan is a good person,” Candice Swanepoel said after two encounters, feeling that Ronan wasn’t as difficult to deal with as most people in Hollywood. “Aren’t you friends with him?”

Charlize Theron countered, “Friends?” She subtly reminded her, “Candice, in Hollywood, relationships between people aren’t that simple.”

She would have liked to treat Ronan Anderson as a friend like Keanu Reeves, but Keanu Reeves had never had any ulterior motives toward her.

Candice Swanepoel frowned slightly, clearly taking Charlize Theron’s words to heart.

Charlize Theron asked again, “How much did it make?”

“Thirty-seven million eight hundred forty thousand dollars on opening weekend,” Candice Swanepoel read from the newspaper. “It says this sets a new opening weekend record for a Meryl Streep-led film.”

Charlize Theron nodded slightly. “Even an actress with poor market appeal like Meryl Streep can succeed in Ronan’s films. Does Ronan Anderson really have some kind of magic?”

Hearing that name and thinking of the man she had met twice, Candice Swanepoel also took note of these words.

“Sally, I’ve made up my mind,” Candice Swanepoel seemed to have made a decision. “I won’t give up on acting class or modeling training. I’ll try Hollywood first. I’m still young; I’ll have time to correct my path later.”

Rather than venturing into the modeling world with no connections, it was better to try Hollywood, where an Oscar-winning actress could look out for her. Besides, her modeling contract had already expired, so she had no concerns in that regard.

People grow, and Charlize Theron wasn’t surprised by Candice Swanepoel’s choice. “Focus on your acting class for now. I’ll sign you up for a language class to build a strong foundation.”

Acting skills might not be the key to fame, but they were essential for establishing oneself in the industry.

After chatting about Hollywood for a while, Charlize Theron reminded her, “It’s almost time. I’ll take you to acting class first.”

As they went downstairs, she instructed, “I might be late picking you up. Will Smith has an event today, and I need to be there.”

“You don’t need to pick me up,” Candice Swanepoel said softly. “I’m familiar with the way; I can come back on my own.”

Charlize Theron nodded. “Call me if you need anything.”

After dropping Candice Swanepoel off at acting class, she went to her stylist to get ready, changed into a formal outfit, and arrived at the Beverly Hills Four Seasons Hotel for Will Smith’s party before noon.

The party was held under the guise of entertaining friends, but Charlize Theron knew that Will Smith’s real purpose was to rally as much support as possible.

No one needed to say it out loud—everyone with half a brain could guess Will Smith’s intentions amid the fierce Oscar campaigning.

Charlize Theron had long since pledged her vote to Will Smith. Aside from anything else, it fit her persona.

At the party, Charlize Theron wasn’t surprised to see Will Smith’s two best friends, Tom Cruise and Ronan Anderson.

As a smart woman, she naturally went over to greet them.

“Hello, Ronan,” Charlize Theron said with a smile. “Congratulations on another box office hit.”

Ronan replied, “Thank you. It’s all thanks to the creative team.”

Charlize Theron continued, “But you’re the one who chose the creative team.”

Ronan smiled. “Sally, if you keep saying things like that, I’ll get embarrassed.”

The success of The Devil Wears Prada had given Relativity Entertainment’s film slate for the year a strong start. Embassy Pictures’ 2005 lineup was even more robust than 2004’s.

This Valentine’s Day slot, The Devil Wears Prada actually had a formidable competitor—the sequel to The Mask, which opened the same weekend.

The 1994 original The Mask was a massive hit, achieving tremendous commercial success and catapulting Jim Carrey and Cameron Diaz to stardom.

Years later, this unconventional comedy finally had a sequel, but the film had lost not only Cameron Diaz but even Jim Carrey had declined to return.

The brutal reality of sequel recasting was on full display in this film.

The Mask 2 earned only seven million five hundred eleven thousand dollars in its North American opening weekend.

New Line Cinema had invested eighty-five million dollars in the production costs of this sequel.

This was destined to be another commercial disaster with no return on investment.

Additionally, Warner Bros. released a film called Nightmare this weekend, but its box office performance was even worse.

Even Ronan couldn’t understand why Warner Bros. had so many baffling moves. Nightmare was a horror film, yet it was released on Valentine’s Day weekend.

Were they trying to scare girls into the arms of their boyfriends?

No wonder Warner Bros. had once had a great hand but played it so poorly. It turned out they had a tradition.

From Alexander the Great to Nightmare, it seemed Justice League had never been wronged.

The banquet hall quieted down as Will Smith stepped onto the front stage and began his loud speech.

The content, of course, was the still-burning Black civil rights movement.

Present were not only Will Smith’s friends but also the Hollywood Black community led by Spike Lee, along with numerous white liberals in the industry.

And then there were the media reporters—how could such a great publicity opportunity lack reporters?

In 1925, Warner Bros. founder Harry Warner was pitched the idea of sound films and blurted out, “Who would want to hear actors talk?”

Back then, the idea of actors speaking was something no normal person could comprehend.

In Hollywood’s early days, to better control salaries and contracts, actors weren’t even allowed to have their names appear on screen.

In the early 1920s in Los Angeles, puritanical families who valued family morals would hang a sign on their doors: “This house is not rented to actors or dogs.”

But times had changed.

Actors not only could speak but could even influence public opinion.

In today’s Hollywood, the politically correct stance supported by the “white liberals” and free speech dominated, giving rise to a large number of stars, directors, and screenwriters with a sense of social responsibility who cared about public affairs.

Thus, Will Smith and Crash, with their impeccably politically correct posture, became the overwhelming favorites for this year’s Oscars.

Even many people who had no dealings with Will Smith were supporting him to maintain their white liberal personas.

For example, the typical white liberal Hollywood actress Meryl Streep.

At the party, Meryl Streep was even advocating for the Black civil rights movement in a small circle.

Ronan, out of curiosity, went over with Tom Cruise to take a look and happened to see Meryl Streep’s archenemy, the equally white liberal Helen Mirren, join the circle.

“Interesting, you’re so supportive of him winning Best Actor,” Helen Mirren sneered. “Ms. Streep, have you already slept with him?”

There weren’t many people around, but the words were too harsh.

Ronan and Tom Cruise acted as if they hadn’t heard anything and left, leaving Helen Mirren and Meryl Streep locked in a verbal duel.

“Do you know what I was thinking?” Tom Cruise said. “Maybe in a while, they’ll become the new Joan Crawford and Bette Davis.”

Ronan knew these two Golden Age actresses were famous archenemies.

Tom Cruise whispered, “Back in the day, Bette Davis publicly mocked Joan Crawford like that.”

Ronan nodded. “I’ve heard about it.”

Rumor had it that in the 1960s, a young Steven Spielberg was close with the still-glamorous Joan Crawford, who even mentored him. Her archenemy Bette Davis then mocked the not-yet-famous Spielberg: “Have you already slept with her?”

Despite the unpleasant exchange between Meryl Streep and Helen Mirren, the party was overall a success, further solidifying Will Smith’s advantage.

There were only two Black actors nominated for Best Actor. With Jamie Foxx also being categorized as a comedic actor, the competition was more about resources.

Crash was also in a favorable position. Ronan had heard that Million Dollar Baby was focusing on Best Director and Best Actress.

Chapter 743: The Most Important

The Oscars, Hollywood’s annual ultimate party…

It might be delayed, might spark controversy, but it never fails to appear.

On the last weekend of February 2005, the 77th Academy Awards ceremony began amid the watchful eyes of countless people.

Every Oscars ceremony is accompanied by various noises.

This year was no exception.

Civil rights and Black Lives Matter groups had long occupied the best spots at the intersection of Highland Avenue and Hollywood Boulevard, broadcasting their ideals to the world.

Some radicals, not far from the Kodak Theatre, lit candles in memory of the victim in Atlanta.

The Los Angeles police were on high alert, fearing an uncontrollable incident.

Fortunately, by the time the red carpet ceremony began, the protests and activities remained at the slogan-shouting stage, not escalating into the riots that Los Angeles was infamous for. The situation was completely under control.

The current social climate had a massive impact on the Oscars.

This was reflected not only in the award selections but also in the preparations of the perceptive stars.

For instance, black formal wear was particularly popular this year. Not only Black stars like Will Smith and Halle Berry appeared in solemn black attire, but more than half of the guests, including Natalie Portman, Charlize Theron, and Brad Pitt, wore black or dark-colored gowns on the red carpet.

Hollywood stars might be obnoxious in many ways, but their instincts were often exceptionally sharp.

This time, the black wave surged with unprecedented momentum, marking the year with the most Oscar nominations for Black individuals in history.

Accordingly, this had set the tone for this year’s Oscars.

Even the host of this year’s Academy Awards was Black comedian Chris Rock.

Throughout Oscar history, for most of the time, this grand award seemed relevant only to white actors. The proportion of Black nominees was a mere three percent.

The same applied to behind-the-scenes technical roles.

In high-tech behind-the-scenes roles, the proportion of Black professionals was even lower than that of actors.

In Hollywood, the number of Black directors and producers was even fewer.

Of course, these circumstances were not solely due to the environment.

Ronan, dressed in a black suit, entered the Kodak Theatre. He didn’t immediately go to the main hall to take his seat but chatted briefly with Harvey Weinstein.

“This year, you’re going to have a bumper harvest,” Harvey Weinstein said, shaking his large head. “How many are you confident about?”

Ronan shrugged slightly. “No one can be sure until the end.”

According to his wishes, it would be best to take home all the nominated statuettes, but that was clearly impossible.

Harvey Weinstein said, “This year, Miramax is going home empty-handed.”

There weren’t many nominations directly related to Miramax.

The fat man was very polite in front of him, and Ronan also politely said, “That’s because Disney is dragging you down.”

Hearing Disney, Harvey Weinstein could only sigh. “Continuing like this is not a solution.”

“You have other ideas?” Ronan pretended to be curious. “Do you have any good plans?”

Harvey Weinstein laughed. “Where are the good plans? Always being suppressed by Disney, it’s a bit depressing, like not being able to breathe.”

“It will pass,” Ronan said, spouting nonsense that even he didn’t believe.

Harvey Weinstein looked at Ronan. “It’s a pity that Miramax doesn’t have the strength of Relativity Entertainment, otherwise I would bite Michael Eisner hard.”

Ronan smiled. “You can’t say that.”

Harvey Weinstein invited Ronan to enter the main hall together. Not far from the entrance, they encountered Zhang Baimao and Director Zhang, who politely shook hands with Ronan but ignored Harvey Weinstein.

This was the result of Harvey Weinstein’s underhanded tactics when buying the copyright.

Compared to this fat man, Ronan was definitely the rule-abiding type.

Although House of Flying Daggers didn’t perform well at the North American box office, it wasn’t particularly bad. Lionsgate Films wanted to recoup their investment through offline operations and had submitted the film for Oscar consideration.

Following Hero, Director Zhang had once again received a nomination for Best Foreign Language Film.

At the same time, the film was also nominated for Best Cinematography.

The cinematography of House of Flying Daggers was the most praised aspect, with some North American media even claiming that the director’s skills severely undermined the cinematography.

It was very difficult for this film to win an award. Take the Best Foreign Language Film category, for example. Based on the subject matter and content alone, even The Lives of Others couldn’t compare in terms of the Oscar judges’ familiarity.

Entering the main hall, Ronan found the The Pursuit of Happyness crew and sat down with Will Smith.

“You’re nervous,” Ronan observed, seeing Will Smith’s leg shaking non-stop.

Will Smith admitted frankly, “Of course I’m nervous. After all this effort, success or failure depends on tonight. Anyone would be nervous.”

“Being nervous won’t help,” Ronan deliberately said. “The award results are already out. We still have one chance: find someone to take out the two big shots from PricewaterhouseCoopers.”

Will Smith rubbed his face and said, “I feel better now.” He then asked, “Has The Pursuit of Happyness recouped its investment?”

Ronan understood what Will Smith meant and said, “Rest assured, it has long since recouped.”

Relativity Entertainment’s four Oscar-contending films had already recouped their costs.

Now, The Pursuit of Happyness had been showing for 12 weeks, with a cumulative North American box office of two hundred and ten million two hundred and thirty thousand dollars.

Although the film was still showing in North America due to the Oscars, the box office market had been mostly exhausted. If Will Smith could win Best Actor, it might get another boost.

March of the Penguins, nominated for Best Documentary Feature, had a North American box office close to seventy-five million dollars, making it the second-highest-grossing documentary in North American film market history, only behind Fahrenheit 9/11.

Due to its subject matter and content, Fahrenheit 9/11 didn’t receive any Oscar nominations but did well at the Razzie Awards.

Little Man surpassed Colin Farrell’s disastrous performance in Alexander and successfully won the Razzie Award for Worst Actor.

In terms of film awards, Little Man had already successfully surpassed all U.S. presidents.

The biggest news of this year’s Razzies wasn’t Little Man but last year’s Oscar Best Actress Halle Berry personally accepting the Razzie Award for Worst Actress with her Oscar statuette in hand.

Catwoman directly downgraded Halle Berry’s career.

The Oscar curse had once again come true.

Similarly, The Lives of Others, which didn’t invest too many resources, performed much worse. The North American release scale never exceeded four hundred theaters, and the box office had only just reached nine million dollars.

Fortunately, Embassy Pictures had always been very rational, controlling the investment scale of The Lives of Others. Most of the film copies were shipped over after the UK theatrical run ended.

Although Crash was also niche, it ultimately told the story of Americans. After receiving multiple Oscar nominations, its market performance improved significantly. After two months of release, the North American box office had accumulated fifty-five million seven hundred and ninety thousand dollars, already bringing substantial profits.

Similar to The Pursuit of Happyness, major Oscar awards could also serve as a boost for Crash to enter overseas markets.

As time passed, more and more people entered the Kodak Theatre, including hot contenders like Million Dollar Baby.

Clint Eastwood was also nominated for Best Actor, with a certain chance of an upset.

As for the The Aviator crew led by Martin Scorsese and Leonardo DiCaprio, they were relatively quiet, probably realizing their likely fate as runners-up.

Compared to other films with multiple nominations, The Aviator had faced too much criticism since its release.

Many film critics even said that Martin Scorsese’s push for the Oscars was too unsightly.

Finally, amid music, the 77th Academy Awards ceremony began.

Perhaps considering the current social climate, the Oscar organizing committee had specifically chosen Chris Rock, a Black comedian, as the host.

Chris Rock joked and used all his skills to continuously clarify the stance of this year’s Oscars.

In terms from the other side of the Pacific, the atmosphere of tonight’s Oscars was best described as: “Our Black folks are truly, truly happy today.”

Some things were very obvious; anyone with discerning eyes could see them. The Academy of Motion Picture Arts and Sciences had gone to great lengths to carefully balance everything, aiming to be as politically correct as possible.

In the face of these efforts, film art was no longer important and had even become dispensable.

Those who still believed that film art alone could win an Oscar were simply too naive.

Tonight, the Oscars made Black brothers feel that they had stood up, and that was the most important thing.

Thus, the first award presented at this year’s Academy Awards ceremony, Best Supporting Actor, set the tone for the entire event.

“For Best Supporting Actor,” announced last year’s Best Supporting Actress Scarlett Johansson, “Morgan Freeman, Million Dollar Baby.”

Instantly, the entire venue erupted in extremely enthusiastic applause, as if this wasn’t a victory for film art but for social progress.

Morgan Freeman took the stage to accept the award. After the usual thanks, he loudly proclaimed, “Hollywood continues to make history. Hollywood is progressing with the world. I hope that one day, an actor’s race and skin color will no longer be mentioned as characteristics.”

The applause grew even louder.

Next, the technical awards began, and it was time for The Aviator.

The Oscars always liked to balance things out, considering all aspects, balancing competition between companies, and balancing various film orientations. Thus, technical awards and adapted screenplay awards became important chips in this balance. The Aviator was out of the running for major awards, but its excellent production deserved recognition.

Chapter 744: Dreams Come True

With four technical awards already in hand, everyone in the audience, including Ronan, could keenly sense the atmosphere of divvying up the spoils.

Under normal circumstances, films with multiple nominations would always walk away with at least one statuette. In many ways, the Oscars were deeply influenced by personal connections.

Cases like The Shawshank Redemption—where a critically acclaimed film was snubbed—had become rare in the past two or three decades.

It was simply a matter of the film’s subject matter not being recognized by Hollywood insiders.

By the midpoint of the ceremony, The Aviator had emerged as the biggest winner so far, securing Best Cinematography, Best Costume Design, Best Art Direction, and Best Sound—four statuettes in total.

Facing off against the other three major contenders—Crash, Million Dollar Baby, and The Pursuit of Happyness—The Aviator held a commanding 4-0 lead.

In Martin Scorsese’s eyes, Howard Hughes, the legendary Hollywood mogul and aviator, was no different from the Minotaur of Greek myth—a man cursed by the heavens, trapped in the center of a labyrinth with no escape.

Looking back at past Oscars, this seemed to mirror Scorsese’s own fate.

He had directed masterpieces like Raging Bull, Gangs of New York, and Taxi Driver, earning numerous Oscar nominations, yet time and again, he had fallen just short of winning Best Director or Best Picture.

The distribution of awards wasn’t just about individual films—it extended to the studios themselves.

The Lives of Others had just won Best Foreign Language Film for Relativity Entertainment, while March of the Penguins lost Best Documentary.

The winner was Born into Brothels, an Indian film.

Losing this award, Ronan actually felt a sense of relief.

This was no longer the era of the big studios. The Oscars wouldn’t allow one company to sweep too many awards with multiple films. Relativity’s ultimate goal had always been the two biggest prizes.

“Need me to comfort you?” Will Smith asked in a low voice.

“No need,” Ronan replied, keeping his voice down. “For March of the Penguins, Best Documentary was just icing on the cake.”

The film’s North American box office alone had earned Embassy Pictures over ten million dollars.

And that was before its home release.

Unlike Fahrenheit 9/11, which relied on gimmicks, March of the Penguins succeeded purely on content, making it a textbook example of a commercially successful documentary.

This year’s Oscars remained as politically charged as ever, with the most prestigious performance slot going to Beyoncé, the Black superstar.

As the awards were handed out one by one, joy and disappointment spread through the crowd.

This year’s Oscars lacked the dominance of last year’s Lord of the Rings—no single film was sweeping the board. The competition was fierce and evenly matched. Losing didn’t mean total humiliation, and winning didn’t mean an unstoppable triumph.

Then, Relativity Entertainment received its second statuette of the night.

Paul Haggis won Best Original Screenplay.

This was a crucial award. In most cases, the film that ultimately won Best Picture would also take home either Best Editing or Best Screenplay.

Similarly, Haggis winning Best Original Screenplay meant he was now out of the running for Best Director.

For a first-time Oscar nominee, winning such a major award was already an incredible achievement. What more could he ask for?

It truly felt like the awards were being carved up. Million Dollar Baby took Best Editing.

Some things were so perfectly timed that they made you suspicious. Once the results were in, only the two representatives from PricewaterhouseCoopers knew for sure.

But the Oscars still maintained a basic level of credibility.

They hadn’t yet reached the point where even the most important awards were handed out incorrectly.

As the ceremony neared its end, the awards grew more prestigious. Kate Blanchett won Best Supporting Actress.

The Aviator seemed poised for a comeback.

But to the discerning eye, this was clearly the Academy’s old guard paying homage to the so-called Golden Age.

Blanchett’s role was named Katharine Hepburn.

After all, Katharine Hepburn had passed away in 2003.

This was less a victory for Blanchett and more a tribute to Hepburn’s legacy.

In Hollywood, deceased stars always held more sway than the living—even Hepburn, who had been labeled “box office poison.” Martin Scorsese had mentioned this in interviews during the film’s release.

The standards for judging stars in Hollywood’s Golden Age differed from those in this thoroughly commercialized era.

That was why so many box office giants were overlooked by the Academy’s old guard.

Instead, actresses like Hilary Swank, who fit the Academy’s ideal of a “serious actor,” continued to thrive at the Oscars.

After Boys Don’t Cry, this unassuming actress—who perfectly embodied the Academy’s vision of a great performer—won Best Actress again for Million Dollar Baby.

Hilary Swank, a girl who grew up in a trailer in a rundown parking lot, was the quintessential Hollywood dreamer, a one-in-a-million success story.

Hilary Swank’s dream had come true once more.

Only she knew the true cost of that success.

This year’s Best Actress race was fiercely competitive, with Swank facing off against the likes of Annette Bening and Kate Winslet.

Blanchett’s role was substantial enough to warrant a Best Actress nomination, and she likely would have secured one.

But after the successes of Catherine Zeta-Jones and Scarlett Johansson, the Australian powerhouse had taken note and voluntarily dropped to Best Supporting Actress, ultimately winning the statuette.

At the Oscars, campaigning had long become the most critical factor in winning.

As Hilary Swank stepped offstage, Charlize Theron walked onto the Oscar stage in time with the music.

As last year’s Best Actress winner, the South African beauty was there to present Best Actor.

From his seat, Ronan could see the tension beneath Will Smith’s composed smile.

The circumstances this year were perfect. If he didn’t win Best Actor now, Will Smith might have to wait indefinitely.

“You ready to go up there?” Ronan asked.

Will Smith licked his slightly dry lips. “I’m worried I won’t make it.”

Ronan, ever tactless, replied, “Then wait for next year.”

His words left Will Smith momentarily speechless.

He shot Ronan a glance, deciding not to engage further.

Ronan turned his attention back to Charlize Theron on stage.

Dressed to perfection, she was the ideal model—tall, broad-shouldered, the perfect frame for any outfit.

She was born for action roles.

Her imposing physique made her action scenes incredibly convincing, much like Sigourney Weaver in Alien or Linda Hamilton in Terminator 2. Fighting men and monsters came naturally to her, without seeming out of place.

Charlize Theron was an upgraded version of both—more aligned with mainstream aesthetics.

“This year’s Oscars are taking place at an extraordinary moment,” she began, effortlessly selling her persona. “Many are fighting for their rightful place in society, and all of Hollywood is standing with them. This is a cause that all women are fighting for. I think of so many women like me who have worked tirelessly for years, seeing no hope, only to give up. But I believe we must persist. This isn’t just a story people keep talking about—it’s a social reality that continues to progress.”

Whether this was part of the script or Charlize’s own words, if it was hers, it would have certainly been approved by the Oscar committee.

Ronan saw another side of Hollywood—the rising tide of the women’s movement.

A massive wave of political correctness was sweeping through the industry.

Charlize opened the envelope, glanced inside, and smiled. “This year’s Best Actor is Will Smith for The Pursuit of Happyness.”

As expected, the heavy favorite took the prize.

Given the current social climate, it was a widely anticipated victory.

Applause erupted once more in the Kodak Theatre. Many Black actors stood, clapping in tribute, then raised their arms, signaling for others to join them.

In this special moment, for this special group, the entire audience rose to their feet, offering the most enthusiastic applause.

Will Smith hugged every member of his team, finally pulling Ronan into a tight embrace. “Thank you, Ronan. None of this would have happened without you.”

Ronan patted his back lightly. “This is your moment.”

Amid the thunderous applause, Will Smith walked onto the stage and accepted the statuette from Charlize Theron.

This was a victory for Will Smith—and for Relativity Entertainment.

For the first time since its founding, Relativity had secured one of the four major Oscar statuettes.

The Oscars had a reputation for favoring underdogs, but this year was no exception. Everything unfolded as predicted, with no surprises.

Even as Hollywood’s most staunch conservative, despite the unfavorable social climate, Clint Eastwood still took home Best Director.

This aligned with Eastwood’s style—stubborn in action, rarely in words.

Though a Californian, Clint Eastwood was more like a Texas redneck.

The ceremony reached its climax as Crash won Best Picture, making Relativity the night’s biggest winner.

Chapter 745: An Outsider

The 77th Academy Awards had come to a close, and Relativity Entertainment emerged as one of the biggest winners among all film companies, taking home two of the most prestigious statuettes—Best Actor and Best Picture.

However, these two statuettes would not ultimately belong to Relativity Entertainment. The first was the personal property of Will Smith, while the second was awarded to the production company.

Even though Embassy Pictures had bought out the copyright for Crash, this was no exception.

The economic benefits brought by the Oscar effect, however, had nothing to do with the production company.

The other two statuettes would also not be kept by Relativity Entertainment. The Best Documentary statuette belonged to the production company, and the Best Original Screenplay statuette was, of course, Paul Haggis’s property.

As the distributor of the film, Embassy Pictures would receive a corresponding replica of the statuette.

Currently, the Relativity Entertainment building was also under construction and renovation for a memorial hall, whose main purpose was to record the films under its banner that had left significant historical marks.

The Oscar awards were only one aspect; more importantly, films like The Bourne Identity, Pirates of the Caribbean, and The Purge had made major economic contributions to the development of Relativity Entertainment.

After all, Relativity Entertainment was a commercial company, not an artistic institution.

After the awards ceremony, Ronan temporarily became a lone figure, preparing to leave the Kodak Theatre and head to the “Oscar Night” party.

Scarlett Johansson came over.

“Good thing you didn’t leave yet.” Scarlett Johansson linked arms with Ronan. “There are too many people; it’s inconvenient to come through the backstage.”

Scarlett Johansson, just in her early twenties, looked radiant and charming. Youth was already a great asset, and with careful styling, she was no less stunning than she had been at the peak of her appearance in Iron Man 2.

Ronan led her out together. “You could have just waited for me near the entrance.”

Scarlett Johansson tightly held his arm. “If I waited, you might have run off with someone along the way.”

In a less crowded passage, Ronan carefully looked Scarlett Johansson over. “You look beautiful tonight.”

Scarlett Johansson leaned in and whispered, “I just got a new tattoo. Do you want to see it?”

Ronan wasn’t particularly interested in tattoos, but he wouldn’t interfere with others. He smiled and said, “Sure.”

“It’s not convenient here.” Scarlett Johansson’s words carried a different meaning. “I’ll show you when we get back.”

Ronan became interested and asked, “Oh, can you tell me where it is?”

Scarlett Johansson rolled her eyes. “It’s not what you’re thinking.” She suddenly changed the subject. “Actually, I considered getting your name tattooed on me.”

Ronan coughed lightly. “That would be an honor.”

When a woman got a man’s name tattooed on her, it usually meant only one thing.

“If you were my boyfriend.” Scarlett Johansson was quite expectant. “Ronan, I’d be willing to get your name tattooed anywhere on my body.”

Ronan said, “Tattoos hurt, though. I couldn’t bear to see you in pain.”

The words sounded nice, but to the person involved, they were somewhat unsatisfying.

“Mr. Anderson.”

Just as the two exited the side door of the Kodak Theatre, someone suddenly blocked Ronan and Scarlett Johansson’s path. “Are you Ronan Anderson? Can you accept our interview?”

Ronan looked over the reporter—black hair, black eyes, clearly an Easterner.

“You are?” Ronan waved his hand to dismiss the bodyguards who had gathered around.

The middle-aged reporter quickly motioned for the photographer to come closer and replied, “I’m a reporter from World Film Weekly at Eastern Television. Can I ask you a few questions?”

Scarlett Johansson was somewhat impatient. “Let’s go to the party. I want to take the elevator.”

“Wait a moment.” Ronan slightly comforted Scarlett Johansson and said to the middle-aged reporter, “Two minutes. Ask your questions.”

No matter what, there was a special sentiment toward people from the East.

Some things weren’t easily forgotten.

The middle-aged reporter quickly asked, switching to Chinese as he spoke. “Mr. Anderson, from what I understand, you speak very fluent Chinese and have a considerable understanding of Eastern culture.”

Ronan also switched to Chinese. “I wouldn’t say I understand it well, but I am very interested.”

The middle-aged reporter smiled and said, “At this year’s Academy Awards, House of Flying Daggers received nominations for Best Foreign Language Film and Best Cinematography but missed out on both. Your company successfully operated Hero in the North American market. Can you talk about Eastern films and the Oscars?”

This question was very broad and not easy to answer.

Ronan thought for a moment and said, “It’s not necessarily a bad thing. There’s no need for your films to be fixated on the Oscars.”

The middle-aged reporter was quite surprised by this and looked at Ronan in confusion.

Thinking of the many directors who had made eccentric films just to push for the Oscars, Ronan appropriately said, “The Oscars have strong regional and cultural characteristics, similar to other film festivals. No matter which country hosts it, it carries distinct national cultural characteristics. Your films taking an international route and entering the Oscars, even getting nominated, is a good thing. But winning an Oscar is something that films outside North America can only hope for but not demand. If you win, everyone is happy; if you don’t, there’s no need to be discouraged.”

The middle-aged reporter was experienced and pondered this.

Facing reporters from other countries, including North America, Ronan wouldn’t say so much. Driven by past emotions, he further said, “You and the Oscars belong to completely different cultural circles. There’s no need to cater to the Oscars when making films. The best films for your culture and market are the good films. You don’t need to take the Oscars’ various awards too seriously.”

He didn’t speak very quickly, but what he said was somewhat unconventional for Eastern filmmakers of this era. “The Oscars are ultimately Hollywood’s festival, very localized, very Hollywood. That’s why the Oscars only have one award for foreign language films. The Oscars are a grand show that Hollywood films present to the world, and the facts prove that this show is quite successful because the films that truly attract worldwide attention at this show are Hollywood films. That’s why the whole world is screening Hollywood films.”

Time and again, Eastern films had pushed for the Oscars. The middle-aged reporter didn’t dare to say for sure whether Eastern films had developed an Oscar complex, but one thing was very clear: if a film had an “Oscar” label, its box office would definitely soar.

The middle-aged reporter couldn’t help but ask, “What do you think Eastern films should do?”

Ronan slightly shrugged. “I’m not too sure about that. For the Eastern film industry, I’m an outsider. As you say, what I’m saying might be called ‘easy to say when you’re not the one suffering.’”

The middle-aged reporter couldn’t help but laugh. This man really understood Eastern culture. He quickly said, “Mr. Anderson, please speak from an outsider’s perspective.”

“I make commercial films, so I’ll speak from that aspect.” Ronan also hoped that his colleagues on the other side could avoid some detours. “For you, first, you need to gain the love of Eastern audiences and truly develop the film market. The development potential of your market even exceeds that of North America. Do your own film market well, don’t have too many distractions, work hard on making films, and maybe one day Hollywood will come looking for you.”

The middle-aged reporter thought the previous opinions were very sincere, but he didn’t believe the last part and took it as politeness.

Ronan had said all he needed to say. This interview might not be broadcast, and even if it was, there might not be anyone to listen. These were all beyond his control.

He waved his hand, and the black Rolls-Royce Phantom drove over. The bodyguards blocked the reporter who still wanted to continue asking questions.

Ronan and Scarlett Johansson got into the car one after another and headed to the “Oscar Night” party.

“You rarely say so much to reporters.” Scarlett Johansson was very curious.

Ronan smiled and casually made up a reason. “Because the Eastern film market has broad prospects. They have a population of over a billion. Once the film market develops, it will inevitably become the world’s second-largest single film market after North America.”

Scarlett Johansson subconsciously asked, “Is that possible?”

Ronan kindly said, “If you handle your relationship with them well, even if you’re not popular in North America in the future, with the support of such a huge overseas film market, you can still secure your place as a top-tier Hollywood star.”

The former Fan Guangtou could be said to be a typical example in this regard.

Scarlett Johansson was very shrewd in her dealings with people, but she was somewhat naive about such matters. However, the concepts formed over the past few years made her subconsciously believe that what Ronan said must be correct, and she unconsciously took it to heart.

Arriving at the Oscar Night party, Ronan went to greet Tina Brown and let Scarlett Johansson move freely. He had originally wanted to find a few people to chat with.

But people coming to congratulate him were endless—from actors to directors to producers, all coming to get close to him.

Some even took the opportunity to promote their projects.

After all, the news of someone successfully promoting a project at last year’s Oscar Night party had long spread through Hollywood.

But Ronan clearly didn’t have last year’s luck and didn’t encounter a project like The Aviator.

The film projects mentioned by several directors and producers were ones he couldn’t recall no matter how hard he tried.

He simply had them send the scripts directly to Shai Entertainment.

Finally managing to escape the entanglement of these people, Ronan first found a quiet place to catch his breath. When the The Aviator crew gradually dispersed, he walked over, intending to talk to Martin Scorsese.

If it were anyone else, Ronan definitely wouldn’t appear in person, but for a director at Martin Scorsese’s level, his status and price were basically very stable unless he suffered two or three major film failures in a row.

The Aviator wasn’t a success, but it had limited Martin Scorsese’s price from continuing to rise.

Chapter 746: Persistence Through Defeat

“Congratulations, Ronan…”

Martin Scorsese had met Ronan at previous gatherings. “Tonight, you and Relativity Entertainment are the biggest winners.”

Ronan modestly replied, “Just lucky. The film happened to align with the social climate.”

Martin Scorsese said, “The success of Crash and The Pursuit of Happyness can’t be explained by luck alone.”

Ronan didn’t continue with false modesty. Instead, he said, “Martin, I came over mainly to discuss something with you.”

Standing across from him was one of Hollywood’s most powerful figures in recent years. Martin Scorsese had never thought the other man was here to gloat as a winner.

Martin Scorsese adjusted his glasses. “Go ahead.”

Ronan got straight to the point. “Martin, I was wondering if you’re still interested in the Oscars.”

Both were industry insiders, so Martin Scorsese didn’t deny it. “I’m getting old. I might retire soon, but I’m determined to win Best Director or Best Picture.”

As one of the four great directors of the eighties, Martin Scorsese had the confidence to back his ambition.

“Relativity Entertainment has a new project,” Ronan said slowly. “Will Smith and Tom Cruise have already confirmed their roles as the two leads.”

Hearing those two names, Martin Scorsese felt a stir. Good actors wanted to work with good directors, and good directors wanted to work with good actors.

Ronan continued, “The film’s genre is your specialty—gangster films.”

“Gangster films?” Martin Scorsese was skeptical. “Ronan, the Oscars have never favored gangster films.”

This was a lesson he had learned over the past twenty-plus years.

Ronan calmly replied, “The Oscars are changing. If this were the past, would Will have won Best Actor?” He simply stated, “Martin, in my personal opinion, the Oscars will certainly recognize you. Of the four great directors from back then, George left the Directors Guild and is no longer eligible for Oscar consideration. Steven and Francis have already won Best Director and Best Picture.”

Martin Scorsese fell silent. Of his three old friends, George Lucas had no interest in this, while Steven Spielberg and Francis Ford Coppola had not only won the Oscar for Best Director but had done so multiple times.

Meanwhile, he was still struggling on the path to the Oscars.

Ronan’s point was that Martin Scorsese had the credentials, the ability, the connections, and a large body of excellent work. The Oscars would definitely recognize him. Even if it wasn’t for The Departed, another film would win.

But there was a prerequisite: he couldn’t make a mess of it like The Aviator.

This biographical film about Howard Hughes didn’t feel like a Martin Scorsese film at all.

In other words, The Aviator wasn’t just not Martin Scorsese’s best work—it was below his average.

If it weren’t for the excellent PR, it might not have even gotten an Oscar nomination.

“My personal view,” Ronan added, “is that the Oscar judges are just waiting for the right opportunity. So, Martin, why not make a film in the genre you’re best at?”

Martin Scorsese frowned slightly. “If anyone else said this to me, I wouldn’t believe them. But you, Ronan—your judgment makes me hesitate.”

Ronan smiled. “Think it over carefully, Martin. If you’re interested, contact Shai Entertainment to look at the project’s theme and script before deciding anything else.”

Martin Scorsese nodded. “I’ll think it over carefully.”

“Oh, one more thing,” Ronan said in advance. “This project is aimed at the 79th Oscars. The overall budget is limited, so the salaries might not be very high.”

“I understand,” Martin Scorsese said. This wasn’t his first time making an independent film for awards.

With that, Ronan had basically achieved his goal. He had said what needed to be said. If Martin Scorsese wanted to direct, he would let Shai Entertainment start negotiations. If there was no response later, he would look for another director.

The party continued, and the Oscar gift bags began to be distributed.

This was an annual tradition, a way for the Academy to reward the guests and nominees for their support.

As the pinnacle of film celebrations, the Oscars had a very practical way of consoling the disappointed. It was well known that while the Oscars had dozens of awards, only a minority took home the statuette. Over eighty percent of nominees still left empty-handed.

Giving gift bags to the attending stars after the Oscar ceremony had become a traditional consolation prize.

All the gifts were placed in a specific package. On the outside, the losers would read a particularly sentimental message, roughly meaning that not winning didn’t prove they lacked talent, and that there were no losers at the Oscars.

Of course, the Academy didn’t pay for these expensive gifts.

Before the awards ceremony, the Academy held a “bidding war.” Advertisers who couldn’t spend money on clothing or TV ads wouldn’t miss this opportunity. They would compete to be the “gift bag” sponsors.

The stars at the forefront of fashion received free gifts, and the advertising sponsors took the opportunity to increase brand awareness—a win-win situation.

It was like some school sports days Ronan had participated in, where classes that didn’t rank well received a fairness award or a spiritual civilization award.

As a child, he thought getting any award was good. Many years later, he realized it was a consolation prize.

A fan had once said online that Leonardo DiCaprio had received super gift bags for over a decade. How tormented his heart must have been.

Most people probably couldn’t understand, but Martin Scorsese might.

This year’s gift bag was worth fifty thousand dollars. After receiving it, Ronan, as usual, handed it to his assistant, Connie.

Scarlett Johansson also gave her gift bag to her assistant.

The two left the banquet hall one after the other, a tacit understanding between them. Ronan had already arranged for Connie to book the presidential suite with a dedicated elevator at the hotel.

Stepping into the elevator, Scarlett Johansson was full of surprise. “This is the same elevator we used the first time.”

Ronan said, “A return to the old haunt.”

Scarlett Johansson winked. “Want to see my tattoo?”

Ronan crossed his arms and leaned against the elevator. “I’m waiting to appreciate it.”

Soon, he discovered that Scarlett Johansson had a horse tattooed on her lower back.

“Why a horse?” Ronan asked.

Scarlett Johansson gave an unexpected answer. “I heard you’ve been riding horses a lot lately. This way, you’ll have the feeling of riding a horse.”

Riding a horse wasn’t like driving a car—step on the gas to go, step on the brake to stop.

A horse could sense whether you knew how to ride. If it realized you didn’t, it would mock you, bully you, ignore you, or even flip you over and ride you instead.

So, as a rider, you had to have excellent horsemanship.

Oscar night—a sleepless night.

That night, countless people slept in beds that weren’t their own.

When dawn broke, Oscar news washed away all the gossip.

“Relativity Entertainment, the biggest winner of the 77th Oscar Awards.”

There were many similar headlines.

But more were defending Martin Scorsese. Most of the media that defended him hadn’t believed he would win Best Director before the ceremony.

Some had even criticized Martin Scorsese’s desperate attempts to win an Oscar and torn The Aviator to shreds.

This was the entertainment media—always chasing sensational headlines.

Thus, Martin Scorsese, who had endured countless media attacks and belittlement before the awards, began to receive praise.

For example, The Hollywood Reporter had previously condemned Martin Scorsese for abandoning his strengths in humanistic care and social analysis, choosing instead the superficial glamour of The Departed and the unattainable dreamer theme, calling it a betrayal of himself.

But after the awards, they praised the old Martin: a truly excellent director, a truly outstanding master, a true uncrowned king.

No matter how you looked at it, reason always lay with those who controlled public opinion.

Then there was The New York Times: Perhaps Martin Scorsese would never win a statuette and would only, like his predecessor Alfred Hitchcock, hold a lifetime achievement award, saying a meaningless “thank you” to the equally awkward judges below. But fortunately, giants did not sink because of this. Martin Scorsese entered Relativity Tower, preparing to collaborate with Shai Entertainment on a brand-new film.

Just three days after the 77th Oscar Awards, Martin Scorsese, accompanied by his manager, arrived at Shai Entertainment and spoke with George Clinton for two full hours before taking the scripts for The Departed and the project proposal.

The Aviator’s failure was far from enough to defeat Martin Scorsese. This veteran director’s Oscar journey could be described as “defeated again and again, yet fighting on.”

Perhaps using a phrase from soccer on the other side of the Pacific wasn’t quite fitting, but another phrase was more artistic: “A hero in his twilight years, his ambition undimmed.”

Soon after receiving the script, Martin Scorsese personally called Ronan, expressing interest in the script and story. But before deciding whether to take it on, he wanted to meet with the original author and the two leads in person.

This was a responsible approach for a director. Once a film project involved millions of dollars in investment, it became a complex undertaking that required both attention and caution.

Ronan called Tom Cruise and Will Smith, having their agents coordinate a meeting time with Martin Scorsese’s manager. He also had George Clinton contact Andrew Lau in Hong Kong.

Chapter 747: A Fresh New Look

Later, Ronan joined the discussion as a producer alongside Martin Scorsese, Tom Cruise, Will Smith, and Andrew Lau.

Additionally, the two screenwriters responsible for adapting the script into an American version were also present.

In such a custom project, the screenwriters had little say, especially in the face of the group assembled in the conference room.

From Hong Kong to Boston, the main plot and framework of the film remained unchanged, but the story’s background and character settings had undergone a complete transformation.

There was no romanticism of wind, flowers, snow, and moon—only the cruelty of facing fate.

To put it simply, when fate or others came crashing down, the response was not poetic sentiment but a fierce counterattack.

Thus, the script contained a certain word starting with “f” over three hundred times.

This project, filmed in Hollywood, would inevitably emerge with a fresh new look tailored to North American market aesthetics.

Ronan looked at the people in the conference room, his gaze finally settling on Martin Scorsese. “This isn’t a simple remake,” he said. “It’s an entirely new creation—a story of an American gang, produced by Shai Entertainment.”

Martin Scorsese nodded slightly. Over this period, he had watched the Infernal Affairs trilogy. While the third installment had somewhat dragged down the series’ quality, the first two were indeed exceptionally well-made.

Andrew Lau asked, “Can we try to preserve the original’s characteristics as much as possible?”

Among them, he was the most reluctant. He had sold the North American rights and remake rights for the series at a bargain price.

The latter, in particular, was practically a lavish gift.

But he respected the contract. Having Hollywood remake his film was also an honor, and despite his reluctance, he felt fortunate.

“I am fascinated by this great story,” Martin Scorsese said, respecting the original creator but also holding firm to his own vision. “But we must realize that shifting from Hong Kong to Boston means that even with the same story, the characters supporting it should be entirely different. While I adore how every character in Infernal Affairs is so meticulously calculated, my idea aligns with Ronan’s—I want to create an American tragedy, not an Eastern one.”

He emphasized, “The script is excellent. Once a person is forced to separate from the life they know, a tragic end is inevitable.”

Ronan slowly nodded. “Andrew, you can’t expect two American thugs to recite romantic and poetic lines on a rooftop.”

Andrew Lau opened his mouth but ultimately said nothing.

The Infernal Affairs he directed perfectly embodied Eastern cultural aesthetics. Even thugs had culture, making it a typical black crime film beloved by Eastern audiences.

Hong Kong films about gangs always carried a romantic air. For example, Wong Jing’s Young and Dangerous series depicted a group of lowly hoodlums whose deeds moved heaven and earth, touching countless people.

One of the previously silent screenwriters spoke up, “The Departed is not a copy of Infernal Affairs. We were only inspired by the human nature in the story during our creation.”

The other screenwriter added, “Apart from borrowing the same story thread, our script is worlds apart from the Hong Kong version. What truly moves people here isn’t the intricate character relationships but the strongest, most indomitable side of human nature.”

Their words carried the arrogance typical of American and Hollywood attitudes.

Ronan raised his hand, stopping the two from continuing. After all, this was a remake, and further discussion was pointless.

Andrew Lau, having long navigated the chaotic Hong Kong entertainment industry, was unfazed by such behavior.

While the major figures like Ronan were easy to work with, the two unknown screenwriters occasionally made snide remarks.

This was the American version of “the king of hell is easy to deal with, but the little devils are troublesome.”

Tom Cruise and Will Smith didn’t say much. They had already confirmed their roles as the two leads and firmly believed in Ronan’s vision.

Perhaps, among those present, they trusted Ronan’s ability to make this project a success the most.

“You’re best at directing gangster films, Martin,” Ronan said. “I’d like to hear your thoughts.”

Martin Scorsese lacked the arrogance of a great director. Perhaps the consecutive Oscar losses over the past two years had made him more clear-headed. “This differs greatly from my previous films. Not only is the setting moved to Boston, and the protagonists changed to Irish gangsters, but it’s also my first time exploring themes involving the internal corruption of American police institutions.”

Although he had directed numerous gangster films, Martin Scorsese’s works rarely directly involved government departments.

Ronan said, “That won’t be a problem. I can guarantee that no relevant institutions will pressure you or the crew.”

With Relativity Entertainment’s current strength, ordinary pressures were not an issue.

Moreover, from Washington, D.C. to various state governments, these were the most common scapegoats in films.

One of the screenwriters said, “We conducted research in Boston. Corruption is not uncommon there; it was even a prevalent issue at one point.”

The other screenwriter added, “In South Boston, from the early 1970s to a few years ago, Irish gangs controlled the city’s underground criminal organizations. They were the absolute core of crime. Why could Irish criminals run rampant in Boston for nearly thirty years? It’s inseparable from the corruption within the police.”

“Two young men are forced into a world completely opposite to their expectations,” Martin Scorsese seemed to be considering the script and film planning. “Living a nerve-wracking, inhuman life within the police institution and the gang organization.”

He looked at Will Smith and Tom Cruise. “Although they are two completely different roles, they share a commonality—one chose this path, the other chose another. Both paths are roads of no return.”

Will Smith timely said, “I’ve arranged with the Los Angeles Police Department. I’ll experience life there for about two months, accompanying officers on patrols, participating in some casework, and so on.”

Tom Cruise helplessly spread his hands. “In terms of experiencing life, I can’t compare to Will. I can’t exactly go undercover in a gang.” Everyone in the room laughed, and he himself laughed. “CAA is using connections to contact the FBI. They will introduce me to one or two retired agents who have experience with undercover work. Through them, I’ll gain a more intuitive understanding of undercover operations.”

Hearing the two Hollywood superstars speak like this, Andrew Lau sighed inwardly. It was no wonder Hollywood films dominated the world, while Hong Kong films…

Although the Infernal Affairs trilogy was considered a savior for Hong Kong cinema by the media and industry, after the trilogy’s release, looking back, apart from the box office of Infernal Affairs itself, Hong Kong cinema was still in a stagnant state.

Two originally comparable global film production centers—why had their development diverged so drastically? It wasn’t just a matter of industrial and technological gaps.

Tom Cruise and Will Smith’s professionalism, ability, and influence were undeniable. Martin Scorsese also enjoyed working with top actors. Although he had collaborated with Leonardo DiCaprio twice in a row, working with these two superstars was not inferior.

“I accept your invitation, Ronan,” Martin Scorsese made his decision. “Have your people discuss the specifics with my manager.”

To push for the Oscars, he could lower his salary. That was nothing compared to the Oscar statuette.

Taking on this directorial role, Martin Scorsese felt the subject matter was excellent and very suitable for his style. Additionally, Relativity Entertainment’s recent Oscar track record had been improving.

Especially this year, they had taken two of the four major awards.

After two consecutive years of pushing for the Oscars, Martin Scorsese deeply understood that while the film was important, the operation behind it was even more crucial.

Harvey Weinstein and Miramax were entangled in Walt Disney’s internal struggles and couldn’t break free anytime soon. Given the current situation, Ronan Anderson and his Relativity Entertainment were the most suitable choice.

Ronan wouldn’t interfere with the specific negotiations. Given Martin Scorsese’s Oscar aspirations, he wouldn’t demand excessive conditions.

Ronan said, “The production budget for the project is seventy million dollars. However, the film needs to be shot on location in Boston. Shai Entertainment has reached an agreement with the state of Massachusetts, which will provide a fifteen percent tax rebate for the crew.”

Will Smith and Tom Cruise, of course, had no objections.

Martin Scorsese said, “I have no issues.” But then he added, “For such a subject, the crew will need to hire professional technical consultants, preferably senior figures from the Boston police.”

Shai Entertainment had already done much of the groundwork. Ronan said, “Shai Entertainment has already made arrangements. After the crew is established, we will hire retired detective Thomas Duff, who worked in the Boston Police Department for over thirty years, as a special consultant. He specializes in investigating organized crime and participated in the conviction investigation of the most notorious gang leader in South Boston. The main antagonist in the script is partially based on this gangster’s criminal history.”

In reality, this hire didn’t involve any direct monetary cost. Thomas Duff was very interested in Hollywood films, and his only condition was to have a cameo in the movie.

Martin Scorsese said, “I don’t have any other questions for now. If I have any further thoughts, I’ll communicate with you promptly.”

Ronan finally said, “This film will begin preparations this year and be released during the 2006 awards season, targeting the 79th Academy Awards.”

The meeting concluded, and the crew for The Departed was subsequently established. Once Shai Entertainment signed the directorial agreement with Martin Scorsese, the official preparations would begin.

Chapter 748: The Midas Touch

Due to the strong mutual interest in collaboration, negotiations proceeded swiftly toward a final agreement. Before the next weekend arrived, Shai Entertainment had essentially reached a consensus with Martin Scorsese’s agent on the most critical aspect—the director’s salary.

Martin Scorsese’s directing fee was set at six million dollars, a decrease from the eight million he earned for The Aviator but matching his salary for Gangs of New York.

Given his personal style and lack of strong commercial appeal, Scorsese’s highest salary had been the eight million for The Aviator, despite his illustrious reputation. Previously, his fees had hovered around five million for years.

With the most crucial salary agreement in place, the collaboration between the two parties was unlikely to encounter any further surprises. Though no formal contract had been signed yet, Scorsese had already assembled his long-time production team and officially joined the crew to begin preparations for The Departed.

In addition to retired Boston detective Thomas Duff, Andrew Lau also joined the crew as a special advisor.

Scorsese worked with remarkable efficiency and immediately discussed potential candidates for the other main roles with Ronan.

For instance, he suggested casting Mel Gibson as the main antagonist, Frank.

Ronan rejected the idea outright. While Gibson was indeed well-suited for the role, his legal battle with Embassy Pictures over copyright issues had ended in defeat, and he had vowed never to work with Relativity Entertainment again.

Of course, in the business world, such vows often held as much weight as flatulence.

But even if Gibson were willing to take the role, Ronan would not collaborate with him. From what he recalled, Gibson had been self-destructive in recent years.

This was different from the self-destructive behavior of drinking or drug use. As long as filming was complete, such habits did not bring too many negative consequences. But Gibson’s self-destructive tendencies would severely drag down the film’s market performance.

It could even prevent The Departed from winning any awards during the awards season.

As for Scorsese’s recommendations for the female lead, Madolyn—either Kate Winslet or the newly crowned Oscar winner Hilary Swank—Ronan politely declined both.

The latter had just won the Oscar for Best Actress, and the Oscar curse often haunted Best Actress winners. Moreover, her salary was not cheap.

Kate Winslet was even more out of the question. For such a minor role, there was no need to allocate too much of the salary budget.

Ronan did have a suitable candidate in mind—Jessica Chastain, whom he had met on the set of Iron Man. She was a talented and highly professional actress.

After discussing it with Scorsese, the female lead would be cast through auditions. Ronan also sent an audition invitation to Jessica Chastain.

At Ronan’s level, when it came to casting actors, as long as he deemed them suitable, sending an audition invitation was sufficient. There was no need to consider other factors.

In other words, if Ronan wanted to, promoting an actor to stardom was not difficult.

Jessica Chastain had left a strong impression on Ronan. As a producer, he naturally appreciated actors with high professionalism and dedication.

Johnny Depp’s performance during the filming of the latter two Pirates of the Caribbean movies had been disastrous. He was the kind of actor producers despised the most.

However, actors like Depp, as long as they had sufficient commercial value, would still be among the most sought-after in Hollywood.

But they must never decline. Once they did, the countless actors, media, directors, and producers they had offended in the past would all come forward, eager to push them down, as if everyone wanted to beat a fallen dog.

When Johnny Depp’s negative news broke, he seemed to become the world’s public enemy.

For the main antagonist Frank, the crew ultimately decided, following Ronan’s suggestion, to invite Jack Nicholson for an audition.

This was, of course, just one of the candidates. The crew needed to consider various factors, one of which was the salary budget.

Nicholson accepted the audition invitation. The veteran actor called his former lover, Meryl Streep, and expressed that after starring in a series of comedies, he hoped to play a villain again. He believed that Frank in the script was the ultimate embodiment of evil.

One cannot overlook the fact that Ronan, as a universally recognized golden producer in the industry, already had a strong appeal to actors. Combined with Martin Scorsese, the attraction was exponentially greater than the sum of its parts.

As the new weekend arrived, films that had gained recognition at the Oscar ceremony began to benefit from the Oscar effect.

As the most prestigious film award in North America, it was well known that the Oscars were not just about handing out statuettes. The subsequent boost to commercial revenues, including box office earnings, was evident.

The Lives of Others, the German-language film that won Best Foreign Language Film, experienced a significant surge due to the Oscar effect.

During the first weekend of March, The Lives of Others expanded its screenings to 490 theaters in North America, earning six million one hundred twenty thousand dollars over the weekend. Its North American box office cumulative total approached twenty million dollars.

Since the limited release weekend, this was the first time The Lives of Others had exceeded ten thousand dollars in per-theater earnings over a weekend.

The previously overlooked underdog, thanks to the Oscar for Best Foreign Language Film, began to see a dramatic increase in revenue.

Embassy Pictures estimated that the Oscar effect would last for three to four weekends on this film.

In comparison, The Pursuit of Happyness, which had already surpassed two hundred million dollars at the North American box office, received a limited boost from the Oscar effect. This biographical film already had strong commercial appeal and had achieved tremendous commercial success.

This weekend, The Pursuit of Happyness saw a slight increase in North American box office earnings, taking in seven million one hundred eleven thousand dollars, bringing its North American cumulative total to two hundred twenty-one million two thousand dollars.

However, the film began a wide overseas release this weekend, appearing in theaters in over thirty countries and regions, including Europe, Latin America, Asia, and Australia. Stimulated by Will Smith’s Oscar win for Best Actor, the overseas opening weekend grossed sixty-two million eight hundred ninety thousand dollars.

In the following weeks, The Pursuit of Happyness would appear in even more overseas markets, with the final overseas box office expected to potentially reach two hundred million dollars.

The Pursuit of Happyness also passed the scrutiny of a certain “Big Scissors” on the other side of the Pacific and would enter the Eastern film market through official channels.

Now, the training institutions on the other side of the Pacific, which only sang “Grateful Heart,” were too monotonous. They should add a bowl of more flavorful chicken soup.

“Grateful Heart” paired with The Pursuit of Happyness—a perfect match.

The trainees on the other side of the Pacific had very happy days ahead.

As the Best Picture winner of this year’s Oscars, Crash also benefited significantly from the Oscar effect.

The film expanded its screenings to over 2,600 theaters, earning fourteen million seven hundred ten thousand dollars over the weekend. Its North American box office surpassed eighty million dollars, with a good chance of reaching one hundred million in North America.

Similarly, Crash appeared in multiple overseas markets. However, due to its highly Americanized themes and content, it did not enjoy the same commercial market boost as The Pursuit of Happyness, which benefited from Will Smith’s star power. The overseas opening weekend only brought in twenty-one million one hundred forty thousand dollars.

This purely American film, even with the Oscar Best Picture effect, would only achieve overseas box office earnings of around fifty to sixty million dollars.

But for a film with a total investment of only twelve million dollars, including buyout rights, distribution, and PR, the profits from Crash were still astonishingly high.

Operating the Oscars could generate considerable profit returns; otherwise, so many films would not be vying to participate in this game of fame and fortune.

The Oscars’ “Midas Touch,” after opening the door to the prosperity of the Oscar economy, became an unstoppable force.

Under the golden signboard, both box office and actors benefited greatly, reaping substantial profits.

For a film, the appeal of the Oscars lay not only in good reputation, supreme honor, and soaring box office but also in the subsequent series of commercial benefits it brought.

Several TV stations across the United States had already begun negotiations with Embassy Pictures for the first-round television broadcasting rights of Crash and The Pursuit of Happyness.

The first-round television broadcasting rights for The Pursuit of Happyness, with its stronger commercial appeal, had already been bid up to fifteen million dollars.

Even for a niche film like Crash, with the Oscar Best Picture statuette, the first-round television broadcasting rights had been bid up to nine million dollars.

As for subsequent second-round television broadcasts, online streaming, and DVD sales, all would generate considerable income.

The films from Relativity Entertainment were not the only ones enjoying such benefits. Million Dollar Baby and The Aviator, which won multiple technical awards, also saw significant increases in revenue. After this weekend, both films had surpassed one hundred million dollars at the North American box office.

From these examples, it was easy to see the true nature of the Oscars as a commercial game.

In fact, The Hollywood Reporter had conducted a highly professional statistical analysis. Over the past fifteen years, a film that won a major Oscar award saw an average increase of thirty million dollars in North American revenue and an average increase of twenty million dollars in various overseas revenues.

The winners were not just the films and film companies; the Best Actor and Best Actress winners saw their market value multiply.

The Oscar effect was a force that could not be ignored. To a large extent, it determined which films would be remembered by people.

For film enthusiasts, the Oscars represented recognition of a film’s quality and entertainment value. For actors, directors, and screenwriters, the Oscars symbolized professional ability and achievement, as well as more opportunities in their future careers. For producers, the Oscars meant box office appeal and higher revenue.

As Relativity Entertainment increased its investment in the Oscar game and planned key Oscar-contending projects for the coming years, the future battle for the Oscars would undoubtedly become even more intense.

The Oscars had passed, but the entertainment industry continued to develop. Ronan, in collaboration with Tom Cruise, began to promote a new plan.

This plan would take a long time to unfold.

Chapter 749: The Charity Foundation

Los Angeles satellite city Venice, St. Florence Sanatorium was located here.

Ronan arrived at St. Florence Sanatorium by car and met Tom Cruise at the entrance, who had already been in contact with him. Both had brought several media reporters with them.

St. Florence Sanatorium primarily treated patients with amyotrophic lateral sclerosis (ALS). Ronan and Tom Cruise had come this time to do charity work.

As for the media reporters, they were a necessity for celebrity charity events.

In Ronan’s view, charity with a purpose was still charity, and it was better than doing nothing at all.

Moreover, having a purpose meant having motivation, and individuals or companies could often persist in their efforts.

For example, Leonardo DiCaprio had maintained his environmental persona for over twenty years and had been promoting environmental causes in various ways.

This could be considered a typical example of purposeful charity. During several major forest fires in the past, Leonardo’s charity foundation had made significant donations.

Compared to those who criticized him online for putting on a show, he had done so much more.

Tom Cruise, dressed in a well-fitted suit, first shook hands with Ronan and then gestured to the media reporters. Accompanied by the person in charge of St. Florence Sanatorium, they walked in together.

“We currently have over one hundred ALS patients under our care.”

As they walked towards the ward building, the middle-aged male person in charge introduced the basic situation of St. Florence Sanatorium to Ronan and Tom Cruise: “The sanatorium is semi-public welfare in nature, only charging patients a very low basic fee, with the main source of funding coming from social donations.”

Ronan smiled and said, “Mr. Colt, your loving actions have helped many people. Please allow me to express my respect to you.”

Tom Cruise felt that Ronan had stolen his lines and said, “In the past, society and the public have overlooked the group of ALS patients. Today, I and Ronan are here to help you.”

“Thank you.” John Colt hurriedly said, “Thank you for your good deeds.”

This was not the first time someone had come to the sanatorium to make donations. Regardless of whether they had ulterior motives, John Colt welcomed them all, because the money and supplies donated by these people could effectively help those patients lying in bed.

Moreover, today’s situation was extraordinary. Perhaps more donations could be attracted later, completely improving the sanatorium’s treatment environment.

John Colt looked back at the several reporters and cameramen following behind. This was something that had not happened before.

He knew both of the people who had come today. Even if he didn’t know them, he had heard about them in the media.

Tom Cruise, one of the world’s top movie stars, not only had a net worth of hundreds of millions of dollars, but his every move was also closely watched by the media and the public.

Ronan Anderson was someone he was meeting for the first time, but there had been many reports about him in the media. He was a super-rich man in Hollywood, rumored to have a net worth of several billion dollars. In this month’s new issue of Vanity Fair magazine, Ronan Anderson was ranked first on last year’s Hollywood power list.

The publicity effect that these two figures could bring was far greater than their personal donations.

Some of the sanatorium’s staff stood in front of the ward building to welcome Ronan and Tom Cruise.

Ronan asked, “Won’t this interfere with normal work?”

John Colt said, “No, they are not on duty.”

“That’s good.” Tom Cruise said, “We are here to provide help, not to cause trouble.”

John Colt was not polite either: “We have always hoped that important figures like you would come and draw more attention to the group of ALS patients.”

Tom Cruise solemnly said, “I and Ronan will call on the whole world to pay attention.”

Under John Colt’s introduction, Tom Cruise and Ronan shook hands with the staff who had come to welcome them and said a few words of encouragement.

Several reporters followed behind, reminding the cameramen to quickly capture all of this.

This was a show, a super charity show with Tom Cruise as the main character, and St. Florence Sanatorium was just the beginning.

Then, the group entered the ward building to visit the ALS patients in person.

Ronan also had gifts prepared, DVDs of some relatively warm and inspiring movies whose copyrights were owned by Relativity Entertainment.

These were gifts for the patients.

Tom Cruise had also prepared movie DVDs, but they were his personal works.

St. Florence Sanatorium mainly treated severe ALS patients, most of whom could not take care of themselves and needed to be bedridden all year round.

These people had normal intelligence but had to experience a cruel imprisonment game where they watched themselves slowly lose their lives.

Some things, when not seen, were unimaginable, but when seen, they touched the heart.

When Ronan saw a seventeen-year-old girl who could not move or even speak, he was truly touched.

Often, human life was really very fragile.

Tom Cruise gently hugged the girl’s mother but didn’t know what to say.

Even Ronan, who could usually come up with countless bullshit reasons at any time, was speechless at this moment.

How to comfort, how to comfort?

Sympathy could only be expressed in monetary terms.

This was one of the five incurable diseases specially listed by the World Health Organization, along with cancer, AIDS, leukemia, and rheumatoid arthritis.

Ronan remembered that Stephen Hawking had this disease.

“Shocking.”

Walking out of the ward, Ronan said softly, “Seeing them, I realize how fortunate we are.”

Tom Cruise was no longer as relaxed as when he first arrived, his face full of heaviness: “Thank you, Ronan.”

Ronan was puzzled: “What’s wrong?”

“Thank you for reminding me to come and visit them.” Tom Cruise didn’t seem to be joking, speaking in a voice that only the two of them could hear: “I didn’t take your plan seriously before, thinking it was just helping you, but seeing all this, I realize that this plan is very necessary.”

Ronan lightly patted Tom Cruise’s arm: “If you say that, I feel ashamed because I didn’t think about it initially.”

Tom Cruise said seriously: “No matter what the initial purpose was, Ronan, your plan can really help them.”

“Hopefully, it can be of some help to them.” Ronan sighed lightly.

Any normal person who saw this would be touched, and Ronan was no exception. But he also knew that he didn’t understand medicine and wasn’t God. He couldn’t solve their pain, only help a little financially.

No matter what the initial plan was for, he really intended to do something, not for anything else, but for peace of mind.

“Mr. Cruise, Mr. Anderson.” John Colt came over at this time: “Let’s go see other places.”

Tom Cruise looked at Ronan, and seeing Ronan nod slightly, said, “No need, we don’t want to disturb their rest anymore. Mr. Colt, can we find a room to talk?”

John Colt immediately said, “Of course.”

He quickly took Ronan and Tom Cruise into a nearby staff lounge, temporarily isolating the media reporters outside.

“Mr. Colt.” Tom Cruise leaned back in a chair: “The situation is more serious than we imagined.”

Ronan didn’t speak. Compared to him, Tom Cruise was the main character.

John Colt smiled, his smile bitter: “The world is too cruel to them. The whole person is imprisoned in a container that perfectly fits the body, including the face, lips, every finger, every toe tightly attached to the container. In the container, they can hear and see everything happening outside, have enough time to think or watch TV, but can’t speak, can’t make any sound. The people taking care of them move them around, feed them, change their clothes, but don’t know what they’re thinking.”

Ronan and Tom Cruise didn’t interrupt, just listened.

John Colt’s words were full of pain: “Maybe at first, being trapped in the game’s container is strange and interesting, but later, they feel too cold, then too hot, see and hear family sighing over their tragic fate. Later, family and friends come to see them less and less, the people taking care of them sometimes forget to turn on the TV, they always feel thirsty, itchy, lonely, panicked, want to end everything soon, but they can only face all this, do nothing, watch themselves die.”

The whole body uncontrollable, unable to move, unable to speak, finally unable to swallow and breathe independently, watching their bodies being slowly devoured by the disease.

How terrifying this feeling was.

Not everyone was Stephen Hawking.

Moreover, Hawking’s pain was only known to himself.

John Colt also said: “This group is in pain but ignored. I hope they can enter more people’s vision, attract the audience’s attention, they need the help of the whole society.”

Tom Cruise thought for a while and said, “Mr. Colt, I will personally donate one million dollars to St. Florence Sanatorium.”

“I will also donate one million dollars.” Ronan echoed.

This money was not much, but charity donations were about long-term persistence.

“Thank you.” John Colt hurriedly said, “Thank you for your good deeds.”

“What do you think?” Tom Cruise asked Ronan.

“Tom.” Ronan said, “Do as you think, I will fully support you.”

John Colt was a bit puzzled, not understanding what these two people wanted to do.

He didn’t need to understand. Tom Cruise directly said, “Mr. Colt, I plan to establish a charity foundation specifically for ALS patients with Mr. Anderson. This was planned before we came.”

“That’s great.” John Colt knew this was very difficult: “I thank you on behalf of all the patients at St. Florence Sanatorium.”

Tom Cruise also said, “Personal strength is always limited, they need to attract the attention of the whole society. I plan to hold a press conference for the establishment of the charity foundation, and I need to invite you to attend at that time.”

John Colt immediately agreed: “No problem.”

Chapter 750: Riding the Wave of Popularity

On an ordinary workday morning, the Beverly Hills Hilton Hotel was packed with media reporters. Tom Cruise had convened a press conference there to announce the establishment of the ALS Charity Foundation.

Ronan had also set up a charity foundation before, but compared to the massive fanfare surrounding Tom Cruise’s announcement, his had been established quietly. This was simply a matter of their respective positions.

While Tom Cruise was a top-tier Hollywood star, Ronan was more of a behind-the-scenes producer. Establishing a charity foundation was partly to help people and partly to legally and reasonably reduce his burgeoning personal income tax burden.

Some money was better spent on charity within the IRS-approved limits than handed over to the IRS. At the very least, it could earn him a good reputation.

Tom Cruise was different. Charity was an essential part of a Hollywood superstar’s persona. Before establishing the ALS Charity Foundation, Tom Cruise had already been involved in various charitable endeavors. This was an unwritten rule in Hollywood.

A closer look revealed that most top Hollywood stars were either major philanthropists or public welfare ambassadors. Charity had become a trend among Hollywood stars. If a major Hollywood figure had never participated in public welfare activities, it would be a disgrace.

Moreover, even the most troublesome stars paid close attention to their image when publicly engaging in charity. For example, stars serving as UN public welfare ambassadors rarely refused to visit the countries and regions requested by the foundation. They covered all their travel expenses themselves and didn’t make unreasonable demands as they might on a film set.

Of course, what happened behind closed doors was another matter.

But overall, while Hollywood stars’ charity work might be a grand personal show, it did help many people in need.

At the press conference for the ALS Charity Foundation, Tom Cruise passionately recounted what he had witnessed in recent days. The media played footage of medical workers like John Colt and the families of patients, evoking widespread sympathy.

As the press conference drew to a close, Tom Cruise announced a $5 million donation to the foundation to help ALS patients across the United States. He also revealed several other donors and their contributions: Will Smith donated $3 million, Spielberg donated $2 million, and Ronan donated $5 million.

On its very first day, the ALS Charity Foundation received $20 million in donations, garnering immense attention. This was the power of a Hollywood superstar.

Additionally, the foundation was a public-account charity, meaning it would regularly disclose financial movements and expenditure details to donors, the public, and the media.

Since Ronan had encouraged Tom Cruise to participate in the ALS initiative, he naturally reminded him to eliminate any lingering concerns. He also trusted that Tom Cruise wouldn’t be foolish enough to misuse charitable donations.

Hollywood stars involved in public charity were all model citizens, but behind the scenes, chaos was not uncommon. Many stars’ charity foundations were not publicly accountable, with daily expenses consuming over sixty percent of the funds. This wasn’t just a problem on the other side of the Pacific—it happened in Hollywood too. It was standard practice for stars to charge personal expenses like food, lodging, and travel to their foundations.

In the face of money’s allure, people often made exaggerated choices. Sometimes, they even wondered later how they could have been so blinded by greed.

The press conference was undoubtedly a huge success, earning Tom Cruise a round of applause.

On Netflix sharing, Tom Cruise, as planned, announced the establishment of the ALS Foundation and the donation methods through his account. The ALS Charity Foundation also registered an account on Netflix sharing, receiving official verification.

The news quickly spread, with users reposting it over two hundred thousand times in just half a day.

“Thank you, Tom Cruise, for your kindness.”

This was a comment from a user whose family member suffered from ALS.

Many other users also praised him.

“Tom Cruise is still the responsible, dependable star he’s always been.”

“A round of applause for Tom Cruise—what a real man.”

Of course, there were naysayers, but they were quickly shut down by other users. As the person involved, there was no need to respond to keyboard warriors.

No matter how charismatic or persuasive one might be, it was impossible to convince a keyboard warrior. Many people hadn’t realized this yet, but with the rise of social media, it would soon become common knowledge.

What surprised Ronan was that Nicole Kidman had also registered on Netflix sharing and immediately reposted Tom Cruise’s announcement about the ALS Charity Foundation, pledging a $1 million donation.

On second thought, this wasn’t entirely surprising. Nicole Kidman was just riding the wave of popularity.

Regardless, Nicole Kidman wasn’t as stingy as Oprah or Julia Roberts, who might promise donations but never follow through.

The first phase of the ALS Charity Plan, with Tom Cruise’s cooperation, went smoothly. The next steps would require some time for the news to ferment and other plans to align.

Tom Cruise handed over the charity’s operations and publicity to his management team. Large Hollywood agencies had dedicated charity teams to promote and develop their stars’ philanthropic endeavors.

Charity was one of the most effective ways to enhance a star’s image.

Major Hollywood agencies often used charity as a key tool in shaping a star’s career. Some stars, even without successful films for years, could maintain their A-list status through charitable work.

To be precise, a star’s status and market value weren’t determined by their artistry but by their management.

For example, Charlize Theron, after winning the Best Actress Oscar, was plagued by the Oscar curse, lacking substantial roles and projects. However, her position as a Dior ambassador effectively maintained her visibility.

Tom Cruise temporarily set aside his other work to prepare for The Departed. With coordination from Relativity Entertainment and CAA, two retired FBI agents were willing to share insights from their careers with Tom Cruise. This would help him in his role as an undercover agent—after all, no matter how dedicated he was, it wouldn’t be safe for Tom Cruise to actually infiltrate a gang. What if someone in the gang had a crush on him? Too dangerous.

Ronan instructed Mark Randolph to monitor the ALS initiative’s popularity on Netflix sharing. The next phase would require some time, and his focus returned to the films he was directly overseeing.

Christopher Nolan’s The Prestige had wrapped up filming and entered post-production at Relativity Tower. Warner Bros. and DC Comics had been urging for a Batman sequel, and after completing this film, Christopher Nolan would begin pre-production on The Dark Knight.

Tom Hanks’ The Da Vinci Code, after filming in multiple locations, had also wrapped. Since Embassy Pictures would distribute the film, the crew decided to rent Relativity Entertainment’s post-production facilities. This adaptation of a bestselling novel was scheduled for release next year, giving them ample time.

A year of preparation, a year of filming, and another year for release and revenue recovery—this was the standard model for Hollywood blockbusters. Relativity Entertainment generally followed this pattern, though with Ronan’s involvement, the process was slightly faster.

However, Relativity’s major productions still took over two years on average. For example, Fast & Furious 3 had just begun filming, with a release date set for next summer.

Zack Snyder’s 300 was also entering production this month after dozens of actors endured grueling fitness training and brutal conditioning. These muscular men, with “I died at Thermopylae” tattooed on their bodies, were ready to begin filming.

Meanwhile, small-budget horror films and their sequels were in constant production. James Wan’s Saw III was already in production, marking the conclusion of his Saw trilogy.

Ronan had promised James Wan that after completing the trilogy, he would fully support his new film projects. At the right moment, Ronan would discuss Insidious and The Conjuring with him, introducing the concept of a horror film universe. He hoped James Wan could bring an alternative cinematic universe to Relativity Entertainment.

Relativity had few comedy films in its portfolio. Last year’s Wedding Crashers was a huge success, and The Hangover was preparing to start filming. Even with The Hangover, comedy remained a minor force at Relativity.

Ronan had never quite understood American comedy, so his memories of Hollywood comedies were limited. However, one film left a deep impression on him—a super vulgar teddy bear movie starring the guy who once hosted the Oscars and sang, “I’ve seen the tits of Oscar-winning actresses.”

That teddy bear was truly something else.

Ronan specifically asked Diana, the lawyer, about it. She confirmed that using a teddy bear as the main character in a film wouldn’t involve any copyright issues. No legal disputes meant smooth sailing.

Speaking of which, if every toy manufacturer were this bold with their products, the screen would surely have even more interesting works than that teddy bear.

In the second week of March, news came from Marvel Entertainment: Iron Man had wrapped filming.

Chapter 751: Marvel’s Affairs

Burbank, Hughes Aircraft Factory’s hangar studio…

The Iron Man crew had finished filming but hadn’t left yet. Since the production used fully digital filming, director Jon Favreau reviewed several key scenes through the temporary equipment set up in the studio. If there were any unsatisfactory parts, he could call the crew back for reshoots before they dispersed.

Favreau had also invited Ronan and Kevin Feige over.

Neither Ronan, Favreau, nor Feige wanted to wait until post-production began to call everyone back for reshoots. That would not only take time but also increase the budget significantly.

Many of the film’s scenes were shot in front of green screens, with special effects yet to be added.

Though Ronan wasn’t a filmmaker, his years as a producer had honed his eye for quality.

Robert Downey Jr.’s scenes involved a mix of practical effects and post-production work, unlike the behind-the-scenes bloopers Marvel had once released, which were downright ridiculous.

Ronan remembered the most infamous one—Wanda, the Scarlet Witch, casting a spell. It looked like a full-body spasm.

Performing against nothing but air was no easier than acting in an independent art film.

After reviewing the key scenes, Favreau asked, “Ronan, Kevin, what do you think?”

Ronan waved his hand. “You’re the director, and Kevin’s the producer. It’s up to you two.”

These two had been in control of the entire production and knew the situation better than he did.

“It’s fine,” Feige said. “For now, there’s no need for additional shots.”

Favreau agreed. “I think so too.”

Ronan nodded. “Then let’s move into post-production. We still have a year until release.”

Feige added, “We have plenty of time. According to our plan, we should finish all post-production work in about ten months.”

Post-production for a film like this was more time-consuming and labor-intensive than the actual filming.

Ronan reminded them, “We must finish by next April. Embassy Pictures needs at least a month for test screenings, building hype, and managing word of mouth.”

Favreau assured him, “I’ll make sure it’s done on time.”

Ronan breathed a sigh of relief. The first step of Marvel’s Avengers Initiative was proceeding smoothly, but its success would only be measured by Iron Man’s market reception next year.

“Did you film the post-credits scene?” Ronan asked.

“It’s done,” Favreau replied. “The actors are very interested in this new way of connecting films.”

Feige interjected, “We haven’t cast Bruce Banner yet, so the post-credits scene will only feature a CGI segment about the Hulk.”

Ronan said, “We need to start preparing for the Hulk project. The actor and director should sign long-term contracts. Make sure to learn from the mistakes of Ang Lee’s version.”

Feige responded, “The script is being written. I’ll send it to you as soon as it’s ready.”

Ronan asked, “Do you have any actors or directors in mind?”

“The director isn’t decided yet,” Feige admitted. “But there is an actor.”

He briefly explained, “Edward Norton’s agent contacted me. He’s willing to sign a long-term contract.”

Ronan frowned. “Is this Edward Norton’s decision, or his agent’s?”

Norton’s acting and appearance were perfect for Bruce Banner. Even an actor who wore a mask the entire time and played a supporting role could outshine the lead, proving his talent.

But Norton had once signed a long-term contract with Paramount Pictures, and the two parties had a very unpleasant falling out, even leading to legal action. Norton lost the case and was forced to play a particularly sleazy villain in The Score.

After such an experience, would Norton still sign a long-term contract with a production company?

Feige thought for a moment. “I overlooked that. I didn’t ask. I’ll contact Norton’s agent again.”

Ronan stated directly, “If Edward Norton himself is willing to sign a long-term contract with Marvel, we can consider him. If this is just his agent’s idea, or if Norton only wants to do one film, we don’t need to consider him.”

“I understand,” Feige said.

Favreau chimed in, “I have a recommendation. Joaquin Phoenix would be good. Once, while chatting with me, he mentioned Marvel Comics and said he’s a fan of the Hulk.”

Joaquin Phoenix—Ronan found the name familiar. After a moment’s thought, he remembered who he was.

The younger brother of the late River Phoenix, who had played the mad king alongside Russell Crowe in Gladiator.

He was a great actor with a certain wild, almost unhinged quality.

He had also starred in Warner Bros. and DC Comics’ unconventional superhero film Joker, which had won the Golden Lion at the Venice Film Festival.

Sometimes, you had to admire Warner Bros. They always made DC’s villain films so compelling. Did DC superhero films really have to rely on villains to save them?

You couldn’t count on Thor being a hit, could you?

After a quick consideration, Ronan said, “Jon, you can contact Joaquin Phoenix first and gauge his interest. If he’s willing—” He turned to Feige. “—have Marvel Entertainment arrange an audition.”

Feige agreed. “No problem.”

For now, Marvel’s Avengers Initiative wouldn’t be using A-list stars. The pool of potential actors was relatively broad. Whoever was willing to sign a long-term contract with Marvel Entertainment would have a significant advantage.

Actors like Edward Norton and Joaquin Phoenix, who were already established, often found it difficult to accept contracts spanning nearly ten films.

For now, they could only have Favreau and Feige reach out to them.

Favreau stayed behind to handle the remaining work on set, while Feige accompanied Ronan out of the studio.

Ronan continued discussing casting. “We also need to start selecting actors for Thor and Captain America. These two roles require particularly strong physiques—body type is more important than acting skills.”

Effeminate actors playing these roles would be a joke.

Feige said, “I have a lot of actor profiles on hand. I’m doing the initial screening.”

Ronan added, “Stay in touch with Susan Levin. Make sure she does her job as Robert Downey Jr.’s primary supervisor. Not only should she prevent him from getting involved with the wrong things again, but she should also ensure he maintains his physical training. I don’t expect him to become a bodybuilder, but he must maintain his physique.”

Middle-aged men tended to gain weight easily if they weren’t careful. Moreover, those who had successfully overcome addiction often became bloated.

For Downey Jr. to maintain his current physique, he had to work harder than most people.

Feige spoke honestly, “When it comes to supervising Robert, Susan Levin is more dedicated than any of us.”

Ronan smiled. “Robert’s greatest fortune is meeting a good woman.”

Feige completely agreed. “Falling for the wrong woman can ruin a life, but a good woman can pull a prodigal son back onto the right path.”

Ronan nodded slightly. Trashy women were as terrifying as trashy men.

When a trashy man met a trashy woman, the result might be catastrophic enough to destroy the planet.

So, for the safety of the Earth and all humanity, a trashy man’s fate must never be a trashy woman.

Feige then asked with concern, “How are the negotiations for the rights to X-Men, Fantastic Four, and Spider-Man going?”

Ronan shook his head. “Not much progress. Sony Columbia Pictures is more cooperative—they’re willing to give Marvel Entertainment a small percentage of the revenue. 20th Century Fox isn’t budging.”

Feige said, “It’s too hard to reclaim what’s been sold to the Big Six.”

Ronan explained, “The new Fantastic Four comics are gaining influence. Sony Columbia has concerns, so they’re willing to give Marvel Entertainment 2% of the North American box office. I’ve temporarily halted negotiations with Sony Columbia. Getting this result isn’t bad. We’ll wait for a better opportunity for the rest.”

He thought for a moment and added, “As for 20th Century Fox, there’s been no progress. Last week, the court attempted an out-of-court settlement, but Fox didn’t yield. This battle will have to continue.”

Feige sighed, “It’s a shame about Fantastic Four and X-Men. They could be more useful in our hands.”

Ronan smiled. “There will be a time when we can reclaim them.”

Perhaps it was fortunate that Marvel Studios didn’t have the rights to the X-Men. The mutant power system was more complex and chaotic. Integrating it into the Avengers universe would require a lot of thought.

There were too many mutants in the comics who could destroy the world with ease.

Compared to mutants, the Fantastic Four was more suitable for inclusion in Marvel’s Avengers film universe. This small team could fight, research, and cause trouble, and their arch-nemesis was quite interesting.

Speaking of which, 20th Century Fox’s Fantastic Four had just released its first trailer. The actor playing the Human Torch was Chris Evans, the same Chris Evans who had once played Captain America.

Ronan had specifically inquired about it. Chris Evans had only signed a one-film contract with 20th Century Fox.

Hopefully, under the influence of the comics, Fox’s Fantastic Four movie wouldn’t get a sequel.

Ronan and Feige chatted as they left the studio. Just as they reached the door, a red-haired woman approached.

“Hello, Mr. Anderson,” the red-haired woman said. “Can I speak with you alone for a moment?”

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Chapter 752: Overthinking

After leaving the Hughes Aircraft Factory, Ronan casually found a quiet coffee shop nearby—perfect for a private conversation.

“Is there something you needed, Jessica?” Ronan looked across at Jessica Chastain.

The actress had a rare head of chestnut-red hair, giving her an air of academic elegance and quiet refinement.

Jessica Chastain got straight to the point: “Last week, I received an audition invitation for a new project directed by Martin Scorsese.”

Ronan understood immediately. “You mean The Departed?”

“Yes.” Jessica Chastain nodded openly. “My agent told me you personally requested me for the audition.”

A bright smile spread across her face. “I came today to thank you in person.”

Ronan waved it off. “It’s just an audition. Whether you pass depends on your performance.”

Since graduating, Jessica Chastain had been stuck in the lower tiers of Hollywood, not quite at the bottom but far from the top. She knew the industry’s harsh realities all too well. “Mr. Anderson, this opportunity to even compete is incredibly rare for me.”

Ronan casually remarked, “No need to thank me. I’ve seen your work on set—you’re talented.”

Behind Jessica Chastain’s grateful smile, however, lurked confusion. She had only filmed a few scenes in Iron Man, mostly as a flight attendant striking poses. Could that really showcase her acting ability?

Having heard and seen many things since entering the industry, Jessica Chastain was thrilled by the audition opportunity but also wary.

Hollywood had no shortage of rumors about Ronan Anderson, the most persistent being that he had single-handedly launched the careers of Anne Hathaway and Scarlett Johansson, maintaining close relationships with both.

Jessica Chastain knew she wasn’t among Hollywood’s most striking actresses.

Could it be this red hair? She knew some had a particular fondness for redheads.

Finally, she decided to test the waters. “Mr. Anderson, you’ve given me this chance—is there anything you’d like me to do in return?”

Ronan was no stranger to Hollywood’s undercurrents. He immediately realized Jessica Chastain was overthinking things. “You’re auditioning for a psychologist. Prepare well—that’s how you’ll pass.”

“Just that?” Jessica Chastain blinked in surprise.

Ronan glanced at his watch. “I need to get back to the office. Let’s leave it at that.”

Jessica Chastain quickly agreed. “Of course.”

She insisted on paying the bill before Ronan could.

Ronan didn’t argue—it would probably make her feel better.

Leaving the coffee shop, Ronan got into his car and had David drive him straight back to Relativity Tower.

Of course, he wasn’t being entirely selfless. If Jessica Chastain passed the audition, a long-term contract would be waiting for her.

In the future, she would bring in plenty of revenue for Relativity Entertainment.

On the way back, Ronan called Will Smith, then deliberately took a route along Hollywood Boulevard. Near Beverly Hills, he spotted Will Smith experiencing police life firsthand.

The Los Angeles police had always maintained a close relationship with Hollywood, collaborating on countless films. Will Smith’s ride-along was fully supported by the LAPD, serving their own PR and fundraising interests.

Will Smith had no enforcement authority—he was mostly observing, with a swarm of media trailing behind him.

Seeing Will Smith surrounded by cameras, Ronan decided against stopping to say hello. He called Will Smith instead, then returned to Relativity Tower.

He first visited the post-production floor and chatted with Jessica Fielding. She was overseeing two major projects: Fast & Furious 3 had begun filming, while Pirates of the Caribbean 3: At World’s End was in its final stages of post-production.

This year, Relativity Entertainment’s flagship productions were still led by the Bourne and Pirates of the Caribbean franchises. The Bourne trilogy was nearing its conclusion, and Pirates of the Caribbean 2: Dead Man’s Chest was set for a summer release.

Beyond these, Embassy Pictures was distributing several heavyweight films this summer, including Shai Entertainment Animation Studio’s first feature, Despicable Me, DreamWorks Animation’s latest, Madagascar, and Mr. & Mrs. Smith.

Reliable sources confirmed Jennifer Aniston had joined the cast of Green Acres, but paparazzi stalking Brad Pitt and Angelina Jolie had yet to capture any concrete evidence.

Without photos or video, mere speculation held little appeal.

Professional paparazzi were relentless yet scrupulous—they wouldn’t expose a story without irrefutable proof.

A scandal of epic proportions was brewing.

Back in his office, George Clinton called Ronan about Breaking Bad. Shai Entertainment had finalized a deal with Vince Gilligan.

Vince Gilligan was a Hollywood veteran. Though multiple studios had rejected the project, acquiring it at a bargain price was impossible.

Still, as an industry insider, he wouldn’t demand an exorbitant fee.

Shai Entertainment had secured the script and all related rights for two million dollars, with an additional five hundred thousand dollars as a project initiation bonus for Vince Gilligan.

Per the agreement, Gilligan would serve as both writer and producer for the series.

Ronan hadn’t even finished the first episode. He decided to entrust the project entirely to Gilligan.

Besides, the first season’s budget was modest.

Breaking Bad’s first season was planned for seven episodes. Including the rights acquisition, the total production budget was only seven million dollars.

For Shai Entertainment, this was a minor investment.

Still, Ronan had high hopes for the project and made time to meet with Gilligan.

“I personally believe in your script,” Ronan said frankly. “That’s why Shai Entertainment is moving forward with this series.”

Gilligan replied, “It’s an honor to work with Shai Entertainment.”

Ronan got straight to the point. “Pre-production will begin soon. I’d like to hear your vision for filming.”

Gilligan knew Ronan’s influence. After a brief pause, he organized his thoughts. “Initially, I wrote this script based on the Oedipus myth. Walter White is a tragic figure, burdened by fate’s cruelty, unable to escape. That’s why I set him up as a man in a midlife crisis, forced to confront the dual pressures of family and career.”

Ronan nodded slowly. Midlife crises were a common theme in Hollywood films and TV, widely accepted by audiences.

Gilligan continued, “The turning point in Walter’s life comes when he learns he has terminal cancer. To ensure his family’s financial security after his death, he uses his chemistry knowledge to manufacture and sell meth, beginning a descent into madness that spirals out of control.”

He glanced at Ronan, who remained silent, then added, “Fighting for his family provides a plausible justification for the protagonist’s actions. Even if the audience sees through it, a father struggling for his family’s future, a weak man drawn into the drug trade—it allows viewers to rationalize his choices.”

Ronan couldn’t help but clap lightly. “Vince, you’ve thought this through thoroughly.”

Truthfully, Ronan hadn’t considered these nuances when he first read the script. But Gilligan’s approach clearly took audience reception into account.

Once produced, the show needed viewers. Walter White, who becomes increasingly ruthless, required a compelling reason for audiences to follow his journey.

Gilligan had chosen the most fitting one—family, a value deeply ingrained in American culture.

How many Hollywood films and TV shows used “for the family” as an excuse? Too many to count.

As a seasoned professional, Gilligan could tell Ronan approved of his reasoning, which put him at ease. “For the production, I plan to use a very restrained narrative style. Given the subject matter and Walter’s dark profession, I’ll avoid excessive sentimentality or atmosphere. The material itself carries enough tension, danger, and desperation.”

Ronan nodded. “You’ve covered all the bases.”

Encouraged, Gilligan added, “The tension won’t rely on dialogue or facial expressions. It’ll be woven into the plot and the exploration of human nature throughout the work.”

“Keep the depth moderate,” Ronan advised. “First and foremost, this is a TV series—it must be entertaining.”

Gilligan was no Hollywood newcomer and had no illusions. “You can rest assured, Mr. Anderson.”

Ronan’s conversation with Gilligan lasted nearly an hour. Overall, he was satisfied with the veteran’s approach.

With Gilligan overseeing the project as writer and producer, Ronan felt confident in its direction.

In the TV industry, writers generally held higher status than directors. Most producers were former writers, often serving dual roles, while directors had relatively less influence.

In film, the situation was reversed—writers couldn’t compare to directors.

Chapter 753: Brother Bao’s Iron Fist

Conflicts between screenwriters and directors were not uncommon in Hollywood, and Relativity Entertainment occasionally encountered such issues in their projects. However, these disputes were generally contained within the production team and prevented from escalating beyond it.

Film production and creation were never harmonious affairs. Two people could have differing opinions, three could argue endlessly, and with dozens or even hundreds of people, poor coordination could lead to explosive tensions within the crew.

Even a group of elementary school students could bicker; adults were no exception.

But conflicts and disputes had to be kept within reasonable bounds.

Relativity Entertainment handled this quite well.

In all of Relativity’s film projects, the production team had to uphold the producer’s primary authority and the director’s absolute authority on set.

If a screenwriter and director clashed irreconcilably on set, firing the screenwriter was always the first option.

Most screenwriters, however, understood their place in the industry and wouldn’t foolishly challenge a director’s authority.

But there were always exceptions.

A screenwriter hired by Shai Entertainment, upon Ronan’s arrival at the set of the upcoming life-and-death combat film, directly approached him and launched into a tirade against director Uwe Boll.

Since Uwe Boll served as both director and producer, Ronan specifically called in the production manager to inquire about the situation.

“Mr. Bollsen has had issues with Director Boll before,” the production manager said. “Director Boll is quite open-minded in his work, but Mr. Bollsen believes there are serious problems with the director’s preparations.”

Ronan frowned. “What problems does he see?”

The production manager thought for a moment before replying, “He thinks Director Boll’s handling of the plot is overly simplistic—even…” He awkwardly scratched his nose. “…mindlessly flashy, failing to highlight the themes of his script.”

“What themes?” Ronan seized on the key point.

“Themes of humanistic reflection,” the production manager said.

Ronan immediately responded, “This is a game adaptation film. What kind of humanistic reflection does it need? I’ll discuss this with Uwe Boll.”

Finding Uwe Boll, who was busy with actor auditions, Ronan asked, “A screenwriter named Bollsen just came to me to complain about you. What do you think?”

Uwe Boll rubbed his increasingly bald head and said, “This screenwriter is someone I hired. I think he’s talented, but he overthinks things.”

Ronan asked, “Is the script finished?”

“It’s finished,” Uwe Boll said. “Apart from some impractical elements, his script is well-written.”

Ronan looked at Uwe Boll, then thought of the screenwriter. If Uwe Boll thought the script was well-written, the screenwriter was probably not very reliable.

Brother Bao was indeed capable, but his directing skills were his weak point.

“The script is done. Pay him his fee and let him leave the crew,” Ronan said without hesitation. “You should direct according to your own vision.”

Uwe Boll considered for a moment and said, “That works.”

Seeing that Ronan didn’t favor the screenwriter, Uwe Boll made his decision. He called the production manager and had him notify screenwriter Bollsen to pack up and leave.

The contract between the crew and Bollsen was for screenwriting. As long as Uwe Boll deemed him unnecessary, Bollsen had no reason to stay.

This was just a minor incident. Uwe Boll accompanied Ronan into the studio, where auditions were underway. Since most of the main roles were female, beautiful actresses could be seen everywhere.

Many of them were clearly former models.

Women who had undergone professional model training often had distinct appearances.

“This film has only one theme,” Uwe Boll’s idea was particularly simple: “Beautiful women and brutal fights.”

Ronan asked, “Similar to Kill Bill?”

Uwe Boll denied it: “No, not like that.” He explained, “The action in Kill Bill is mixed with too many martial arts elements, making it flashy but unrealistic. I want to adopt an unrestricted fighting style, going for a realistic, brutal, and bloody route.”

If these words had come from Paul Greengrass, Ronan would have been very excited, but Brother Bao’s realistic and brutal action films were best taken with a grain of salt.

Uwe Boll’s greatest strength was that he never got discouraged by external criticism: “I’ve hired two unrestricted fighting coaches as the film’s action directors and invited Trish Stratus, known as the Wrestling Queen, to play the main antagonist.”

He smiled and said, “They’re all very interested in participating in a Hollywood film production. Especially Trish Stratus, who sees Dwayne Johnson as her idol and believes his path is also suitable for her development.”

Ronan nodded slightly. Apart from his directing talent and ability, Brother Bao was reliable in every other aspect.

“What about the female lead?” Ronan asked. “Do you have any suitable candidates?”

Uwe Boll said, “For all the main female roles, I plan to use female models with some acting foundation, especially those who have participated in Victoria’s Secret fashion shows. Most of them have strong physiques, and boxing is one of their common fitness methods, so they have some foundation.”

Ronan said, “With the crew’s budget, it’s hard to invite Victoria’s Secret Angels.”

Uwe Boll smiled and said, “Every year, most of the models participating in the Victoria’s Secret fashion show are not signed Angels. Some of them should be interested in acting in films. After all, many Hollywood stars have transitioned from modeling. As for the salary, I’m confident I can convince them.”

Ronan said, “The crew is your responsibility. You have full authority to handle it.”

“This film has good market prospects, and with Relativity Entertainment’s reputation, attracting female models to participate shouldn’t be difficult,” Uwe Boll still wanted Ronan’s approval. “Ronan, does the combination of beautiful women and brutal bloody fights have potential?”

Ronan thought for a moment and said, “It should be okay. Uwe, the crew is using so many female actors. Remember to emphasize feminism in the film, especially avoiding a ‘man saves the world’ ending.”

Uwe Boll seemed to grasp Ronan’s idea: “Don’t worry, it will definitely be ‘woman saves the world.’”

His directing skills hadn’t improved, but his understanding of the market environment had become clearer: “Ronan, I’ve carefully studied all the female action films of the past two years. Hollywood’s female action roles are becoming more explosive and bloody.”

Ronan looked at Uwe Boll: “Tell me more.”

He had always thought that if Brother Bao’s films ever failed, he wouldn’t give up on this talent. Instead, he would have Brother Bao join Shai Entertainment’s film production department.

Such a talent, reliable in every aspect except directing, was absolutely worth keeping.

Of course, directing was currently Brother Bao’s strength. How many directors dared to challenge film critics with their fists?

In the past, professional film critics were all arrogant, considering themselves the guiding lights of the industry, free to criticize or insult any director or actor.

If the internet had broken the critics’ monopoly on public opinion, then Brother Bao’s boxing match had shattered their last line of defense in reality.

Brother Bao’s iron fist was the cure for all kinds of discontent from film critics.

Uwe Boll had indeed done his research. He said, “The films Charlie’s Angels and Lara Croft: Tomb Raider can be considered landmark events in the rise of this genre. Both films had small scales. Angelina Jolie was okay, but Charlie’s three angels weren’t fighting; they were dancing. So the audience quickly grew tired of them, and the sequels weren’t successful.”

Ronan was somewhat surprised but didn’t interrupt.

“In contrast, large-scale female action films in recent years have achieved good results,” Uwe Boll spoke in a deep voice but made sense. “Underworld and Resident Evil have large scales, with blood splattering everywhere. Quentin Tarantino’s Kill Bill brought this type to a small peak in the market.”

He said very seriously, “Now, in Hollywood action films, there are always one or two female fighter roles. Close-combat films with the direct purpose of physical harm may continue for a long time.”

Ronan agreed: “What you say makes sense.”

Uwe Boll added, “I’ve specifically designed selling points for the film. Besides brutal close combat, the camera will focus on the most attractive parts of the beautiful and sexy actresses, making the film’s hormones soar.”

This was a low-level and clichéd filming method, but it was an effective way to attract audiences.

The most typical example was Michael Bay’s Transformers, where the close-up of Megan Fox fixing a car left a deep impression on countless people.

This was Brother Bao’s cleverness—knowing how to attract audiences.

Unlike some directors who, despite their mediocre abilities, insisted on making films that were confusing and unclear, it would be strange if audiences liked such films.

Uwe Boll’s intentions were very clear: to make the film a mix of blood and hormones, filled with metaphors of sex and violence.

Ronan finally emphasized one point: “Although it’s a game adaptation, the character designs must be done well, close to real life and combat needs. Don’t make them look like they’re from a movie.”

A realistic live-action film making characters look like they’re from a game would be disastrous.

“I understand,” Uwe Boll said with a smile. “This film, though a game adaptation, is more about borrowing the game’s name.”

In other words, it was also about tricking game fans into going to the theater.

As for whether it would ruin childhood memories, which game adaptation film didn’t ruin childhood memories?

Chapter 754: Personal Connections

As early as 1996, the game Dead or Alive had already hit the market. For the generation that grew up playing arcade games, Dead or Alive was incredibly familiar and carried a certain nostalgia.

Dead or Alive had even become a competitive esports title in the WCG at one point.

All of this laid the foundation for its film adaptation.

As for the game’s famous selling points, such as the “breast physics,” these elements could also serve as selling points for the movie adaptation.

Some had said that among Dead or Alive’s game elements, the most striking was undoubtedly the “breast physics” design.

These had once provided endless material for various browser game advertisements on the other side of the Pacific.

Uwe Boll’s film adaptation would undoubtedly continue to evolve under the principles of sex and violence.

The high-difficulty physical movements like the “breast physics” would also be featured in the movie, possessing an extremely high appeal to otaku audiences.

Dead or Alive’s production budget reached a staggering seven million dollars, setting a new record for Uwe Boll’s directorial career.

This was also a decision driven by the market.

Uwe Boll’s previous two films, House of the Dead and Alone in the Dark, had brought in tens of millions of dollars in profits for Relativity Entertainment, both online and offline.

BloodRayne, which had already completed all filming and production, was also set to release this year. Uwe Boll was leveraging his popularity and favorable conditions like Netflix sharing to vigorously promote the film.

After the Tekken review, Uwe Boll had become an internet celebrity. With Relativity Entertainment’s resources backing him, Brother Bao could truly be called a viral director.

To put it exaggeratedly, Brother Bao was the first viral director.

Since the widespread adoption of the internet, the world had changed. Many things and people once scorned now attracted countless followers, with some even willingly becoming their fans.

The network economy in the entertainment industry was also advancing step by step.

Ronan occasionally thought about Brother Bao and had a speculation: under his influence, would Hollywood also see the rise of super-traffic stars?

Only time would tell.

After discussing Dead or Alive with Uwe Boll, Ronan was preparing to leave when he spotted a familiar face among the actors waiting for their auditions.

Uwe Boll planned to cast model-type actors for the main female roles. Most of the actors waiting on-site had experience in modeling or professional model training.

Candice Swanepoel was one of them.

Just stepping out of the audition room, still thinking about her first audition performance, she saw Ronan.

Compared to many bold actresses, Candice Swanepoel, being new to the industry, appeared very reserved and cautious, merely smiling at Ronan.

Ronan waited for her to approach and greeted her: “Hello, Candice. I didn’t expect to see you here.”

Candice Swanepoel smiled modestly, her voice soft: “Hello, Ronan.”

This wasn’t the place for conversation, and many people were looking their way.

Ronan led the way out, and Candice Swanepoel glanced back at where her agent was before following Ronan.

“Are you here for an audition?” Ronan asked.

Candice Swanepoel walked beside him, speaking softly: “My agent saw the casting notice and thought I should give it a try.” She quickened her pace slightly to keep up with Ronan and explained, “I’m currently taking acting classes. I have a little acting experience from South Africa, but I can’t handle very complex roles yet. My agent suggested I start with the simplest roles to gain some experience.”

Ronan knew well that compared to most Hollywood movie roles, the roles in Dead or Alive were indeed much simpler to perform.

“Your agent is very professional.” Ronan also felt that the agent’s advice to Candice Swanepoel was very sensible: “You’re young and lack experience. You can’t rush.”

Candice Swanepoel smiled, her expression still modest: “That’s what I think too.”

Ronan thought of those action roles and asked, “If I may ask, Candice, how old are you?”

Candice Swanepoel hesitated for a moment, instinctively feeling that her age might be related to the audition. Finally, she said, “I’m seventeen.”

Ronan reminded her, “Using actors under sixteen, Hollywood productions face many restrictions.”

Industry rules dictated that actors under sixteen were considered child actors, and productions had to hire special tutors to ensure the actors’ education.

Although the legal age of adulthood was twenty-one, actors over sixteen in Hollywood no longer enjoyed many of the privileges of child actors.

Candice Swanepoel had a great image, and Ronan thought it was worth a try. He asked, “I’ve heard that many models’ fitness plans include boxing training.”

“Yes.” Even though Candice Swanepoel was reserved, she understood the importance of this for the audition and couldn’t help but emphasize slightly, “Boxing training has always been part of my fitness plan.”

The photography studio wasn’t far from the film set’s main gate. As they talked, they approached the gate.

Ronan didn’t mention the audition and asked, “How did you get here?”

Candice Swanepoel pointed behind her: “My agent drove me here.”

Ronan looked back and only then noticed a middle-aged woman following behind his bodyguards.

“Then let’s chat another time.” Ronan shook hands with Candice Swanepoel in farewell: “Give my regards to Sally.”

Candice Swanepoel nodded: “I will.”

A black Rolls-Royce Phantom pulled up, and Ronan opened the door to get in. Candice Swanepoel waved at him.

As the car drove away, the agent who had been following caught up and asked, “Do you know Ronan Anderson?”

Candice Swanepoel told the truth: “I’ve met him twice with Sally.”

The agent nodded slightly. Candice Swanepoel was a client introduced to her by Charlize Theron, so she naturally knew that Charlize Theron had worked with Relativity Entertainment and maintained some contact.

“I asked.” The agent pulled Candice Swanepoel toward a Ford car: “Your audition went well. You meet the basic requirements.”

Candice Swanepoel’s smile was no longer so reserved, and she said happily, “Really?”

The agent reminded her: “Don’t be too happy. At least fifty actors will advance to the second round of auditions.”

Candice Swanepoel wasn’t worried: “Just making it to the second round is satisfying enough for me.”

“Not getting the role, no matter how many first-round auditions you pass, the result is still zero.” The agent emphasized: “Our goal in auditioning is to get the role.”

She looked at Candice Swanepoel: “If Ronan Anderson could put in a word for you—”

Candice Swanepoel wasn’t stupid, just inexperienced: “I really don’t know him well.”

The agent sighed, remembering Candice Swanepoel’s age, and held back some words, saying, “Go ask Charlize to help you say a word.”

Charlize Theron had taken good care of her, and Candice Swanepoel didn’t want to trouble her again: “That doesn’t seem right.”

The agent said to the still somewhat naive girl: “Candice, the hardest part in Hollywood is this first step. Do you know how many people dream of having your conditions? A call from Charlize, a few words, can be worth three or even five years of effort for many people.”

Candice Swanepoel fell silent, pondering the agent’s words.

“Charlize has worked with Relativity Entertainment, and Ronan has always admired Charlize.” The agent added: “For Charlize, this is not difficult at all. You owe Charlize a favor. If you can develop well in the future, you can also repay Charlize.”

She was very good at grasping the psychology of young girls: “Candice, you came from South Africa to the United States. Have you thought about how to repay the favors Charlize has done for you in the future?”

Candice Swanepoel thought of what she had seen and heard while with Charlize Theron. The other was an Oscar-winning actress, a national treasure of South Africa. What could she give back to Charlize Theron?

The agent took the opportunity to say: “If you can develop, the situation will be different. You can also help Charlize.”

Candice Swanepoel was finally persuaded and picked up the phone to call Charlize Theron.

As soon as Ronan returned to Relativity Tower, he received a call from Charlize Theron mentioning Candice Swanepoel’s audition.

This small favor, casually done, Ronan didn’t take to heart. He called Uwe Boll, asked about Candice Swanepoel’s audition, and upon learning that she met the basic requirements, had the crew give her a suitable role.

Originally, Ronan had considered this. With Charlize Theron’s call, it was just a small role with no significant screen time.

Of course, Ronan wouldn’t give the female lead role to a newcomer actress with no formal filming experience.

In the past, the so-called “new actors” used by Relativity Entertainment referred to those who were new in terms of fame—actors who hadn’t truly become famous yet.

But in terms of acting experience, these people had basically been struggling in Hollywood for many years.

Even those with less experience, like Jessica Chastain, had over a year of grinding in the lower tiers of Hollywood.

March was halfway over. The previous month’s release, The Devil Wears Prada, after five weeks of screenings, had easily surpassed the one hundred million dollar mark at the North American box office, reaching one hundred sixteen million eight hundred ninety thousand dollars.

The film’s final North American box office had a good chance of exceeding one hundred fifty million dollars.

Overseas, The Devil Wears Prada was also extremely popular, with the current overseas box office accumulating to eighty-one million two hundred thousand dollars.

After a month of screenings, the film’s heat in North America had greatly diminished. Embassy Pictures took the opportunity to release a new film, Hellboy, directed by Guillermo del Toro.

Chapter 755: Mechs and Godzilla

March was the off-season for the North American film market, a period when major releases were rare. Hellboy, a mid-budget comic adaptation, was strategically scheduled for this month by Embassy Pictures.

Compared to the grand superhero comic adaptations, Hellboy leaned more toward an anti-hero cult film, with a modest production budget of forty-five million dollars.

As a result, the special effects were somewhat rough. Creating a film with over nine hundred special effects shots on such a budget was no small feat.

Guillermo del Toro had a strong command of special effects. To save costs, he had collected props and sets from previous collaborations with Relativity Entertainment over the past two years, repurposing many for Hellboy.

Unlike other productions that sold off props and sets as scrap, del Toro had a habit of hoarding them.

“I hope to open a film museum someday,” del Toro told Ronan at the premiere. “These could all become exhibits.”

Ronan replied, “I support your film museum idea. Any props used in your collaborations with Relativity can be kept.”

Most of these items would otherwise be sold as scrap—better to give them away as favors.

Del Toro, short and stout, beamed so widely his eyes nearly disappeared.

Ronan led the way onto the red carpet, arriving at the media zone in front of Sheikh Theater. He briefly answered reporters’ questions.

“I’ve always wanted to make a monster movie,” Ronan declared, spinning tales for the press. “Hellboy has unique characters and fantastical creatures that fulfill all my imaginings of a monster film.”

Spotting Ron Perlman, the lead actor, entering the media area, Ronan gracefully stepped aside.

Perlman was a distinctive actor. Uwe Boll and del Toro had once clashed fiercely over casting him. In the end, Perlman chose del Toro.

Most actors would likely make the same choice between the two.

According to del Toro’s promotional spiel, he had contacted Perlman early in the scriptwriting phase, claiming he was writing a film specifically for him. Perlman, thrilled, had prepared for a year, training five to six days a week to embody the powerful character.

Embassy Pictures touted Hellboy as the first anti-hero comic character brought to the big screen—a bold claim, best taken with a grain of salt.

Del Toro also claimed that filming Hellboy had been a lifelong dream, but securing funding had been difficult until Ronan came aboard.

Inside the theater, del Toro sat beside Ronan. “I have some ideas about Hellboy,” he murmured.

Ronan glanced at him. “Go ahead, Guillermo.”

Del Toro lowered his voice. “After the film, we could produce an animated feature.”

“We’ll consider it,” Ronan replied cautiously. “I’ll have Shai Entertainment discuss your proposal.”

The final decision would depend on the film’s reception.

Del Toro had other projects in mind but decided to wait, given the occasion and Hellboy’s impending release. Besides, post-production had been far from smooth.

Del Toro had experienced Hollywood’s realities firsthand over the past two years. Directors had little power—both of his submitted cuts had been rejected by Ronan, the producer. The theatrical version differed significantly from his original vision.

Still, if Hellboy underperformed, those other ideas would be moot.

Glancing at Ronan, del Toro’s gaze shifted to the special effects designer in their row. During filming, he had seen many Gundam models from Japan in the designer’s workspace.

These mechs had left a deep impression on del Toro, like a first love.

What had the designer said? Mechs are the romance of men!

Also from Japan, what if mechs and monsters like Godzilla were in the same film? The thought thrilled del Toro, conjuring images of mechs and Godzilla in a dance of love and destruction.

But before mechs and monsters, he had another dream—to direct a Spanish-language film.

As the film began, del Toro refocused, pushing thoughts of mechs and Spanish cinema aside.

A thunderous roar echoed.

In the heavy, dark tones, the gothic visuals were striking. Satan’s son, summoned from hell by Germany, appeared in the human world.

Satan was a frequent figure in American comics, appearing in both Marvel and DC. Hellboy came from Dark Horse Comics, the third-largest comic publisher in the U.S., with a relatively short history, debuting in 1993.

The original comic was a classic steampunk tale, blending black magic and technology to summon demons. The Allies discovered and destroyed this evil plot, but one demon’s son, already summoned, was raised to become a superhero who fought evil and protected humanity.

Post-production dragged on. After completing the film, del Toro submitted two cuts to Ronan, both rejected for the same reasons: slow pacing, excessive length at over 120 minutes, and underwhelming action scenes.

Initially, del Toro had submitted a PG-13 version, but after multiple revisions at Ronan’s request, the film became a dark, brutal R-rated feature.

Without compromising the narrative, the runtime was trimmed to 102 minutes, tightening the pace.

Most of the cuts were from the drawn-out romantic subplot, weakening the film’s thematic depth. But for this genre, depth wasn’t the priority.

Still, del Toro excelled in many areas, particularly in emphasizing Hellboy’s “cute” side.

As an unconventionally handsome lead, Hellboy was a pure monster—crude and reckless. Yet, beneath that roughness, the film conveyed a charming contrast. Hellboy’s sarcastic lines, delivered in Perlman’s distinctive voice, were a highlight.

The film redefined heroism. Previous Hollywood heroes, no matter how bizarre, were ultimately handsome and powerful. Hellboy broke that mold—his monstrous appearance incorporated all the classic villainous traits.

But by the end, audiences realized that beyond his red skin and unusual looks, Hellboy was just an ordinary man.

Unlike the child-friendly version, this Hellboy was violent and bloody, earning its R rating and targeting a mature audience.

In short, it was a typical brainless American hero flick—problems were solved not with thought but with relentless, fast-paced action.

Most comic-based superhero films followed this formula, which had broad market appeal and a wide audience.

Hellboy opened in 3,602 North American theaters, grossing twenty-nine million eight hundred seventy thousand dollars in its first weekend, surpassing Guess Who’s twenty million six hundred seventy thousand dollars to claim the box office crown.

However, critical reception was mediocre. IMDb users rated it 6.9, and CinemaScore gave it a “B,” predicting a final North American gross of around eighty million dollars.

By the second weekend, Hellboy lost its top spot, earning fifteen million six hundred twenty thousand dollars and dropping to second place. The box office crown went to DreamWorks’ The Ring Two, which opened with thirty-five million sixty thousand dollars.

This remake performed well, benefiting from DreamWorks’ independent distribution channels. Even underperforming films could minimize losses through these channels, while successful ones maximized profits.

DreamWorks had transformed, becoming more resilient to risk.

Failed films could recoup costs through various distribution channels, while successful ones thrived under their independent system.

Beyond distributing their own films, DreamWorks had begun handling external distribution, a lower-risk, steadier income stream.

After painful lessons, DreamWorks seemed poised for a comeback.

With their current stability, a single flop wouldn’t force them to sell out.

After two weeks, Hellboy had grossed fifty-one million two hundred thousand dollars in North America.

Compared to last month’s The Devil Wears Prada, Hellboy’s reception was lackluster. However, with future international and ancillary revenues, the project would still turn a profit, albeit with a lower margin.

Not every film could match The Devil Wears Prada’s success—low investment yielding multiples in return.

Relativity Entertainment already boasted the highest profit margins in Hollywood.

Chapter 756: Style

Los Angeles, Glendale, DreamWorks Industrial Park.

Steven Spielberg spoke very seriously: “These two films must guarantee at least one success, otherwise DreamWorks will face significant trouble.”

Hofford declared confidently: “The Island is set for mid-May, deliberately avoiding the first weekend of May with Mission: Impossible III and Memorial Day’s Revenge of the Sith. War of the Worlds will have its wide release in June, spaced a week apart from Embassy Pictures’ distribution of Mr. and Mrs. Smith and Pirates of the Caribbean 2.”

Spielberg nodded slightly. Mr. and Mrs. Smith was still uncertain—its success or failure remained unknown. The male lead, Brad, was named Jerry.

Mobile users, please visit csw.read for a better reading experience, with bookshelves synced to the desktop version.

Chapter 757: A Clash of Visions

More than ten days had passed since the release of Hellboy, and Guillermo del Toro had only now come to see Ronan. The reason for the delay was simple—he had been working on the preliminary designs for “the romance of men.”

“Sometimes, when I gaze at the stars, I feel so small and alone, wondering if there is other life in the universe.”

In the reception room of Relativity Tower, Guillermo del Toro handed Ronan several design sketches. “But after finishing this preliminary design, I realized I had been looking in the wrong direction.”

Ronan listened, his eyes scanning the sketches in his hands. They were rough drawings, not particularly refined, but clear enough to convey their meaning.

The first sketch depicted an underwater volcanic eruption, with a Godzilla-like creature emerging from the depths.

The scene struck Ronan as strangely familiar.

The next sketch showed a mech resembling Megatron standing tall in a city.

Ronan recalled Guillermo del Toro’s widely circulated works.

Sure enough, the third sketch revealed a massive mech arm transformed into a cannon, aimed at a Godzilla-like beast in the distance.

Mechs, monsters, the ocean, and an epic battle—this had to be the preliminary design for Pacific Rim, not Atlantic Rim.

Ronan had seen Atlantic Rim before. Like Titanic 2, it was all flash and no substance.

“Is this a robot fighting a monster?” Ronan asked.

Guillermo del Toro corrected him, “It’s a mech battling a giant beast.”

Ronan set down the sketches and looked at Guillermo del Toro, who explained, “These concepts all come from Japan.”

“I’ve heard of them,” Ronan nodded slowly. “Like Ultraman fighting little monsters.”

There was an old saying—cats eat fish, dogs eat meat, and Ultraman fights little monsters.

Seeing that Ronan was familiar with the concept, Guillermo del Toro relaxed. He picked up the first sketch and pointed to the ocean floor. “The seabed fractures, and the alien monsters emerging from this passage are larger, fiercer, and more brutal than any threat we’ve ever seen. I call them Kaiju. To fight them, humanity pools all its resources to create the largest, most advanced, and most versatile weapons ever. They launch the Jaeger program, building a series of mechs as tall as twenty-five-story buildings. This is humanity’s last hope for survival.”

Ronan frowned. “Guillermo, there’s a problem with this setup.” He pointed to the mech’s cannon. “Why not use long-range weapons or aircraft to fire this instead of sending a giant robot into close combat?”

Guillermo del Toro hadn’t considered this. He couldn’t exactly say, “Mechs are the ultimate romance of men.”

Ronan was cautious about anything too heavily influenced by Japanese culture. The reality of the North American film market was undeniable.

Take Ju-On and The Ring, for example. In his view, the original Japanese versions were clearly better, but when they were released in North America, they flopped without exception. Meanwhile, the American remakes, though of lower quality, performed well at the box office.

There was a niche audience for Japanese culture in North America, but it wasn’t mainstream.

Take Spirited Away, for instance. It had topped best-of lists in major North American media, but its commercial success in North America paled in comparison to its reputation.

It had been released twice in North American theaters, and its box office earnings there were barely a fraction of its overseas gross.

Ronan ran a film company, not an art institution. Market considerations had to come first, and market differences were crucial.

“Mechs are a Japanese concept and cultural product,” Ronan said carefully. After all, if this project were to proceed, the investment would be substantial. “Guillermo, you must have heard of this—North America is the world’s largest media and entertainment insulator.”

This caught Guillermo del Toro off guard. He had assumed Ronan would support the project, just as he had supported Hellboy.

After all, Shai Entertainment was also working on a similar giant robot project.

“Ronan, there are many people in North America who love mechs and monsters, just like me,” Guillermo del Toro refused to give up easily. “And there’s the overseas market, which is good for merchandise.”

He probed, “I hear Shai Entertainment is collaborating with Hasbro on Transformers. Isn’t that essentially the same as mechs?”

Ronan couldn’t help but laugh. “How can you compare the two, Guillermo? Transformers has been in the North American market for over twenty years. The toys were once a sensation, and for over two decades, how many people have played with Transformers toys? How many people’s childhood memories include Transformers? I’m not sure about other places, but in North America, mechs are a niche interest.”

Perhaps in the future, as the internet becomes more open, the audience for mechs will grow, but that’s for later.

Ronan continued, “Japanese culture has a following in North America—people like you, like James Cameron—but Relativity Entertainment has had business dealings with Japan for years and holds the rights to many Japanese cultural products. We’ve conducted market research on this.”

This wasn’t an exaggeration; it was fact. “Japanese culture is a niche market in North America. That means if the investment isn’t too high, there’s a good chance of recouping costs, but with a high investment, the audience is too small to generate profits.”

Guillermo del Toro suddenly realized that Ronan wasn’t just a film producer—he was a businessman, and perhaps the latter identity took precedence.

Ronan got straight to the point. “Guillermo, you’re very knowledgeable about special effects. How much would the production budget need to be to achieve the effects you’re planning?”

In this era, CGI was cheaper than it would be after 2010, but it was still expensive.

Neither of them was an outsider, and Guillermo del Toro wasn’t about to lie. He had given it real thought. “Around two hundred million dollars.”

Ronan responded, “With that kind of production investment, plus marketing and distribution, you’re looking at at least three hundred million dollars. For a project like this, the risk is too high.”

Guillermo del Toro didn’t know what to say. He had only been thinking as a director, driven by his own interests, without considering the business side.

“I suggest we put this project on hold for now,” Ronan said frankly. “Guillermo, let’s wait and see how technology and the cultural market develop. We can revisit this in five or six years.”

Guillermo del Toro was somewhat disappointed but saw the logic in Ronan’s words. Still, he wasn’t ready to give up. His three-film directing contract with Shai Entertainment had expired, and Hollywood was vast—Relativity Entertainment wasn’t the only option.

“Alright, this project is a bit ahead of its time,” Guillermo del Toro gave himself an out.

Ronan smiled. “Some ideas don’t need to be rushed.”

“True,” Guillermo del Toro had other plans. He pulled a script from his briefcase. “The mechs and monsters are a long-term plan. This is the next film I want to make.”

Ronan didn’t say anything. He took the script and quickly browsed through part of it. The script was a photocopied manuscript, not the complete version. Attached at the end was the project’s proposal.

On the cover of the draft script was the title Pan’s Labyrinth.

“This is a fairy tale not suitable for children. I want to make it into a magical realist film in Spanish,” Guillermo del Toro said. “Set in Spain in 1944 during World War II, it tells the story of a twelve-year-old girl who, out of boredom, accidentally opens a door to a magical world and must complete three trials.”

Ronan honed in on the part most critical to a production company. “Guillermo, did you just say you want to make a Spanish-language film?”

Guillermo del Toro was Mexican. “Yes, in my native language.”

Ronan set down the script and asked, “Have you done a budget?”

“Around thirty million dollars,” Guillermo del Toro had a bad feeling. “Any less, and I can’t guarantee the quality.”

Guillermo del Toro was now a prominent figure in Hollywood, no longer thinking like a small Mexican director. Just like with the mechs and monsters, he wanted the best possible results when making a film.

Over the course of their collaborations, Guillermo del Toro had left a good impression on Ronan. Though Hellboy had gone through several rounds of editing in post-production, the final result was good.

Overall, Guillermo del Toro was a reliable director.

Ronan thought for a moment and said, “Shai Entertainment can invest in this project.” Before Guillermo del Toro could get excited, he added, “But there’s a condition—it has to be an English-language film.”

With such a large investment, making a foreign-language film forced Ronan to consider the risks and rewards.

“An English film?” Guillermo del Toro shook his head. “Ronan, I’m Mexican. Spanish is my mother tongue. Making a Spanish-language film in Hollywood has always been my dream.”

Many directors had their own dreams—like Spielberg and Schindler’s List—but film companies couldn’t afford to fund every director’s dream.

Ronan asked again, “Guillermo, are you sure you want to make a Spanish-language film?”

Guillermo del Toro sighed inwardly. If their visions didn’t align, there was nothing to be done. “Yes, that’s always been the plan.”

“I’m sorry,” Ronan politely declined.

“It’s alright,” Guillermo del Toro gathered his script and shook Ronan’s hand. “Either way, I have to thank you.”

Ronan understood what he meant and sincerely said, “Guillermo, good luck.”

Chapter 758: Distinctiveness

Among the directors with whom Relativity Entertainment had long-term collaborations, Guillermo del Toro was not the first to part ways with the company. Previously, due to differences in vision and subject matter, James Wong had also ended his cooperation with Shai Entertainment, only to later film Space Chase under Sony Entertainment’s Revolution Studios.

Unfortunately, that film did not meet expectations. Before James Wong left, Ronan had advised him, and eventually, James Wong returned to Relativity Entertainment, continuing his collaboration with Shai Entertainment on the Final Destination series.

Directors were inherently a profession with high turnover in Hollywood. Without contractual constraints, established directors had considerable freedom in their choices.

Just as with James Wong, Relativity Entertainment’s decision to end its cooperation with Guillermo del Toro was an amicable separation. If the opportunity arose in the future, both parties could easily collaborate again.

The day after meeting with Guillermo del Toro, Ronan received news that the Mexican director had gone to Warner Bros and Universal. He did not concern himself with the specifics of their discussions.

Relativity Entertainment had a multitude of film projects that required his immediate attention.

Ronan left Los Angeles and arrived in New Mexico, where the crew of Fast & Furious 3 was currently filming.

The outdoor set was a vast desert, though not far from the nearest town. Compared to Ang Lee’s experience filming Brokeback Mountain, the living conditions here were far more comfortable. Even in such a desolate location, the entire crew could stay in four-star hotels, and after a day of shooting in the wilderness, they could return to enjoy a hot shower.

On set, cameras were mounted high on cranes. Despite the distance, the roar of car engines was still audible, and dust kicked up by the vehicles occasionally blew over with the shifting winds.

Jessica Fielding wore light blue jeans, a black short-sleeved T-shirt paired with long sun-protective sleeves, and a black baseball cap with a pair of dark sunglasses tucked beneath it. The sun in New Mexico was relentless.

Ronan also put on a Lakers cap. The scorching sun was unbearable.

The two sat under a large sun umbrella, far more comfortable than the busy crew members working nearby.

“My films always seem to have a connection with sunlight,” Jessica Fielding said, handing Ronan a bottle of mineral water. “During the filming of Pirates of the Caribbean, I practically got a daily sunbath. Now, every day is another sunbath.”

Ronan gestured toward her outfit. “You’re quite experienced.”

Jessica Fielding shrugged. “After all, I am a woman. I have to take care of myself.” She took a sip of water and added, “The real struggle is for the actors. Dwayne Johnson has turned into a dark-skinned man.”

Ronan joked, “I remember he wasn’t exactly pale to begin with.”

Jessica Fielding laughed and reminded him, “You can’t say things like that nowadays.”

Across the country, protests had gradually subsided over time. Although the two white police officers in Atlanta ultimately faced no consequences, the shift in societal attitudes was undeniable.

Ronan nodded. “I only joke like that with you. I’m usually careful.”

A Black person could call another Black person the n-word without issue, but if someone else did, it would be considered racial discrimination. This was a widely accepted perspective across America.

Thinking about the diverse makeup of the crew, Ronan asked, “How’s the atmosphere on set?”

“Minor conflicts exist, but there haven’t been any major disputes that affected filming,” Jessica Fielding replied simply. “The director is Asian, and he handles interpersonal relationships well. The two male leads, Dwayne Johnson and Paul Walker, are both easygoing, and they get along with everyone. Especially Dwayne—he’s like the lubricant of the crew. Wherever he is, the mood lightens.”

She smiled and added, “The other actors know their place and don’t cause trouble.”

Ronan slowly nodded. “That’s good.”

“The most tense relationship is between the two female leads with the most screen time,” Jessica Fielding said, giving Ronan a meaningful look. “The Korean actress, Gianna Jun, and Jordana Brewster barely speak to each other. But it’s not a big deal. It hasn’t interfered with work, and it’s normal for female actors with similar roles to have such dynamics.”

Ronan said, “Jesse, you’re the producer. You call the shots here.”

Jessica Fielding continued, “Don’t worry. I’ll resolve and contain conflicts, not escalate them.”

“I trust you completely when it comes to technical talent,” Ronan said with a smile.

Jessica Fielding changed the subject. “Post-production for Pirates of the Caribbean 3: At World’s End is almost complete. If Fast & Furious 3 goes smoothly, all filming should wrap up by June, and we can move into post-production. The film will definitely be finished by the end of the year.”

“The release date is set,” Ronan said, twisting open a bottle of mineral water. “Next summer.”

He took a sip. “It’s only March, and this damn weather is already too hot.”

Jessica Fielding handed him a towel. Ronan wiped his sweat. “It’s too dry here.”

“It’s not that bad,” Jessica Fielding said with a laugh. “I sweat every day. When I get back to the hotel after work, I can smell the sweat on myself.”

Ronan removed his sunglasses and wiped the fine beads of sweat from his forehead. “I feel like I stink right now.”

Jessica Fielding stretched her neck and leaned in to sniff, then fanned her nose exaggeratedly. “You could knock out a bull with that smell. Ronan, I suggest you go take a shower before meeting Gianna Jun.”

Ronan looked at her. “Since when did you start caring about gossip?”

Jessica Fielding said, “There’s so much gossip on set, it’s hard not to notice.”

Ronan had nothing to say. Just like with Leonardo DiCaprio and Will Smith, once you did something, people would talk. Many things in Hollywood didn’t disappear just because you said they didn’t exist.

Ronan changed the subject. “After this project, do you want to take a break?”

Jessica Fielding shook her head. “No need. I’m fully invested in filmmaking, and this is the best state I’ve ever been in—something I never felt before meeting you. I plan to start a new project, of course, one that Relativity already holds the rights to.”

“Which one?” Ronan asked.

Over the past two years, Relativity’s copyright libraries had expanded significantly, acquiring many scripts and related rights from North America and overseas.

Jessica Fielding reminded him, “Do you remember the script I recommended to you? Didn’t Relativity already secure the rights?”

Ronan thought for a moment and recalled, “You’re talking about Juno, the one about teen pregnancy?”

“Yes, Juno,” Jessica Fielding said. “There’s a gap between Fast & Furious 3 and the fourth installment. I want to try pushing this project forward. We can start preparations in the second half of this year, begin filming next year, and aim for a release around 2007.”

Since this was Jessica Fielding’s project, Ronan naturally wouldn’t refuse. Moreover, the recent months of protests across America had not only advanced the Black rights movement but also spurred other equality movements. With the changing social landscape, the subject matter of Juno would no longer be as sensitive as before.

He vaguely remembered that he had downloaded and watched this film during the 2008 Olympics.

Although he and Jessica Fielding were old friends, Ronan still needed to clarify certain work-related matters upfront. “The Juno project, given its subject matter, naturally can’t have a high budget. Jesse, Shai Entertainment won’t support it like Fast & Furious 3. The production budget won’t exceed eight million dollars—it might even be lower. You need to be mentally prepared.”

Jessica Fielding smiled. “I understand. This will be a low-budget film. I’ve done some planning. Without big-name actors or directors, we can probably complete it for around five million dollars.”

Since she had brought it up to Ronan, she had naturally done some preparation.

Ronan nodded slightly, thinking of the memorable female lead. “I’ve read the script. The female protagonist is too unique. Most young actresses won’t meet the requirements, and older ones won’t fit the setting.”

Jessica Fielding had considered this. “That is a problem. Hollywood usually casts twenty-something actresses to play underage girls.”

Ronan said, “White girls mature early, so it’s usually not an issue. But this role is too special. She must have the distinctiveness of an underage girl to make the film more impactful.”

Hearing this, Jessica Fielding couldn’t help but ask, “Do you have someone in mind?”

“Have you seen Hard Candy?” Ronan asked directly. “The lead actress, Ellen Page, has exceptional natural talent and outstanding acting skills.”

Jessica Fielding looked at Ronan in surprise and asked teasingly, “You watch that kind of movie? And it left an impression on you? I thought men only had one reaction to it.”

Ronan laughed. “It’s just a movie.” He returned to the topic. “Oh, I remember now. Earlier, I had someone look into it. Ellen Page was in 20th Century Fox’s X-Men 3, playing Shadowcat.”

“That works too. I don’t have her contact,” Jessica Fielding said. “I’ll have someone go to the set and make initial contact with her.”

Juno was a very special film project. For now, they had only confirmed the preliminary plan; the details would have to wait for further planning.

After a day of filming, Ronan met Gianna Jun, the Korean actress who was giving her all.

Chapter 759: Bald and Critical Hits

In the entire Fast & Furious 3 crew, the actor Ronan valued most was not Gianna Jun, but Dwayne Johnson.

On the second day of filming, during a break, Ronan had a chat with Dwayne Johnson.

“Season two of Prison Break is about to end. When I heard the news, I couldn’t believe it,” Dwayne Johnson said, his face always carrying a smile as he gestured while speaking. “The first season was so well-received, I thought it would keep going and become a long-running series.”

Ronan smiled and said, “With this kind of subject matter, once the protagonist escapes from prison and evades the police, the appeal drops sharply.”

Dwayne Johnson wasn’t the kind of muscle-bound brute with no brains. “That’s true. It’s better to quit while you’re ahead than to lose appeal later.”

Ronan nodded slightly. “More or less.”

Dwayne Johnson joked, “This way, I can exit gracefully.” He rubbed his bald head, which the crew had specifically requested. “Making movies isn’t bad either.”

“Keep up the good work,” Ronan encouraged. “I hope we can have a long-term collaboration.”

Dwayne Johnson deliberately said, “Does that mean I’ll have to stay bald forever?” He already knew that the crew’s request for a bald head came from Ronan’s suggestion. “Ronan, I only realized after shaving my head that I can look this handsome.”

Ronan laughed. “Dwayne, from now on, all new male members of the racing family must be bald.”

“Right,” Dwayne Johnson thought Ronan was joking. “Our bald family will conquer the world.”

Ronan joked a bit more. “They say bald men have high critical hit rates and often land fatal blows.”

Dwayne Johnson looked as if he had suddenly realized something. “I understand. Being bald is a kind of honor.”

Ronan planned to have someone contact Jason Statham. In the future, the exceptionally handsome would also join this series, and baldness would definitely become the standard for male members of the racing family.

Bald men had a lot of charm in film and television, both in the East and the West.

Characters like Nick Fury, bald guys, and bald strongmen had all been popular at one time.

Any member of the racing family who wasn’t bald was heretical.

Some said: True warriors dare to face a bald life.

Most tough guys appeared before people with a bald image. Being bald was the most important hairstyle to test a man’s handsomeness.

Speaking of which, should Paul Walker also shave his head?

A bald life was more fierce. Maybe going bald could bring Paul Walker good luck.

Ronan thought it was worth a try.

Dwayne Johnson had left a deep impression on Ronan. He was one of the few stars who could carry a commercial tentpole on his own in Hollywood after 2010.

Some even said he was the only star in Hollywood after 2010 who could single-handedly carry the box office of a tentpole.

He was a very smart big bald man.

Many of the movies he starred in, although following the same formula, were quite good.

For example, in one movie, he had a daughter more attractive than an earthquake. The mountain shaking caused by the earthquake was no small matter.

Many male stars got better with age, and Dwayne Johnson could be considered a typical example.

Among Marvel’s superheroes, was there a role suitable for Dwayne Johnson?

Perhaps Dwayne Johnson could become a member of the Avengers.

This was just Ronan’s initial idea. The specifics would depend on future collaboration with Dwayne Johnson. After all, many actors were very resistant to filming superhero movies.

Filming began, and the outdoor set continued to be dusty. Several modified race cars sped across the wilderness of New Mexico. While emphasizing the speed of the cars, the filming incorporated more action scenes. The film would undoubtedly be an action movie, not a racing film.

Jessica Fielding came over and handed Ronan a stack of bound documents. “Take a look.”

Ronan flipped through them and asked, “Did you just write this?”

“I couldn’t sleep last night,” Jessica Fielding said, her face still showing fatigue. “So I wrote a preliminary plan for Juno.”

Ronan nodded slightly. “You plan to film in Canada?”

Jessica Fielding yawned and said, “Canada is easy to get tax rebates.”

Ronan browsed through it and said, “Alright, after you finish writing, send it to Shai Entertainment. I’ll have them push for the project’s approval as soon as possible.”

“Okay.” Jessica Fielding took back the preliminary plan. “I’ll call George after I finish.”

The two didn’t say much more. The Juno project wouldn’t be approved until the second half of the year at the earliest.

Similar to Crash, this would also be a very American film. The primary market consideration was North America, and overseas could be ignored for now.

The commercial revenue such films could generate overseas depended mainly on the response in North America.

In the past decade, any film that sold well at the North American box office or won major Oscar awards or nominations, even if the subject matter wasn’t very appealing to overseas audiences, often still achieved decent box office results.

For example, Crash, although the overseas box office was far from comparable to North America, under the Oscar effect and North American word of mouth, the overseas box office had already reached over forty million dollars.

Some things had to be viewed objectively. The influence of North America, the world’s largest film market, was not to be underestimated.

Hollywood’s success in commercialization was also evident.

After exchanging ideas with director Justin Lin, Ronan didn’t stay long at the crew and prepared to leave that afternoon.

Gianna Jun took time to come over and saw Ronan off to his car.

“You’ve performed very well,” Ronan was quite satisfied with this Korean actress, who was more natural. “If this film is successful, it can win you global fame.”

Gianna Jun seemed to have misunderstood and leaned in to whisper, “I went back to my country recently and contacted someone. Should I call her next time? She also wants to develop in Hollywood and is preparing to study here.”

Ronan didn’t take it to heart and waved his hand casually. “Let’s talk about it when there’s time.”

Gianna Jun leaned in and lightly kissed his face, her smile as bright as the New Mexico sun.

Back in Los Angeles, Ronan first met with George Clinton to discuss the preparation for several new projects, including Juno.

With Netflix Streaming Media’s business going public and continuously bringing surprising results on the internet, Shai Entertainment also had to strengthen its TV series production business.

Netflix had also placed orders with Shai Entertainment. No matter what type of series, as long as it was good, the more, the better.

The copyright for Breaking Bad was being prepared for the first season and would be available on the Netflix platform as early as next year.

The adaptation projects for The Walking Dead, House of Cards, and A Song of Ice and Fire: Game of Thrones had their respective scriptwriting teams already established and were polishing the scripts.

Additionally, Shai Entertainment had two teams collecting American folk horror stories and planning a comedy series for otakus.

As Ronan had planned, these would be released gradually over the next few years, not all at once on the Netflix Streaming Media platform.

Netflix wasn’t without its weaknesses. The biggest flaw was in variety shows.

The copyrights for many variety shows were held by TV stations or certain founders and companies. For variety shows like American Idol, without high licensing fees, it was difficult to directly enter Netflix’s platform.

As for self-produced shows, Ronan could only think of other ways to see if he could encounter variety shows he had once been impressed by.

Ronan had been someone who almost never watched variety shows. His impression of American variety shows was limited to American Idol and Who Wants to Be a Millionaire.

The former was because of its famous name, and the audition model had swept the world.

The latter came from a small girl classmate hosting a program on a Pacific movie channel.

He had also heard of shows like Running Man, but vaguely remembered they were programs that had spread from South Korea.

Ronan might have caught a glimpse of such variety shows in some situations, but his impression was barely there.

Since all previous efforts had been focused on the more important negotiations for film and TV series copyright licensing, Ronan and Netflix had been slow in their actions regarding variety shows. After all, negotiations weren’t just about talking; they also required market research and more investment outside the negotiation table.

Many variety shows had a very broad audience and couldn’t be ignored.

Netflix was also in contact with multiple TV stations and variety show production companies, trying to obtain the relevant licenses at reasonable prices.

As for self-produced shows, apart from survival series like Man vs. Wild, Ronan didn’t have any plans for the time being.

Although he knew that a show like Running Man had been a huge hit on the other side of the Pacific, things that were popular in South Korea and the Eastern markets might not necessarily work in North America.

Moreover, according to Ronan’s understanding, the reason that variety show could be a hit was closely related to the appeal of the participating stars.

But in Hollywood, it was almost impossible to gather a group of currently popular stars to participate in a variety show long-term.

Not to mention superstars like Tom Cruise and Will Smith, even stars a tier below wouldn’t easily appear on variety shows unless it was for film promotion.

Especially a group of people appearing on a variety show.

In Hollywood, the type hierarchy was usually very clear: movies were greater than TV series, which were greater than variety shows.

No company in Hollywood could cover everything, and Ronan didn’t have high demands in this area. Relativity Entertainment should focus more on its strong industries.

But Netflix’s negotiations with TV stations for variety shows made him think of the two famous projects, American Idol and Who Wants to Be a Millionaire. Although Netflix hadn’t secured the rights yet, Ronan hadn’t come away empty-handed.

These two variety shows had appeared very early. American Idol had aired its first season on Fox TV in 2002.

Who Wants to Be a Millionaire had appeared even earlier, airing in the UK in 1998.

This quiz-type show still had potential to be tapped.

Chapter 760: Millionaire

Upon returning to Los Angeles, Ronan had someone bring him several episodes of Who Wants to Be a Millionaire the very next day, setting aside time to watch them.

He wasn’t particularly interested in the variety show itself, but he had once seen a highly successful film related to it. It was one of the few Indian-related movies he had watched while on the other side of the Pacific, much like Three Idiots—starring India’s Andy Lau—which had left a profound impression on him.

Netflix’s negotiations with the TV network over the rights to Who Wants to Be a Millionaire reminded Ronan of this film, as well as the related news he had once seen online.

If memory served, the film was called Slumdog Millionaire. Though it appeared to be a movie about Indian society and life, it was, in reality, a quintessential American Dream story. Otherwise, it wouldn’t have garnered such recognition at the Oscars, winning Best Picture at one of the ceremonies—whether it was 2009 or 2010, he couldn’t quite recall.

The timeframe he remembered was roughly around 2010.

He vaguely recalled reading somewhere online that Slumdog Millionaire was adapted from an Indian literary work, directed by the same person behind the infamous British coming-of-age film Trainspotting.

Ronan couldn’t remember the director’s name, though. After all, the director wasn’t as renowned as Michael Bay, James Cameron, or Spielberg—filmmakers whose works were widely celebrated and whose names carried immense prestige.

Ronan remembered that Michael Bay’s reputation had been so explosive back then that even many middle schoolers knew of him.

The man had truly carved out his own path.

Born when Armageddon hit the Earth—how fitting.

As for the literary work itself, Ronan hadn’t read it. The only Indian author he knew of was Tagore.

Since Slumdog Millionaire had come to mind, Ronan immediately called for Connie, mentioning that he had recently come across an Indian literary work related to Who Wants to Be a Millionaire but had forgotten its exact title. He instructed her to look into it at once.

Thanks to Relativity Entertainment’s close collaboration with Indian partners, and the widespread use of English among India’s cultural elite, Connie quickly found several notable English works.

Having served as Ronan’s assistant for years and overseeing an entire team of assistants, Connie knew better than to pry into matters that weren’t her concern.

Besides, anyone who had achieved great success was bound to have their quirks.

Connie was well aware that Ronan—and Relativity Entertainment as a whole—placed great emphasis on adaptations. Original films, by comparison, received far less attention.

Every issue of The New York Times bestseller list was promptly delivered to Ronan’s office.

Over the past year, bestseller lists from other English-speaking countries had also been collected by the assistant team and sent to his office.

After gathering the relevant Indian literary works, Connie reviewed and summarized them, quickly identifying a novel whose protagonist participated in the Indian version of Who Wants to Be a Millionaire.

It was the only work related to the show.

Connie worked with remarkable efficiency. By the afternoon of the next day, Ronan had the Indian novel in his office.

“This novel is called Q & A, written by Indian author Vikas Swarup, who is a diplomat,” Connie briefly introduced. “It hasn’t been published in the UK. I had someone from Embassy Pictures’ Indian branch purchase it and send it over via air express.”

Ronan nodded slightly, picking up the novel and examining it. Q & A.

Connie continued, “This is the only Indian literary work we’ve found related to Who Wants to Be a Millionaire. It was published in India in the second half of last year. Vikas Swarup wrote it while stationed in the UK on official duties.”

Her work was thorough. “People from Embassy Pictures looked into it privately. Vikas Swarup’s inspiration came from the cheating scandal involving British Army Major Charles Ingram.”

Ronan wasn’t very familiar with variety shows and had never heard of this. He asked, “What cheating scandal?”

Connie was clearly well-prepared. “In 2001, Ingram was accused of cheating on the UK version of Who Wants to Be a Millionaire. After the trial, he was sentenced to 18 months in prison, fined fifteen thousand pounds, and discharged from the military.”

A thought struck Ronan as his gaze fell upon the novel Q & A in his hands. In Slumdog Millionaire, the protagonist had also been accused of cheating just as he was about to win the grand prize.

“I see,” Ronan said. “I’ll take a look at this book first.”

After Connie left the office, Ronan opened the cover and began reading carefully. Like the Indian upper and middle classes, who took pride in their English proficiency, the novel was written in English.

Though it was British English, which differed somewhat from American English, it posed no reading difficulty for Ronan.

The novel was entirely narrated in the first person, telling the story of an orphan from Mumbai who won a billion rupees on the Who Wants to Be a Millionaire TV show, only for everyone to accuse him of cheating.

The reason was simple: how could a slum kid possess such vast knowledge? Just as the protagonist was being brutally interrogated, a beautiful female lawyer appeared to rescue him.

The protagonist then recounted his incredible journey—from the orphanage to the brothel, from train robbers to the leader of a beggar gang—each hardship he endured becoming his most precious treasure.

The novel’s content allowed Ronan to see many similarities to the film, but the book was far more complex and rich in detail.

To Ronan, Slumdog Millionaire had been nothing more than a bizarre foreign tale: a slum boy who answered every question correctly on a TV show, winning both money and love.

But the novel delved deeper into Indian society, culture, and religion, offering what seemed like a portrayal of Indian life.

Of course, whether it accurately depicted Indian society was something Ronan couldn’t confirm.

He had visited India more than once but had only interacted with the wealthy elite, never truly engaging with the ordinary masses. His understanding of Indian society was still based on internet descriptions—like public defecation, the chaotic trains, planes seemingly dropping from the sky, and the spectacular motorcycle performances by Indian soldiers during parades.

After carefully reading the novel, Ronan confirmed that Slumdog Millionaire had indeed been adapted from Q & A.

However, the film had only covered less than ten percent of the book’s content.

The adaptation retained the novel’s framework, fully expressing the theme that the quiz show was not just a competition but also a test of human nature.

The intricate depictions of Indian culture, complex plotlines, and character relationships in the novel had been largely simplified in the film.

This was undoubtedly a smart move. Whether the audience was in North America or the UK, they had little interest in India’s social structure.

The most typical example was the film’s classic Hollywood-style happy ending, where the poor boy ended up with both money and the girl—a quintessential Hollywood fairy tale.

Once Ronan confirmed that Q & A was the original work behind Slumdog Millionaire, he immediately had Connie gather more information and passed the matter to Robert Li, instructing the copyright and legal departments to secure the film rights as soon as possible.

Additionally, since the novel hadn’t been published in the US, if possible, they would buy out the rights outside India as well.

Compared to the potential future gains, this investment was negligible.

The original work provided a foundation for adaptation, and a successful film would, in turn, boost the novel’s sales.

Embassy Pictures’ Indian branch made initial contact with the author, Vikas Swarup, who was surprised that Hollywood was interested in his work. He had no intention of holding onto the rights and asked for a reasonable $2 million for the adaptation rights.

Ronan also received more related information.

For instance, the novel’s depiction of India’s lower classes seemed very realistic, but as a high-caste individual, Vikas Swarup’s portrayal was far from accurate.

Swarup came from an excellent background and admitted that the novel wasn’t meant to critique social realities. He was far from being of humble origins and had no real understanding or investigation of the living conditions of India’s impoverished masses. He even “didn’t know if there were really beggar leaders who blinded orphans to make them better at begging,” writing these details based on imagination and hearsay.

None of this hindered Relativity Entertainment from purchasing the rights. For Hollywood films and American audiences, who cared about the true state of India?

As long as the film could generate commercial value and profits, the authenticity of its content or whether it reflected another country’s social reality was of no concern to Hollywood.

There were countless Hollywood films that fabricated the realities of other countries.

In Hollywood films, other nations were often depicted as Americans imagined them—or as commercial interests demanded.

Robert Li had already finalized the rights for World War Z with Max Brooks. Since Vikas Swarup was eager to sell the film rights to Q & A, Robert only sent someone to India to handle the matter.

He himself had been in Los Angeles recently, meeting with Universal.

Ever since Relativity Entertainment had acquired the rights to the Fast & Furious franchise from Universal—taking advantage of the deal between Vivendi and NBC—Robert Li had frequently discussed matters with Ronan. Especially after Shai Entertainment’s successful co-production of Batman: The Dark Knight with Warner Bros., a new idea had emerged: to promote collaboration between Shai Entertainment and Universal on film projects.

Chapter 761: Pure and Beautiful

Inside a small conference room at Relativity Tower, Ronan met with Robert Li.

“The copyright and legal department has sent personnel to Mumbai, India, and they have already made contact with Vikas Swarup and his agent,” Robert Li began, discussing the copyright matters. “The negotiations are proceeding smoothly. Securing the film adaptation rights won’t be a problem—we should be able to buy them out for under two million dollars. However, the publishing rights for the novel involve the publisher, making them difficult to obtain.”

Ronan replied directly, “First, secure the film adaptation rights. If we can get the novel’s rights, that’s great, but if not, it’s no big deal.”

Robert Li nodded. “I’ve already instructed them to prioritize the film adaptation rights and worry about the rest later.” He then shifted the topic to the main purpose of their meeting. “I’ve spoken with the head of production at Universal twice about my idea.”

Ronan asked, “Is Universal willing to collaborate with us on a new Jurassic Park series?”

Ever since Ronan had repeatedly expressed his desire to acquire the rights to the Jurassic Park series, Robert Li had been paying attention. In the end, Universal refused to sell their trump card, and Relativity Entertainment had to give up.

But Robert Li didn’t give up. It was extremely difficult to acquire rights from the Big Six companies, especially for a flagship film series like Jurassic Park, unless they were facing difficulties or chaos.

However, the success of Shai Entertainment’s collaboration with Warner Bros. and the reboot of Batman: The Dark Knight gave Robert Li hope.

“Previously, it was very difficult, but now there’s a possibility for collaboration,” Robert Li said confidently. “The first two Jurassic Park films are undeniably successful commercial films, but Jurassic Park III had poor box office performance and audience reception, leading Universal to decide to put the series on hold for now.”

Ronan was also aware of these circumstances. “If they continue, the series’ audience reception will completely deteriorate, making it hard to salvage.”

What flashed through his mind was the Terminator series. After Terminator 2, each new Terminator film was worse than the last, and audience expectations kept dropping, leading many to dismiss new Terminator films as just another bad movie in the series trying to make money.

Robert Li asked, “Ronan, when you wanted to buy the rights to the Jurassic Park series, you must have thought about how to revitalize it.”

Ronan’s face was as thick as a city wall, calmly replying without batting an eye, “I did have some ideas.”

Robert Li admired and trusted Ronan’s abilities wholeheartedly. “Based on your and Shai Entertainment’s achievements in production, I was able to discuss this with Universal. I also dared to talk about collaboration with them.”

“What is Universal’s current stance?” Ronan asked.

“Ambiguous, no clear indication,” Robert Li said. “Universal also hopes to collaborate with Shai Entertainment to revive the series but doesn’t want to lose too much profit.”

He directly stated, “Without sufficient profit, why should we help Universal revive the series?”

Ronan thought of a certain film and said, “Let’s take it slow. There will probably be opportunities in the future.”

Such large-scale project collaborations were difficult to finalize in just one or two negotiations. Robert Li was prepared for a long-term effort. “As we continue to achieve success, Universal will eventually be tempted.”

He pondered for a moment and added, “If we can reach a collaboration with Universal, wouldn’t that be more beneficial for the group’s future development?”

Ronan nodded. “In the long run, that’s certainly true.”

Robert Li’s vision had become more far-sighted as his position and abilities improved. “I’ve analyzed the situation. What do you think?”

Ronan looked at him. “Go on.”

Robert Li didn’t need to hide anything from Ronan and spoke directly. “Currently, among the Big Six studios in Hollywood, Warner Bros. and NBCUniversal are relatively mild in their attitude toward us. Warner Bros. has collaborated with us more, but to be honest, I’ve recently watched some of the films and TV shows they’ve produced and distributed. Apart from the Harry Potter series, I always feel that Warner Bros.’ decision-makers seem a bit unreliable.”

Ronan agreed. “I’ve had the same feeling.”

Robert Li then asked, “I heard that Kevin Tsujihara is leading in the competition to become the next Chief Executive Officer of Warner Bros.”

“Unless something major happens,” Ronan, who was more informed about this, said, “Kevin Tsujihara will become the next Chief Executive Officer of Warner Bros.”

Robert Li looked puzzled. “I don’t understand how Warner Bros.’ shareholders and directors think. Kevin Tsujihara gives me the impression of being more like a speculative politician than a decision-maker for a film company.”

Ronan helplessly spread his hands. “Only God knows what Warner Bros.’ people are thinking.”

“We have collaborations and competitions with the Big Six,” Robert Li continued. “But not every major company is like 20th Century Fox, which would become our enemy.”

Ronan lightly nodded. “So, the negotiations between Marvel Entertainment and Sony Columbia Pictures ended quickly.”

Ronan continued, “Besides our competitors, we also need partners with whom we have some mutual interests. We don’t expect them to stand on Relativity Entertainment’s side when a war breaks out, but if they can remain neutral or even slightly delay taking action against Relativity Entertainment, that would be a success.”

Robert Li added, “The relationship between Universal and us has always been relatively peaceful. If we can reach an agreement on collaborating for the new Jurassic Park series, Universal might be able to do this.”

“You’re right,” Ronan said. “Robert, continue negotiating with Universal for this project. Don’t give up easily.”

Robert Li said, “I understand.”

Ronan was well aware that if they could truly reach a collaboration, it would be strategic.

Relativity Entertainment and the new Universal had never had major conflicts of interest. As long as they could see the benefits, both parties might be able to reach an agreement on collaborating for the new Jurassic Park series.

In the afternoon, Ronan and several high-level executives from Relativity Entertainment, Shai Entertainment, and Embassy Pictures went to watch an internal screening of Ang Lee’s Brokeback Mountain.

Compared to the initial heavy doubts, after the internal screening, everyone unanimously approved of the film. Whether in terms of emotion or visuals, the film could only be described as pure and beautiful.

Even though all the attendees were stoic men, they might not like Brokeback Mountain, but it was hard for them to feel any aversion.

Ang Lee’s skills in artistic films were indeed extraordinary.

“I once had great doubts about this film,” George Clinton admitted without reservation. “But after watching the screening, I believe this will be an excellent film.”

Ang Lee, with his characteristic Eastern modesty, faced the numerous compliments and repeatedly said, “Thank you.”

Without experiencing the ups and downs of a director’s career like Ang Lee’s, it was hard to understand his current state of mind.

For a Chinese director to fail miserably in a Hollywood blockbuster was truly devastating.

Fortunately, Ang Lee still had a chance to prove himself.

Ang Lee also knew how this opportunity came about. He went up to Ronan and shook his hand tightly. “Ronan, you must accept my gratitude. Without your support, I wouldn’t have had the chance to make this film.”

Ronan smiled and said, “Director Li, our collaboration has always been based on the principle of mutual benefit.”

Ang Lee let out a long sigh. “I can finally sleep well tonight.”

With Ronan’s approval, he felt the film had already succeeded more than half.

But Ronan deliberately said, “Director Li, now is not the time to relax. The end of film production is just the beginning of its operation. Embassy Pictures has already secured a spot for Brokeback Mountain in the competition section of the Venice Film Festival. Your next battle will begin soon.”

Ang Lee said with utmost seriousness, “I know. I will give it my all.”

To make those who had belittled him see him in a new light, the film needed to win several major awards.

Ronan knew the potential value of Brokeback Mountain and encouraged him, “Go ahead and do it. Relativity Entertainment will give you the greatest support.”

Ang Lee sincerely said, “Ronan, in the future, if there’s anything you need from me, just say the word.”

As Ronan continued to facilitate successful projects, many directors like Ang Lee increasingly felt that collaborating with Relativity Entertainment not only provided security but also a higher chance of success.

Many new directors were also eyeing Ronan and Relativity Entertainment. After all, from the surface, Relativity Entertainment seemed to always give opportunities to new directors, screenwriters, or producers, being more progressive than the traditionally conservative Big Six and other mid-sized companies.

In Wellington, the capital of New Zealand, since the success of the Lord of the Rings trilogy, Weta Workshop had risen to become one of the world’s best film special effects studios.

This year, another heavyweight film project arrived here, along with a super director who dared to call himself the “King of the World.”

After receiving the first batch of automatic funds injected by Shai Entertainment, James Cameron’s Avatar crew moved from Los Angeles to Wellington. With the joint efforts of Weta Workshop and Industrial Light & Magic, they began their preliminary preparations.

The special effects design was at the forefront of all preparatory work, which was also the most crucial part of Avatar’s filming and production.

In fact, it wouldn’t be an overstatement to call it the first key priority.

To complete his masterpiece, James Cameron, like other directors, gathered his usual collaborators.

Neil Blomkamp was one of them. This American, born in Johannesburg, although not very old, had participated in the post-production special effects of Titanic and served as the associate visual effects supervisor in Dark Angel, where James Cameron was the producer.

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Chapter 762: Aliens

Many personnel from Weta Workshop had been reassigned to the Avatar project. James Cameron’s own special effects team was more involved in coordination rather than direct production.

Young Neil Blomkamp still held the position of Deputy Director of Visual Effects for the production.

That day, work ended early, and James Cameron was in high spirits. He confided in a few trusted subordinates that investor Ronan Anderson would soon arrive in Wellington, New Zealand, bringing with him the second installment of funding—a staggering fifty million dollars.

To achieve the desired filming effects for Avatar, money was the only solution.

Hearing that Ronan Anderson was coming to Wellington, Neil Blomkamp couldn’t help but have some ideas. But seeing James Cameron, he remembered the mentor’s kindness and thought it best to give him a heads-up first.

James Cameron had never restricted his subordinates from starting their own ventures. If he could secure his support and recommendation, Ronan Anderson would take it seriously.

Seeing James Cameron leave the office, preparing to return to his hotel, Neil Blomkamp quickly followed.

“What’s wrong, Neil?” James Cameron turned curiously. “You have something on your mind?”

Neil Blomkamp scratched his head. “Yeah, a little.”

James Cameron appreciated Neil Blomkamp greatly; otherwise, he wouldn’t have let a man under thirty become the deputy director of the visual effects department.

He stopped walking. “Speak your mind.”

Neil Blomkamp smiled awkwardly. “I mentioned to you before—I shot a sci-fi short film last year about aliens.”

James Cameron remembered. “The one set in Johannesburg?”

Surprised that James Cameron still remembered, Neil Blomkamp quickly said, “Yes, that’s the one.” Knowing James Cameron was busy, he got straight to the point. “Boss, could you spare a little time to take a look at this film?”

“Sure.” James Cameron appreciated Neil Blomkamp, and his own experiences made him naturally supportive of his subordinates’ entrepreneurial spirit. “Neil, do you have other plans?”

Neil Blomkamp didn’t hide anything. “After finishing the short film, I had this urge to turn it into a full-length movie. Once the idea took hold, I couldn’t shake it. Before you gathered us for the project, I finished the script and some related designs.”

He scratched his head again, embarrassed. “When you mentioned Ronan Anderson was coming, I thought maybe I could find a chance to show him my short film and script.”

James Cameron’s stern face softened into a kinder smile. After all, this was a young man he had personally nurtured. “Come on, let’s find a place to watch your short film.”

Neil Blomkamp had the disc with him. This was Weta Workshop, where playback equipment was in no short supply.

In less than ten minutes, James Cameron had finished watching Neil Blomkamp’s sci-fi short film.

“Rough and not very polished, but the short film is well done. Very creative.” James Cameron asked directly, “Are you drawing parallels to South Africa’s apartheid policies?”

Neil Blomkamp said, “Yes, not just South Africa. I think the racial segregation policies within human society are a cancer.”

James Cameron patted his shoulder. “Ronan is coming tomorrow afternoon. Stick with me then.”

Neil Blomkamp was instantly overjoyed. “Okay, okay.”

“Bring your script and proposal.” James Cameron considered that Neil Blomkamp had been with him since the post-production of Titanic, serving him for nearly seven or eight years. For him, this was just a small favor of recommendation. “Neil, prepare thoroughly. Impressing Ronan Anderson isn’t as easy as the rumors make it seem.”

Outsiders claimed Ronan Anderson appreciated and liked to promote newcomers, but James Cameron had dealt with Ronan Anderson many times and saw through such rumors clearly: the only reason a newcomer or new project could impress Ronan Anderson was if he saw a profitable future in it.

Otherwise, even if he recommended it, it wouldn’t work—even if Ronan Anderson’s best friend, Tom Cruise, recommended it.

The next afternoon, Ronan arrived in Wellington on time. After settling his luggage at the hotel, he immediately brought his financial and assistant staff to Weta Workshop to meet James Cameron.

Weta Workshop was less like a company and more like a large factory. Most of the studio was converted from factory buildings into special effects studios. The highly successful Lord of the Rings trilogy and this year’s remake of King Kong had all their special effects work done here.

Accompanied by James Cameron and the crew, Ronan, the investor, entered the already constructed special effects studio.

As soon as he entered, Ronan saw a familiar figure. Jessica Alba, dressed in a motion capture suit, was making strange movements in front of the camera as per Andy Serkis’ instructions.

Ronan was a layman when it came to motion capture and couldn’t make sense of it.

James Cameron introduced, “The crew is working on the 3D modeling for the Na’vi.” Seeing Ronan curiously looking at Jessica Alba, he said, “Jessica is here to help the crew test the 3D model system for motion capture.”

Ronan nodded slightly. “Are you planning to have Miss Alba play the female lead?”

James Cameron shook his head. “Not decided yet. Jessica is just here to test the model system.”

Ronan didn’t say more. James Cameron and Jessica Alba’s close relationship was no secret in Hollywood. There had been online reports that Jessica Alba, who had almost retired from acting after marriage, occasionally met with James Cameron.

In fact, when Avatar sequels were being planned, James Cameron’s meetings with Jessica Alba had sparked speculation that she might star in the series.

There were even rumors of an ambiguous relationship between James Cameron and Jessica Alba.

Ronan was the first to dismiss such rumors—the possibility was almost zero.

Perhaps, in the eyes of most people, whether East or West, Jessica Alba was an extremely beautiful woman.

But in James Cameron’s eyes, Jessica Alba was just ordinary.

Those who knew James Cameron a little understood that Jessica Alba didn’t fit his usual aesthetic preferences.

Simply put, Jessica Alba’s facial features were too soft, not square enough, and her lines weren’t rugged enough; her figure was too slender, not sturdy enough.

After a cursory tour of the studio, the entourage gradually dispersed. James Cameron suddenly said, “Ronan, do you have time to watch a sci-fi short film?”

Ronan was curious. “What sci-fi short film?”

Given James Cameron’s reputation, Ronan naturally took it seriously.

James Cameron beckoned a young man over. “This is my assistant, Neil Blomkamp. He made a sci-fi short film and has a plan for a full-length movie based on it. Are you interested?”

Anyone recommended by James Cameron couldn’t be bad. Ronan looked at the unfamiliar young man and said, “If you recommend it, it must be special. I’d love to see it.”

Neil Blomkamp, signaled by James Cameron, quickly stepped forward to introduce himself. “Hello, Mr. Anderson. I’m Neil Blomkamp from South Africa, currently assisting James with some visual effects work in the crew.”

Ronan shook his hand. “Nice to meet you.”

Neil Blomkamp didn’t waste time. He drew the office curtains, turned on the prepared projector, and played his sci-fi short film from last year.

James Cameron found an excuse and left.

He was only responsible for the introduction.

This was already quite generous.

Ronan focused on the playing short film. When the aliens appeared, he couldn’t help but frown slightly. These alien creatures, resembling giant shrimp or arthropods, naturally carried an inexplicable comedic effect.

It seemed like he had seen them somewhere before.

Of course, he had never seen real aliens. It was only possible through films, TV shows, or other illustrations that he had seen humans’ imagined versions of aliens.

In America, there were many rumors about Area 51. A vast number of people firmly believed that the American government was hiding the truth—that in some secret state, there must be facilities concealing the truth about aliens.

The short film was brief, just over six minutes, but the plot and theme were very clear. It told the story of a group of aliens who, after a crash landing on Earth, were arranged to live in Johannesburg, South Africa. They continuously clashed with local residents, leading the government to eventually impose quarantine and segregation, establishing a special temporary residence for the aliens.

Even without in-depth knowledge of South Africa, Ronan could see that this young man from South Africa was clearly using the short film to reflect on South Africa’s apartheid policies.

Speaking of which, South Africa was a peculiar country, even more so than the great United States.

Ronan had never been there, but he had heard Charlize Theron mention that, according to the South African beauty, her homeland’s economic situation and social security seemed to have worsened since her childhood.

When the short film ended, Ronan looked at Neil Blomkamp. “Very creative short film.”

Neil Blomkamp quickly handed over the prepared script and proposal.

Chapter 763: District 9

After quickly skimming through the script, Ronan fell into deep thought. The plot described in the script was eerily familiar.

Hollywood had produced countless films about aliens, and Ronan had seen so many that the plots often blurred together in his mind. Aliens were a perennial theme in Hollywood sci-fi films.

In these films, aliens repeatedly descended upon Earth, as if drawn by something special about the planet, as if Earth were the center of the universe. Some aliens were friendly, willing to act as Earth’s “alien spies”; others were warlike, always threatening to destroy the planet; some saw themselves as Earthlings, basking in the sun until they became gods; and others traveled countless light-years just to enforce population control on Earth…

The script Ronan was reading was somewhat different. It depicted Earth as a place for alien immigration.

“This idea…” Ronan waved the script in his hand. “What are your thoughts?”

Neil Blomkamp, seeing that he had piqued Ronan’s interest, handed over a stack of sketches. “These are some alien designs I drew. They’re like a group of interstellar refugees.”

Ronan took them and glanced through. Given Neil’s background in visual effects, his sketches were meticulously detailed. The alien designs, resembling arthropods, were vividly lifelike. The sight of these far more distinct aliens than in the short film jogged Ronan’s memory.

A low-budget sci-fi film that had once made a fortune began to resurface in his mind. Shrimp-like aliens coming to Earth to destroy the White House? No, that was Independence Day. Johannesburg, prawns…

Neil was answering Ronan’s earlier question: “Ever since I was a child, I’ve watched countless films and stories about aliens—Close Encounters of the Third Kind, E.T., Alien. Human imagination about extraterrestrial life is always rich, but I feel that in many alien-themed works, aliens often represent a power or cultural conflict beyond human reach. They never truly integrate; they go their separate ways.”

He glanced at Ronan, who was listening attentively, and continued: “So I started wondering, what if one day, aliens from many other planets immigrated to Earth? Their technology is similar to ours, their knowledge and language aren’t too different, but their appearance is vastly different from humans. How would human society change? What would humans do?”

Neil scratched his head and smiled. “With that in mind, I made the short film Aliens in Johannesburg, depicting human society under such circumstances. My original plan was to make a feature film, but due to various constraints, it never materialized. So this short film carries many of my ideas, and it helped clarify my thoughts, leading to this script.”

Ronan set down the sketches and looked at the script again. “Neil, how do you plan to shoot this film?”

“Highlighting the theme of racial segregation, it will be a Kafkaesque Metamorphosis story!” Neil said without hesitation. “To make it feel real, I plan to shoot it as a mockumentary. I only need about thirty million dollars…”

Having spent years around James Cameron, Neil was accustomed to high budgets, so thirty million didn’t seem like a large investment to him.

Ronan didn’t respond immediately. He flipped through the script again and asked Neil more questions about his vision for the film, gradually solidifying his understanding.

A sci-fi mockumentary, shrimp-like aliens, and a Kafkaesque Metamorphosis—all these alien film elements stacked together made Ronan fairly certain that this was District 9.

He couldn’t remember the exact plot details, and the script in his hands had some discrepancies with what he recalled of the film, likely because it was an early draft.

District 9?

The film’s plot hadn’t left a deep impression on Ronan. Now, as he thought about it, what came to mind more was its similarity to The Blair Witch Project—it seemed like another example of successful viral marketing.

Neil had just mentioned that he planned to shoot the film as a mockumentary, which naturally lent itself to viral marketing.

If Ronan remembered correctly, this would be a sci-fi film where the marketing outweighed the film itself. Perhaps the film’s success was less about the film and more about the triumph of viral marketing.

Of course, District 9 was of much higher quality than The Blair Witch Project.

Neil looked at Ronan, wanting to say more, but seeing Ronan deep in thought, he closed his mouth and remained silent.

Years of experience in Hollywood had taught Neil that the decision lay with Ronan, the investor and producer, not with him, a novice director who had never made a feature film.

Ronan quickly made up his mind. “Neil, I’ll take the script for now. I’ll have someone from Shai Entertainment come to discuss the specifics of our collaboration.”

Neil spoke with some urgency: “Mr. Anderson, I’m honored to work with Shai Entertainment, but regarding this script… I… I want to direct it myself…”

“I’ve just watched your short film,” Ronan said, having formed an opinion based on it. “It’s very well done. You have a talent for directing. If we can reach an agreement, you can be the director.”

Neil’s face lit up with delight. This was the best possible outcome he could have hoped for.

Ronan continued: “But there are some things I must make clear upfront. First, the investment for this project won’t be large. Second, this project might have to wait a while before preparation begins. Third, your filming and production must align with Relativity Entertainment’s custom marketing and promotion plan…”

Each of these conditions significantly restricted the director’s authority.

Especially the requirement to align with marketing and promotion, which almost certainly meant the film’s guiding principle was marketing-driven.

In Hollywood, especially for new directors, who had much power? Neil, having worked in the industry for years, was not surprised and had no complaints.

“I have no problem with that,” Neil said directly. “I still have work to do on the Avatar crew. Even if I leave, I need to consult Director Cameron. I’ve also considered other aspects. Mr. Anderson, I’ve always thought your marketing for The Blair Witch Project was brilliant. My plan to shoot it as a mockumentary is also with that in mind.”

Ronan nodded slightly. “Shai Entertainment and Embassy Pictures will send someone to discuss the specifics with you.”

Neil understood that Ronan wouldn’t handle such details himself. “Alright, I’ll be staying in Wellington and at Weta Workshop for the time being.”

Ronan took Neil’s contact information and left the office. After meeting with Connie, he instructed her to notify George Clint to send someone to discuss the specifics of the collaboration with Neil.

When Ronan saw James Cameron again, Cameron didn’t bring up the matter.

Clearly, he was only responsible for the recommendation.

For a director of James Cameron’s caliber, providing a recommendation for a subordinate was already a very considerate act. In the business world, many superiors preferred to keep their subordinates down forever.

Some even actively sowed discord among their subordinates to better control them.

James Cameron was more like Steven Spielberg, who was known in Hollywood for recommending his subordinates. Apart from the business acumen required to run DreamWorks, Ronan increasingly felt that Spielberg was closer to the traditional notion of a good person.

Ronan stayed in Wellington for three days. During that time, he made a point to meet with the heads of Industrial Light & Magic and Weta Workshop. While he didn’t understand the intricacies of special effects production, he made sure to grasp the overall direction of the crew.

This film project was a massive investment with equally massive returns, so Ronan couldn’t afford not to take it seriously.

Ronan also specifically spoke with Andy Serkis, the motion capture director. As the former “King of Motion Capture” in Hollywood, Andy had many ideas about motion capture. His work on the beauty and the beast scenes in King Kong had also piqued his interest in the industry.

Unfortunately, Ronan couldn’t find another suitable project for Andy at the moment.

Moreover, with Andy committed to the Avatar crew, he wouldn’t have time to consider other film work for the next two or three years.

As Ronan was leaving, a three-person team from Shai Entertainment arrived in Wellington to begin formal negotiations with Neil about the film project.

With Avatar in preparation, Ronan’s planned Alice in Wonderland, which was to ride the 3D wave of Avatar, had also completed its first draft.

This was originally a fantasy adventure fairy tale. At Ronan’s request, the script emphasized themes suitable for all ages, aiming to make the future film a PG-rated family-friendly movie.

A PG-rated family film could appeal to a broader audience, fully capitalizing on the heat generated by the 3D trend.

Chapter 764: The Director’s Choice

Disney held a significant advantage in the family entertainment sector, not just in production but, more importantly, in marketing and promotion.

Embassy Pictures had been steadily strengthening its capabilities in this area. The target audience for Alice in Wonderland overlapped greatly with that of animated films, and the promotion and distribution of several animated features had given Embassy Pictures ample experience and opened up certain merchandise channels.

Low-cost film merchandise from the other side of the Pacific was being shipped worldwide every day.

For example, Peppa Pig. The latest order for toys, plushies, and figurines related to the animated series had cost Embassy Pictures tens of millions of dollars in North American pre-order fees alone.

Initially, even Robert Lee and George Clint, who trusted Ronan the most, had reservations about outsourcing merchandise orders to the other side of the Pacific.

Just like many ordinary Americans viewed the region.

But after several collaborations, the high-quality, low-cost products from across the Pacific had completely dispelled their doubts.

Costs were several or even dozens of times lower than in North America, quality far surpassed Indian products, and the proactive cooperative attitude had won over the management of Relativity Entertainment.

As for those North American companies begging for orders, when faced with sufficient profits, business was business—nationality didn’t matter.

Ronan was well aware that the other side of the Pacific was developing by leaps and bounds, creating miracles every day. It wouldn’t be long before everyday products in ordinary American households would be dominated by Eastern manufacturing.

As Avatar entered pre-production, Embassy Pictures began drafting detailed marketing plans for this mega-production. Even for a James Cameron film, despite its past success turning countless viewers into free promoters, ensuring the film’s success still required marketing investments exceeding its production costs.

Every advertisement, every promotional article—all were bought with money.

Meanwhile, another distribution team closely tied to Avatar was formed at Embassy Pictures.

This team was specifically tasked with promoting Alice in Wonderland.

The two teams worked in coordination, with both Avatar and Alice in Wonderland integrated into a promotional and distribution plan codenamed “3D.”

These two films would be closely linked in the future.

The success of Alice in Wonderland and the explosive popularity of Avatar would fuel the market’s hunger for 3D films, but quality remained the foundation.

Thus, Alice in Wonderland had to meet high standards.

A film like this, with no gimmicks beyond 3D, needed to be convincing enough to attract audiences.

Because Johnny Depp was playing the Mad Hatter, Ronan remembered that the original director of Alice in Wonderland was Tim Burton.

It was also Tim Burton’s most commercially successful film.

Now, Tim Burton had just finished Charlie and the Chocolate Factory for Warner Bros. Ronan, invited by Warner Bros., had seen an early screening. The style was as unique as ever.

Tim Burton’s films were highly distinctive. In fact, the original Alice in Wonderland was one of his less stylized works.

The reason was simple.

For a film with a budget of tens of millions, the studio could let Tim Burton do as he pleased. His market appeal was enough to recoup the investment.

But for a two-hundred-million-dollar film, a director of Tim Burton’s caliber might not even have as much power on set as Michael Bay.

Charlie and the Chocolate Factory was quite interesting, especially Johnny Depp’s performance—he was in his element with such roles.

But Ronan had also heard some troubling news. Apparently, Johnny Depp had caused headaches for Warner Bros. during filming, showing up on set drunk multiple times.

And this was with Tim Burton as director. With someone else, who knew what would happen.

Thus, when Shai Entertainment approached Tim Burton, they prepared a backup plan. If Tim Burton insisted on bringing Johnny Depp—especially if Depp demanded outrageous conditions—they would have to find another director.

Likely due to Ronan’s involvement in Pirates of the Caribbean, which had received greater early investment and resources, the film had become even more successful than before, accelerating Johnny Depp’s transformation by a few years.

In the original timeline, news of his antics didn’t explode until after 2010. Before that, no one knew if he had already become that way. Ronan, being far from Hollywood at the time, certainly wouldn’t have known.

But now, Embassy Pictures had no intention of exposing the issue for publicity’s sake, yet Johnny Depp’s changes were happening in real time.

For the backup director, Ronan had drafted a list, with his USC School of Cinematic Arts alum, Robert Zemeckis, at the top.

This Oscar-winning director had never pursued independent art films; his work was always strongly commercial.

Whether it was his breakthrough Who Framed Roger Rabbit, Forrest Gump, or later Cast Away, they were all classics of commercial cinema.

Moreover, Robert Zemeckis’s style was more family-friendly than Tim Burton’s.

“Negotiations with Tim Burton aren’t going smoothly.”

At a Shai Entertainment project meeting, a deputy director from the production department, directly responsible for the project, said, “Tim Burton has made some demands after reading the script.”

Ronan asked, “What demands?”

The deputy director quickly replied, “Tim Burton feels our script is too similar to past fairy tale versions. He wants major changes—darker themes to match his style—and he’s demanding final cut.”

George Clint interjected, “He’s never had final cut before.”

The deputy director continued, “Also, he wants to increase the Mad Hatter’s role and have Johnny Depp play it.”

Ronan frowned slightly. Compared to the fairy tale and other film versions, Shai Entertainment’s draft already gave the Mad Hatter much more screen time. Increasing it further would make this no longer a film about the female lead.

They might as well rename it The Mad Hatter Saves the Underground World.

George Clint chimed in, “I spoke with Garcia a couple of days ago. He mentioned that during Pirates of the Caribbean 2’s promotion, Johnny Depp caused a lot of trouble?”

Ronan nodded lightly, “I never expected Johnny Depp to become like this.”

According to past entertainment news, it wasn’t until Pirates of the Caribbean 4 that media and online reports began surfacing about Johnny Depp’s outrageous behavior on set.

Hollywood stars throwing their weight around weren’t much different from those on the other side of the Pacific, but most stars’ professionalism was undeniable.

Even the most notorious diva, Jennifer Lopez, would cooperate fully once on set.

Some people just couldn’t help but self-sabotage.

“Is Tim Burton being stubborn?” Ronan asked.

The deputy director replied, “Other issues can be negotiated and likely resolved, but he’s adamant about casting Johnny Depp as the male lead.”

He paused, then added, “In recent years, Johnny Depp has been the male lead in all of Tim Burton’s films.”

Currently, neither Shai Entertainment nor the entire Relativity Group had a favorable impression of Johnny Depp.

After a moment’s thought, Ronan asked, “Blind, you’re the direct supervisor of this project. What’s your opinion?”

Blind knew Ronan’s work style and didn’t beat around the bush. “I suggest temporarily halting negotiations with Tim Burton and prioritizing Robert Zemeckis as the director. We should begin talks with him as soon as possible.”

When Ronan proposed Robert Zemeckis as a potential director, he had carefully considered his USC alum.

“Explain your reasoning,” he said, looking at the deputy director.

Blind was concise: “Compared to Tim Burton, Robert Zemeckis’s style is more mainstream. His past films have achieved greater success, and his fame and commercial appeal are stronger.”

These were all obvious points. Tim Burton’s commercial track record was mediocre, and he wasn’t known for commercial films.

Blind continued, “After several in-person meetings with Tim Burton, I found he has little understanding of 3D filming and production. This could cause major issues during pre-production and post, especially since we plan to shoot this film in 3D.”

This reminded Ronan of something he had overlooked.

He had seen the 3D version of Alice in Wonderland in theaters. The 3D effects? “Disastrous” was an understatement.

To be precise, the only thing in 3D was the subtitles.

That version of Alice in Wonderland wasn’t shot in 3D; it was entirely converted in post-production.

Which meant there was a possibility that after Tim Burton finished the film, Disney saw an opportunity for profit and converted Alice in Wonderland into 3D in post.

The film’s 3D quality had nothing to do with Tim Burton.

Blind went on, “Robert Zemeckis is different. He directed the 3D family film The Polar Express and is one of Hollywood’s leading technical directors, with extensive hands-on experience in 3D filming.”

Chapter 765: The Human Skin Inn

Like George Lucas and James Cameron, Robert Zemeckis was one of the leading technical directors in Hollywood, constantly innovating in film technology. In Hollywood circles, he was known as a pioneer of modern film innovation. Most of his films were like uniquely styled adult fairy tales.

Looking at Robert Zemeckis’s body of work, including the Back to the Future series and Forrest Gump, his films always carried a sense of pure innocence, wondrous dreams, and warmth.

Steven Spielberg, who had mentored Robert Zemeckis, once described him as: “A grown-up child, a tech-obsessed storyteller who never settles down.”

Ronan didn’t need to look up any references—his impression of Robert Zemeckis was already clear. Low output, but every film was a classic. Robert Zemeckis was a tech enthusiast and a master storyteller. In Hollywood, his versatility was undeniable.

As a fellow alumnus of the USC School of Cinematic Arts, Ronan had also interacted with Robert Zemeckis in person, which was why he had included him in the list of potential directors.

This director was also the perfect choice for a fairy tale film.

Speaking of which, was there any adult film more like a fairy tale than Forrest Gump?

Ronan had discussed this with Robert Zemeckis before. The director had a deep affection for innocent things. When handling the character of Forrest, he didn’t turn him into a clownish figure but instead gave this clumsy, straightforward character more positive qualities.

The deputy director added, “Robert Zemeckis has many technical achievements. In 1988, Who Framed Roger Rabbit brilliantly combined live-action and animation, becoming a milestone in film technology. Last year’s The Polar Express was the first to use CG motion capture and animation to bring real-life characters vividly into a 3D animated film.”

The choice wasn’t difficult, especially since Alice in Wonderland would be riding the coattails of Avatar.

Ronan quickly made his decision: “Alright, pause the contact with Tim Burton for now. George, send an invitation to Robert Zemeckis. Blind, reach out to Robert Zemeckis’s agent.”

After a moment’s thought, he added, “Don’t give up on Tim Burton yet. Neither of them is the first choice for Alice in Wonderland.”

Blind immediately replied, “Understood.”

George Clint suggested, “Ronan, since you and Robert Zemeckis are alumni, maybe you should give him a heads-up?”

“I will,” Ronan nodded slightly. “I’ll call Robert Zemeckis this afternoon.”

At Robert Zemeckis’s level, his salary was transparent, and there was little chance he would suddenly raise his price just because of Ronan’s invitation.

Whether it was Tim Burton or Robert Zemeckis, Shai Entertainment would have to offer a high salary to secure either. Both were legendary directors in the industry.

The small meeting about Alice in Wonderland ended quickly. Because Tim Burton insisted on Johnny Depp as the male lead, Ronan ultimately decided to look for a new director.

After the meeting, Ronan didn’t leave immediately. He asked George Clint about the progress of The Hangover.

This comedy film, with a budget of only twenty million dollars, was a crucial step for Relativity Entertainment in the comedy genre.

Embassy Pictures had also prepared a corresponding promotional and distribution plan for The Hangover. If production went smoothly, the comedy would be released next year, in 2006.

If the first film succeeded, The Hangover would definitely become a series.

In a way, its series formula was quite similar to Final Destination.

The Hangover series had a classic formula: on the eve of a wedding, the groomsmen go wild at a bachelor party, wake up with no memory after a night of heavy drinking, and find themselves in a crisis, forcing them to unravel the mystery to save their lives.

For the cast, the three male leads—best friends from college—were played by Bradley Cooper, Seth Rogen, and Jonah Hill. This was the lineup Ronan had finalized.

Seth Rogen and Jonah Hill had been in Hollywood for a few years and were considered experienced newcomers.

The film’s content was quite bold and would definitely be R-rated.

Someone once said that a Hollywood comedy without an R rating couldn’t possibly be good.

The formula for American comedy was simple: after a couple of lines of dialogue, the conversation would quickly devolve into crude humor.

Ronan remembered watching an extremely raunchy Hollywood comedy where two male leads were being chased by assassins in a grassland with nowhere to hide. They then found a herd of elephants…

At this point, even Ronan couldn’t bear it anymore. He shut off the player and deleted the film, not even remembering its name.

Many of the comedic scenes and jokes in American comedies, from an Eastern audience’s perspective, were more like American horror films—just gross.

Ronan recalled a colleague who, after hearing about The Hangover in the office, eagerly downloaded and watched it after work. The next day, he asked, “Where was it funny? Where were the jokes? I watched it seriously, and I almost fell asleep…”

Compared to horror films, comedies were even more affected by cultural differences.

The Hangover was primarily targeted at the European and American markets. The Asian market in the East would just be a bonus.

Ronan then visited the scriptwriting department. Regarding the teddy bear idea, he had already submitted it in writing to the department. Shai Entertainment was currently recruiting suitable screenwriters to develop the script.

Producers or production companies proposing ideas and themes, then hiring screenwriters to write the script—this was the most typical Hollywood commercial scriptwriting model.

To facilitate the scriptwriting process, Ronan planned to have the recruited screenwriters visit the teddy bear manufacturing company to experience it firsthand.

This was a classic case of assigned writing, which would help deepen the emotional connection between the screenwriters and the characters.

As for the teddy bear’s personality, they hadn’t found a suitable reference yet, but Ronan had set a standard: this bear had to be shameless beyond belief.

This film was one of the most memorable Hollywood comedies for Ronan.

There was another comedy that left a deep impression on him, not because it was particularly good, but because the theme of the Hollywood film was about assassinating a country’s leader…

In some ways, American hegemonic thinking was fully reflected in Hollywood.

In Hollywood, if they said you were wrong, you were wrong—even if you were right.

The only thing that could change their stance was something called “profit.”

For profit, they would dare to mock the Washington administration.

Ronan had watched countless Hollywood films, and as far as he could remember, the only entity that hadn’t been truly mocked by Hollywood was the tax bureau.

Probably because anyone who mocked the tax bureau would get audited.

Speaking of which, how many companies, big or small, and countless taxpayers in America had no tax issues at all?

The Teddy Bear was only in the earliest planning stages. Completing the script this year would be an achievement.

Unfortunately, Ronan still couldn’t remember the name of the director who had sung a song at the Oscar ceremony.

As the Oscars became more politically correct, the films they chose became increasingly niche and obscure, leading to a yearly decline in viewership for the awards ceremony.

So, that director could sing such a song on the awards stage.

Without the director’s and production team’s agreement or tacit approval, such a song wouldn’t have appeared.

This also highlighted a problem: in a few years, the Oscar ceremony would need to resort to outrageous stunts to attract viewers.

If they couldn’t find a suitable candidate, Todd Phillips, the current director of The Hangover, could be an option.

This thirty-something director had extensive experience in comedy films.

In mid-April, Embassy Pictures’ Hellboy, released last month, had grossed over eighty million dollars in North America and nearly sixty million overseas.

Based on box office alone, this unconventional superhero film could recoup its investment.

This month, Relativity Entertainment also had a film release. From preparation to filming to post-production, and finally to promotion and distribution, Artisan Entertainment’s The Human Skin Inn had completed the entire process in less than six months—a pace that usually took two years for major commercial films.

The film’s total budget was only four million dollars, so the pressure to break even was relatively low.

Director Eli Roth was a typical admirer of Quentin Tarantino. He borrowed the filming style of Kill Bill, and The Human Skin Inn, already extreme in its content, was drenched in blood.

During filming, Eli Roth’s crew used over one thousand liters of fake blood.

The effect was evident.

This kind of horror film, where deranged American youths were tortured to death by psychopaths, had a stable audience in North America. As long as the film’s quality was decent, making a huge profit might be difficult, but recouping the investment was relatively easy.

Eli Roth’s film was well-made. He had previously directed similar films like Cabin Fever, mastering the essence of the genre.

The Human Skin Inn didn’t top the North American box office chart in its opening week, but with a box office of nineteen point five five million dollars, the film turned a profit in just three days.

Chapter 766: The Final Preparations

Shai Entertainment had truly grown through low-budget horror films, which could also be considered Relativity Entertainment’s signature genre. The success of The Human Skin Inn had given Relativity Entertainment another hot-selling horror series.

Compared to the commercial tentpoles that could never achieve their best effects on small screens, horror films had always been a hot commodity in the rental market.

This type of film had extremely low hardware requirements for playback.

Now, DVDs had already become the mainstream in the offline market. Although many people still hadn’t given up the habit of watching videotapes due to the number of VCRs in circulation, the total rental income from videotapes in the North American market was less than a third of that from DVDs.

Compared to DVD players, VCRs were frighteningly expensive.

As early as 2002, the average price of VCRs in North America had dropped below $200.

VCRs imported from the other side of the Pacific were even more competitive, directly leading to the widespread adoption of DVD players in North America.

These developments also provided strong support for Netflix’s online rental business.

Since entering 2005, Netflix’s business growth had been astonishing, with multiple internet star businesses working in tandem to attract a large number of new users.

One point that couldn’t be ignored was that, with the passage of time, computers and the internet had become highly popular in North America, and the smartphone market was also expanding.

Especially internet speeds—since the second half of 2004, internet speeds in North America had noticeably improved.

Although they were far behind the infrastructure mania on the other side of the Pacific, the bright prospects of the internet had spurred telecom companies to invest actively.

While further improving wired networks, many telecom companies had set their sights on the mobile market.

There were already millions of smartphone users across the United States.

This industry also had limitless potential.

Some had said that this was one of the best eras for the internet, with many giant internet companies emerging after the Nasdaq stock market crash of 2000.

That stock market-induced industry disaster seemed to have driven a major reshuffle, allowing many companies to eliminate the weak and retain the strong. Later, several superstar companies emerged.

Google, Amazon, and Netflix.

Benefiting from the continuously improving overall environment, successful overseas business listings, and the stimulation of businesses like Netflix Streaming Media and Netflix sharing that met societal development needs—especially Netflix Streaming Media—many ordinary users had become Netflix’s monthly subscribers.

In the first quarter of 2005, Netflix experienced explosive growth, achieving $787.99 million in operating revenue.

As Netflix announced its first-quarter financial report in April, more people began to pay attention to this internet company.

Following Netflix’s signing of contracts with several major phone manufacturers, they secured new cooperation partners. In mid-April, Netflix officially signed an agreement with BlackBerry, and the relevant app would become a pre-installed software on BlackBerry phones.

Additionally, Netflix’s DVD sales performance was also astonishing.

After the success of Prison Break and Wild Survival, to meet the needs of users who lacked sufficient internet on-demand hardware conditions, Netflix launched rental and sales services for these two series on its platform.

Thanks to explosive word-of-mouth and the rapid spread through the internet, the DVD sales of these two series were astonishing, generating over $30 million in revenue in North America alone.

DVDs had become the most important source of income for movies and television, with the profits from DVDs for many films already surpassing box office earnings.

Some even joked that a movie’s theater screenings were just a super advertisement for its DVD.

While Hollywood and related companies were still basking in the rich returns from the DVD business, under Ronan’s strong promotion, Netflix had actively expanded new businesses, preparing in advance for the decline of DVDs.

Starting in 2005, with the popularization of home broadband and significant improvements in internet speeds, Netflix began to actively transition to streaming media.

Netflix gradually provided users with online movie viewing services, fully supporting computers, phones, and other devices.

Rich content and good user experience had rapidly developed Netflix’s streaming media business.

The IPO plan had also entered its final stage. After long-term efforts, Netflix, relying on its rapidly developing business and growing influence, had reached an agreement with Goldman Sachs’ subsidiary specializing in IPO operations on the key issue of fees.

Last year’s Google IPO had also provided a reference for the fees Netflix needed to pay.

Now, Netflix was also one of the most attractive internet star companies in Silicon Valley.

Due to sufficiently high external expectations, like Google before, Netflix had been negotiating with Goldman Sachs over fees, finally reaching a fee rate basically the same as Google’s IPO.

This IPO fee rate was 2.8%, not the more conventional 4% for IPO transactions raising hundreds of millions of dollars.

Most IPO companies, and almost all those raising $50 million to $200 million, paid fees to underwriters amounting to 7% of the IPO proceeds.

This was also related to Goldman Sachs’ extreme optimism about the amount of funds to be raised this time.

Because Netflix would go public in a matter of weeks, Ronan had also set aside time to meet with potential investors alongside Marc Randolph and others, accompanied by Goldman Sachs’ professional team.

This was not only to give them a better understanding of Netflix’s business and future but also to boost investor confidence.

In fact, since the beginning of this year, Goldman Sachs had started a long-term “IPO roadshow” promotion plan.

When a company went public, to stimulate demand, senior management and the underwriters hired to take the company public usually spent a very long time traveling from city to city, presenting to institutional investors and answering questions.

To get people to invest, they had to show them the prospect of profitable returns.

Last year, during Google’s IPO roadshow, management refused to answer many questions from investors, leading many traditional investment institutions, who were already not very familiar with the internet, to be unwilling to expect Google’s future profitability in a positive light.

Although Google quickly proved its strength, it was widely acknowledged that Google’s IPO did not meet expectations.

Due to Netflix’s impending IPO, Ronan had also increased his understanding of this aspect and had focused on Google’s IPO process last year.

Google’s IPO not meeting expectations was related to the weak roadshow promotion and the underwriters.

Compared to traditional IPOs, Google used an auction model, which made traditional underwriters feel greatly threatened. There were even rumors that the underwriters, Credit Suisse and Morgan Stanley, wanted to secretly sabotage the auction.

According to Ronan’s understanding, the lead underwriters did not want Google’s auction model to succeed, but for the sake of income, they certainly did not want it to fail.

In the end, Google’s IPO did not meet expectations, raising only $1.9 billion.

Similarly, the shares Google issued in the IPO accounted for only 8% of the company’s shares.

Compared to Google at the time of its IPO last year, Netflix’s performance and scale were not inferior.

Google was the leader in internet search business, while Netflix was the undisputed leader in DVD rental and sales, social sharing, and streaming media businesses.

From another perspective, Google’s performance after its IPO would also have a positive impact on Netflix. After all, including Ronan, those who had invested in Google last year had reaped substantial profits.

In a recent communication meeting, Goldman Sachs conservatively estimated Netflix’s total market value after its IPO at $35 billion.

The stock price of any company before an IPO was never fixed and was influenced by many factors.

Because underwriters, the company’s own business, and investors all changed, the IPO stock price could change at any time.

“Mr. Anderson, are you ready?”

In the reception room of Relativity Tower, Lloyd Blankfein, Chief Operating Officer of Goldman Sachs Group, smiled at Ronan and said, “In a few weeks, you will become the youngest billionaire in America.”

Ronan’s mindset was relatively stable, and he deliberately spread his hands and said, “If Netflix’s stock doesn’t sell, that would be embarrassing.”

Lloyd Blankfein laughed heartily and said, “I can guarantee that Netflix’s stock will be snapped up by buyers.”

Ronan added, “This is the final preparation period. I hope there are no surprises.”

“There won’t be,” Lloyd Blankfein said, putting away his smile and speaking very seriously. “Goldman Sachs doesn’t allow surprises.”

He then asked Ronan, “What about your plans? How are the preparations going?”

Ronan nodded slightly and said, “Everything is ready. Once Netflix goes public, we will act immediately.”

Boosting Netflix’s stock price and increasing its market value would not only strengthen investor confidence but also prepare Relativity Entertainment for further expansion.

Lloyd Blankfein further asked, “Is the streaming media business ready with new content?”

Ronan directly said, “You can rest assured about Relativity Entertainment’s content production.”

Lloyd Blankfein thought of the relevant materials he had seen. Since entering the new millennium, in commercial film and television production, Relativity Entertainment was the most trustworthy content provider in Hollywood and the world.

The previous Prison Break and Wild Survival on Netflix Streaming Media had proven that, as a traditional producer, Relativity Entertainment’s content was also suitable for the internet.

Moreover, in internet promotion, Relativity Entertainment’s tricks were so outstanding that they couldn’t be described as merely excellent.

In Lloyd Blankfein’s eyes, Relativity Entertainment was a traditional film and television company with deep internet genes, and Ronan Anderson was one of the few investors and decision-makers in Hollywood and even the entire United States who had a long-term vision for the development of the internet industry.

The final sprint stage before Netflix’s IPO had arrived, and Robert Iger and Marc Randolph also joined the discussions.

Ronan had been extremely busy during this period. As the true owner of Netflix and the decision-maker for its future development, he couldn’t be absent from many important promotional occasions.

So much so that if Tom Cruise hadn’t come looking for him, Ronan would have forgotten another important matter.

“You are clearly an unqualified owner of a football club,” Tom Cruise directly said to Ronan. “The team doesn’t feel your attention.”

He reminded Ronan, “The various football leagues in Europe have reached the final stage.”

Chapter 767: Calculations

Every May, the football leagues across Europe, including the prestigious UEFA Champions League, conclude their seasons, crowning the final champions.

Now, in late April, European football leagues had reached the final sprint of the season.

For some reason, over the past half-year, Tom Cruise had increasingly felt that investing in Manchester United Football Club with Ronan was like boarding a pirate ship.

Yet, he was absolutely certain that this feeling was just an illusion.

Not long ago, representatives of the American Glazer family had secretly approached Tom Cruise, offering to buy his shares in Manchester United at a thirty percent premium over his investment.

Setting aside football itself, in less than a year, this investment could yield a thirty percent return—a massive profit by any measure.

This was inseparable from Manchester United’s strong performance this season.

The Glazer family’s offer was indeed tempting, but Tom Cruise had refused without hesitation.

He trusted Ronan’s judgment completely.

It had been less than a year, and Tom Cruise wasn’t short on money. From a purely investment perspective, this was an extremely lucrative deal.

Tom Cruise’s investment advisor had made some projections. As long as Manchester United maintained their performance, they would continue to attract fans and sponsors. In five or six years, the club’s value could easily double.

As a longtime friend, Tom Cruise knew very well that Ronan’s investment acumen extended far beyond film. His success in other industries was equally impressive.

Netflix was the perfect example.

“The Premier League and Champions League are about to wrap up,” Tom Cruise said, looking at Ronan. “As the owner, you don’t even pay attention to the team’s situation. That’s unprofessional.”

Ronan shrugged slightly, speaking with conviction: “Tom, don’t you think this is the most professional approach?”

He continued matter-of-factly: “As the owner, the most reasonable attitude is to leave the club’s operations to the professionals, isn’t it?”

Tom Cruise paused, instinctively finding Ronan’s words strangely convincing. He couldn’t help but shake his head. “You always have a way with words. What can I say? You’re the big boss.”

Ronan sighed. “I’ve just been too busy lately. Netflix is in the final preparations before going public. There are many events I have to attend.”

He waved his hand. “Compared to Netflix’s IPO, Manchester United’s affairs are minor.”

Tom Cruise was familiar with many of Netflix’s operations and nodded unconsciously. “Indeed, Manchester United is just a small matter compared to Netflix.”

He had a clear understanding of this. Even if Manchester United performed exceptionally well, Ronan would still be a billionaire. Netflix, however, could bring about a qualitative change in Ronan’s wealth.

Once Netflix went public successfully, Ronan could very well cross the ten-billion-dollar threshold!

As longtime friends, Tom Cruise felt it was best to discuss some matters with Ronan in advance. “I’m currently liquidating some fixed assets to raise a significant amount of capital.”

Ronan was curious. “You’re short on money? Need cash urgently?”

“No,” Tom Cruise explained simply. “Isn’t Relativity Entertainment’s Netflix preparing for an IPO? I plan to invest in Netflix.”

Hearing this, Ronan was somewhat surprised.

Tom Cruise continued, “My investment team is in contact with Goldman Sachs. When the IPO happens, I’ll be one of the investors in Netflix’s shares.”

Ronan smiled. “Should I say thank you for your support?”

“Not necessary,” Tom Cruise joked seriously. “Just lead Netflix to continuous development. I hope this investment will multiply several times over.”

Ronan replied earnestly, “I hope so too.”

Netflix needed to raise funds through the IPO, and the shares would be sold to many people. Selling to Tom Cruise was no different from selling to anyone else. For Ronan, this was a good thing.

By now, Ronan was certain that Netflix wouldn’t fail under his leadership. As an industry leader, it would continue to grow rapidly for many years.

In this regard, many investors were optimistic about Netflix. Tom Cruise, who knew Ronan better, was also optimistic about Netflix’s future, which wasn’t surprising.

Tom Cruise shifted the topic back to football. “Manchester United is at the most critical stage in both competitions. Should we go to England? There’s a high-end gathering of club owners in London, and the invitation has been sent for a while now.”

Ronan recalled this. “This weekend?”

Tom Cruise replied, “Yes, you should have received it too. Currently, Manchester United could either achieve great success or end up with nothing. It’s crucial.”

Ronan thought about his recent schedule. “Let’s go.”

Although he had transferred the entire acquisition loan of Manchester United to the club itself, Ronan wasn’t completely hands-off. He still had a basic grasp of the club’s situation.

In this season’s Premier League, Manchester United had been leading the points table but had never pulled away from Chelsea. The gap between the two teams had never exceeded three points.

Currently, Manchester United led Chelsea by two points—a single match’s difference.

Under Ronan’s intervention, Manchester United had snatched several targets from under Chelsea’s nose, including Didier Drogba, Petr Čech, and Arjen Robben. However, José Mourinho of this era seemed truly like “The Special One.” With a team composed of English players and his Portuguese core, their fighting spirit was equally astonishing.

This wasn’t the Mourinho of over a decade later, whose career was reaching its peak. His abilities were undeniable.

Even many of his coaching philosophies had sparked tactical revolutions in football.

Manchester United’s rivalry with Chelsea wasn’t limited to the Premier League; it extended to the UEFA Champions League.

This season, Manchester United had been significantly strengthened. After overcoming the initial integration phase, Ferguson strategically abandoned the League Cup and FA Cup, focusing all efforts on the league and Champions League.

In the league, Manchester United had been leading since the start of the season.

In the Champions League, after eliminating Liverpool—who had once been their tactical core, Xabi Alonso—Manchester United had advanced to the semifinals.

Their semifinal opponent was none other than Mourinho’s Chelsea.

It was no exaggeration to say that Manchester United’s success or failure this season was closely tied to Chelsea.

The other semifinal was between AC Milan and PSV Eindhoven. Given the strength comparison, unless something unexpected happened, AC Milan would surely advance to the Champions League final at Istanbul’s Olympic Stadium.

Manchester United aimed to win their second Saint-Blaise Cup under Ferguson, but first, they had to overcome the formidable hurdle of Chelsea.

The young and talented Mourinho against the cunning Ferguson, who was as sly as a fox—either could emerge victorious, and neither outcome would be surprising.

But in Ronan and Tom Cruise’s eyes, Manchester United had to be the winner.

Currently, commercial companies like Nike, Allianz Insurance, and the Audi Group were negotiating new sponsorship agreements with Manchester United. All parties intended to finalize the negotiations after the season ended.

Manchester United’s performance would directly impact the outcome of these negotiations.

To be precise, their performance was closely linked to the sponsorship contract amounts.

From Manchester United’s perspective, they hoped to secure more income to quickly shed the massive debt burden imposed by the club’s owner.

Last summer’s acquisition had given Manchester United a new lease on life but had also made them the most indebted club in the Premier League.

As May approached, the Premier League’s suspense was about to be revealed, and Manchester United and Chelsea’s two Champions League semifinal matches would decide the winner between Old Trafford and Stamford Bridge.

Although there was still some time, Ronan accompanied Tom Cruise to London to attend the gathering of club owners organized by the Football Association.

Subsequently, the Football Association and the Premier League Board would meet with the operations managers of various clubs to discuss the future development of the Premier League.

This gathering of club owners seemed more like a preliminary communication between the Football Association and the Premier League Board with the owners.

Ronan saw William again.

At such events, they only exchanged brief pleasantries.

Since many had brought their female companions, Ronan also saw William’s girlfriend, Kate.

Compared to Diana, the daughter of a duke, Kate’s story was more like Cinderella’s.

Those who knew a little about Kate’s past would likely admire her and her family. A girl who could marry into the royal family without Diana’s strong background, status, and influence—how could her mind be simple?

At that time, there were many related rumors online, a vivid account of an ordinary girl’s struggle to rise.

From Ronan’s perspective, this wasn’t meant to belittle her. Looking at society, those who could cross class barriers to achieve success—weren’t they all scheming men or women?

Simple-minded people were often eliminated at the starting line.

Looking at every owner of a Premier League club present, including himself and Tom Cruise, none were simple, pure good people.

For example, the man who approached Ronan was a Russian super-oligarch. What he had done to amass his fortune was probably beyond the imagination of outsiders.

“Hello, Ronan,” Roman Abramovich said, shaking Ronan’s hand with a smile. “It’s great to see you again.”

Ronan smiled in response. “Roman, I’m also glad to see you.”

Abramovich seemed out of place among the other club owners, or perhaps most British owners were somewhat hostile toward this Russian.

Ronan’s situation was slightly better, but only marginally. The British seemed to harbor resentment toward outsiders encroaching on their football territory.

Abramovich suggested, “Shall we find a quiet place to chat?”

Ronan, of course, wouldn’t refuse. “Sure.”

The two went to a quiet corner together.

Chapter 768: The Brewing Storm

Sitting on the sofa, Roman Abramovich looked at Ronan across from him and said, “I never expected that this season, we would become direct rivals.”

Ronan calmly replied, “Manchester United is a traditional powerhouse. If Chelsea wants to make a mark in the Premier League, competition with Manchester United is inevitable.”

Abramovich frowned slightly and said, “Chelsea is also a powerhouse.”

Ronan smiled faintly but did not respond to that.

Abramovich continued, “Ronan, we are both outsiders. I’ve owned Chelsea for nearly two years now. Do you know what my biggest realization about professional football has been?”

Ronan played along, asking, “What is it?”

“For a professional club to grow and thrive,” Abramovich declared with great enthusiasm, “it must have money.”

Ronan agreed, “I completely agree with that.”

Abramovich had not sought out Ronan without reason. “So, I continue to invest heavily in Chelsea. Chelsea will eventually become a powerhouse club. What happened last summer will not happen again.”

The words were veiled but carried a hint of confrontation. Ronan understood. Abramovich was referring to last summer when Manchester United had repeatedly snatched transfer targets from Chelsea.

With Ronan’s current strength, he certainly would not be intimidated by Abramovich. “Roman, you should understand that which club a player transfers to is the player’s decision. The players chose Manchester United because Manchester United is more attractive and offers a dream-like stage.”

The current reality was that even with José Mourinho, a Champions League-winning coach, under similar conditions, most players would choose Manchester United over Chelsea.

Abramovich understood that for Chelsea to rise, Manchester United was the mountain they had to climb. He said, “The past is the past. This season, regardless of success or failure, I will increase my investment in Chelsea this summer.”

Ronan smiled and said, “Rest assured, I won’t invest another pound in Manchester United. Manchester United’s income is sufficient to maintain the club’s normal operations.”

These seemingly casual words left Roman Abramovich speechless. Manchester United’s own income was not less than his heavy investment.

Abramovich was silent for a moment before saying, “No matter what Manchester United does, Chelsea will not admit defeat. I hope to see you on the field next time.”

Ronan smiled and said, “I will find time to watch Manchester United’s games.”

The two shook hands, and Abramovich took his leave.

Ronan sat for a while before Tom Cruise came looking for him.

“I just saw Chelsea’s owner,” Tom Cruise asked, “What did you talk about? Did he declare war directly?”

Ronan simply said, “We talked about the future of the two clubs.”

Tom Cruise found it a bit strange. “This Russian, is he that kind-hearted?”

In the American mindset, Russians were all arrogant and vulgar, much like how the British viewed Americans.

Ronan said, “This is Britain.”

Tom Cruise understood. “Right, Abramovich wants to break into Western society, so he must follow the rules here. By the way, there have always been rumors that he bought Chelsea Club to facilitate his entry into Western high society.”

Ronan only said, “It’s possible.”

The former KGB leader in Russia was indeed a formidable figure. Even if Abramovich was on good terms with him, he would probably still worry about the future.

Britain was likely Abramovich’s planned retreat.

Football and Chelsea seemed to serve as a protective layer.

Tom Cruise said, “Ronan, you need to be careful with Abramovich. Chelsea’s coach, José Mourinho, is very skilled in psychological warfare and often influences opponents through many factors outside the field.”

Ronan nodded slightly. “I’ve heard that too. In modern professional football, more and more off-field factors affect the game itself.”

“It reminds me of the Oscars,” Tom Cruise saw through it clearly. “Like the Oscar awards, the decision of who wins is not just about the movie itself.”

Ronan said softly, “The battle is won off the field.”

Tom Cruise smiled and said, “That makes a lot of sense. This season, in many of Chelsea’s games, Mourinho has won off the field.”

Ronan said, “This coach is very strong, with a will of steel.”

At his peak, The Special One was absolutely one of the strongest football coaches on the planet.

No one could underestimate Mourinho, and Ronan certainly would not. That was why he had made preparations, just like Mourinho’s usual psychological warfare, to win the battle off the field.

“By the way, I heard David Gill mention that Manchester United plans to recall the Eastern players from the team this summer,” Tom Cruise had become quite adept at considering club matters from the owner’s perspective. “Having an Eastern player might help us develop the Eastern markets, like how Hollywood does it with movies.”

Ronan said, “Unless he really performs, at least he needs to make it into Manchester United’s rotation.”

Tom Cruise said, “You don’t have high hopes for him? I heard Ferguson thinks very highly of his talent. They spent three million five hundred thousand pounds to buy him.”

This price spoke volumes. Manchester United was willing to pay such a high price for a teenage player not for commercial purposes but because they genuinely saw great potential in him.

Ronan had also heard about it. Ferguson had expressed his admiration for Dong’s talent more than once, even believing that his talent was on par with some of the top young players in the team.

When Ronan bought Manchester United, Dong was already in the team, but he had never paid special attention or given any instructions. Talent determined the potential ceiling a player could reach, but effort directly determined the floor.

There was a widely circulated joke about a certain retired Eastern player who, since 2010, had been saying that Ronaldo would be finished in three years.

For example, Ronaldo’s success was due to hard work, and his talent was actually average; Messi’s success was due to talent, and he wasn’t particularly hardworking…

If Dong worked hard and fulfilled his potential, Ronan would certainly have the club cultivate him as a key player.

Otherwise, he would be treated like any other player who couldn’t perform.

The competition among professional players was as fierce and cruel as that among Hollywood actors.

Players ultimately had to prove themselves on the field. Even Victoria’s carefully packaged Beckham had to have excellent performances on the field as the premise for everything.

Football had no shortage of stories about fallen prodigies. The multiple pressures from competition, public opinion, and the players themselves often led to the downfall of rising stars.

As for football on the other side of the Pacific, Ronan was even less interested in getting involved. Manchester United could go there to expand its commercial empire, but unrealistic fantasies were better left alone.

Even if they really wanted to do something, there was a management body that they could not bypass no matter what.

This kind of thing was better left to stronger people to solve.

Eastern football used to be a collection of all kinds of jokes. Even when Phelps achieved excellent swimming results, netizens could connect it to them.

To the point where whenever other sports achieved good results, Eastern men’s football had to be dragged out to play the role of the villain.

Speaking of which, for fans on the other side of the Pacific, it was a case of loving deeply and hating intensely.

They watched repeatedly, lost repeatedly, and watched again.

This was the best description of the fans.

Ronan had once been one of them. He remembered an old player saying that if Eastern football continued to be chaotic, they wouldn’t even be able to beat Vietnam and Thailand.

At the time, including himself, many fans thought this was a joke, too exaggerated.

But the result? Not long after, these words came true.

Who would have thought that in the 1990s and early 2000s, the Eastern men’s team, which could crush Southeast Asian football with just their heads, would actually not be able to beat Vietnam?

They were even beaten 5-0 by Thailand.

FIFA saw this and was anxious. Such a large market, if they could enter the World Cup, how much more income would that bring?

As netizens put it, if they couldn’t get in, what could they do? FIFA said it was easy, we’ll expand the World Cup!

If they still couldn’t get in, what then? FIFA could only create a South Antarctic Football Association and give two World Cup spots.

What if the penguins wanted to form a team to participate in the qualifiers? One spot really wasn’t safe enough.

Ronan had no intention of interfering with Dong. Manchester United had a healthy competitive atmosphere. Although Ferguson had misjudged many times, he was quite good at developing young players.

Dong was a player that Ferguson had insisted on signing. As long as he performed well, Ferguson would surely give him a chance.

After the gathering, Ronan made a special trip to the Manchester United Club and discussed some work matters with David Gill and Ferguson, including talking about Dong with Ferguson.

Ferguson’s evaluation of Dong was very high. “Dong’s talent is outstanding, especially with the physical conditions that Eastern players lack. He has strength and speed, and can be described as explosive.”

According to Ferguson, a bright path lay ahead for Dong.

Ronan did not stay long in the UK and soon returned to Los Angeles, but some things had already begun to brew.

In London, Fleet Street was often the busiest at night. News collected from around the world would be promptly fed back, compiled, and published the next day for many British readers.

In an unremarkable sports newspaper office, the editor-in-chief trembled slightly as he flipped through photos and text materials, asking, “Where did this come from?”

The layout editor beside him said, “A freelance journalist provided it.”

“Big news!” the editor-in-chief said after looking at all the photos. “Explosive news!”

The editor tentatively asked, “Should we give the club a heads-up in advance?”

The editor-in-chief did not hesitate. “Why should we give them a heads-up? Don’t forget how that arrogant Portuguese country bumpkin mocked us? Will that damned oligarch be grateful to us for this?”

He made the decision directly. “You write this news yourself!”

Chapter 769: Everyone on Edge

Since mid-April, London’s weather had been pleasant, and recently, it had been particularly sunny with comfortable temperatures—perfect for outdoor activities.

For professional athletes, training in wind, rain, or scorching sun was nothing unusual, but who wouldn’t prefer such pleasant weather?

Early in the morning, John Terry, Chelsea’s captain, drove his car slowly toward the Cobham Training Ground.

John Terry was highly responsible and arrived much earlier than the average player.

As he approached the entrance of the Cobham Training Ground, he noticed that reporters had already gathered. He wasn’t surprised—this had become the norm.

Since the start of the season, under the leadership of head coach José Mourinho, Chelsea had been the media’s favorite topic.

Could a London sports headline even be called a headline without Chelsea?

The morning air was still a bit chilly, so John Terry kept his car windows tightly shut. He could faintly hear the murmurs of the reporters, some pointing at his car, while others tried to rush forward but were stopped by the security personnel.

“These guys!” John Terry shook his head. “Why are they so aggressive today? Did José stir up trouble again?”

José Mourinho’s sharp tongue was indeed formidable, earning John Terry’s deep admiration. Often, with just words and provocations, he could manipulate opponents like puppets.

Unfortunately, their biggest rival, Manchester United, wasn’t falling for it.

John Terry felt a tinge of regret. Mourinho had tried to provoke Alex Ferguson and his team, but Manchester United remained unshaken, refusing to take the bait.

Ferguson was truly the craftiest old fox.

John Terry sighed lightly. If Manchester United could be distracted by Chelsea and Mourinho’s mind games, Chelsea wouldn’t be struggling so hard to catch up.

Ferguson was not to be trifled with. John Terry had heard rumors that whenever Mourinho targeted Ferguson, Chelsea would receive subtle warnings.

That Scottish old man had been in the Premier League for so long that he was the most authoritative coach, even feared by many referees.

This wasn’t sustainable. Manchester United’s stability was terrifying. For Chelsea to win the Premier League title or eliminate Manchester United in the semifinals, the challenge was immense.

As a highly responsible captain, John Terry parked his car in the lot and walked toward the head coach’s office in the training ground, pondering the current competition between the team and Manchester United.

As the team captain and leader in the locker room, on any normal training day, he would meet with the head coach, José Mourinho, ahead of time to communicate and coordinate.

This helped maintain a harmonious atmosphere within the team.

John Terry was eager to do something for the team.

The England national team was about to start training. He had heard that Manchester United’s Wayne Rooney had recently had another argument with his girlfriend, Coleen.

Slap—

John Terry smacked his forehead. “What am I thinking?” he muttered to himself.

But once the thought appeared, it was hard to suppress, like a virus taking over his entire brain.

A teammate’s girlfriend—what a peculiar existence. That taste, who knew it, knew it.

John Terry arrived at the door of head coach Mourinho’s office, still lost in such thoughts—there were two best things to eat in England: fish and chips, and a teammate’s partner.

Those who went to bars to hook up with random women were on the wrong path—far too low-class!

John Terry despised them from the bottom of his heart and looked down on them.

Entering the office, Mourinho was already seated in his chair. After shaking hands, John Terry noticed Mourinho’s sunken eyes and the unmistakable fatigue on his face. Concerned, he asked, “Didn’t sleep well last night?”

Apparently, Mourinho’s wife was a psychologist who had recently moved to London.

John Terry was startled by his own sudden thought.

But some things, like Pandora’s box, once opened, were hard to close again.

Mourinho didn’t notice John Terry’s brief moment of oddness and said, “I was studying Tottenham, our weekend opponent. I stayed up until after three in the morning…”

John Terry glanced at his watch. Mourinho had slept for at most four hours. He could only admire the coach’s dedication.

But would his wife have any objections to him burning the candle at both ends?

John Terry couldn’t help but let his mind wander again, though he wasn’t completely heartless—many things were just thoughts.

Since the next opponent, Tottenham, was also a strong team, today’s meeting between John Terry and Mourinho lasted a bit longer than usual.

When he left, John Terry checked his watch. Training was about to start, so he quickened his pace toward the locker room.

For some reason, or perhaps it was just his imagination, John Terry felt that the staff at the Cobham Training Ground were pointing at him and whispering as he walked by.

But these people all avoided him. Whenever he looked their way, they returned to their normal behavior.

John Terry was puzzled. What was going on?

Pushing open the locker room door, many of his teammates had already arrived. But instead of going about their usual routines, they were gathered in small groups, seemingly discussing something.

John Terry’s entrance immediately drew their attention, and their gazes all fell on him.

As the leader in the locker room, John Terry usually had good relationships with everyone, so at first, he didn’t think much of it.

But he soon realized that his teammates’ expressions and gazes were off—sharp and full of vigilance.

“What’s wrong?” John Terry asked casually.

No one responded. The Portuguese group, led by Carvalho, didn’t even acknowledge him and started whispering in Portuguese.

The English players, including Wales’ Duff, only managed a forced smile at John Terry.

John Terry was very confused. The atmosphere was clearly off!

“Did something happen that I don’t know about?” John Terry asked, but no one answered. He turned to the vice-captain, Frank Lampard. “Frank, what’s going on?”

Frank Lampard didn’t answer. Instead, he looked around at his teammates.

Whether it was Duff or Joe Cole, they all regarded John Terry with caution.

In reality, Lampard was also deeply on guard. On his way here today, he had made up his mind never to bring his girlfriend to any gathering where John Terry was present.

Even though they were covered in grass stains after a match, no one wanted to wear a patch of turf on their head!

With such a teammate around, who could feel at ease?

John Terry was even more puzzled. “Frank, what’s going on with you all?”

Lampard wanted to speak but didn’t know what to say or do. How could this situation be resolved without harming the team?

“Where’s Bridge?” John Terry asked the English players, pretending to be casual. “He usually arrives early. Why isn’t he here yet?”

The English group, including Lampard, and the Portuguese group led by Carvalho, looked at John Terry even more strangely.

Bridge had always seen John Terry as a friend, a brother…

Bang—

The locker room door was kicked open from the outside.

Hearing the noise, John Terry, as the captain, immediately frowned and looked over. The locker room was sacred to the players—who dared to…

“Who is it?” John Terry shouted angrily.

The other players didn’t say anything because the person who had kicked open the locker room door had already walked in.

They looked at this person with equally strange and complex expressions—some sympathetic, some amused, and some mocking.

But no one was upset that he had kicked open the locker room door. In their eyes, this person had the right to do so today!

The sports newspaper report had first been seen by a player’s family member, then quickly spread among the players’ circles before reaching the entire locker room.

Even in the locker room, there were two copies of the newspaper on a chair, featuring a very eye-catching photo—John Terry with his arm around Bridge on the field, looking like close brothers.

Their friendship was well-known within the team.

John Terry walked toward Bridge and shouted, “Wayne, what’s gotten into you!”

Without a word, Bridge swung his fist, hitting Terry hard in the face. Terry’s face immediately swelled, and blood trickled from his nose.

John Terry was never a softie—quite the opposite, he was one of the toughest players on the England team.

Not understanding why Bridge was acting this way, Terry immediately retaliated, blocking Bridge’s next punch and headbutting him in the face.

Bridge screamed in pain and fell to the ground.

The Portuguese players shook their heads. Bridge was such an unlucky guy—cuckolded and still couldn’t win a fight…

With a yell, Bridge got up from the ground and fought Terry again.

As the vice-captain, Lampard felt a sense of responsibility. He signaled Duff and Joe Cole and said, “Break them up. This isn’t the way to handle things.”

Duff and Joe Cole hesitated. From their own safety perspective, they both felt that John Terry deserved a lesson.

Players cheating, flirting, and playing around with women—they could understand. But targeting a teammate’s official partner? That was going too far!

Lampard instantly understood. It wasn’t just him—Chelsea’s other teammates also felt a sense of unease.

If it happened once, who’s to say it wouldn’t happen again?

Who wanted to be the next victim?

But Lampard couldn’t just stand by and watch the situation escalate. He quickly took out his phone and called head coach Mourinho and club owner Roman Abramovich.

Let them figure out how to handle this.

Chapter 770: Imbalance

Ever since someone arrived in London and declared to countless media reporters that he was the most special one, the entire British media had been at odds with him—and by extension, his team.

But that man was a master of psychological warfare, always striking where it hurt most, leaving Fleet Street grinding their teeth in frustration with no good way to counter him.

If there were a vote for the most disliked public figure on Fleet Street, José Mourinho would undoubtedly be the top contender.

The only one who could rival him was his Russian boss, who waved around his checkbook like a weapon.

People who can’t have grapes always say they’re sour—this was a common mindset, and it fit the British perfectly.

Still clinging to the mentality of the “Empire where the sun never sets,” the British watched as a Russian upstart flaunted his wealth, buying up everything in London as if money could purchase the world. It left them deeply unsettled.

Roman Abramovich had owned Chelsea for less than two years, and José Mourinho had been in England for less than one. Both were unapologetically high-profile, and their actions put them at odds with public opinion.

Especially Mourinho—even though he had given the media endless topics, drawn countless eyes, and sold countless newspapers, Fleet Street still despised him and his team.

“Portuguese country bumpkin” was Fleet Street’s favorite nickname for Mourinho.

People often only appreciate what they’ve lost after it’s gone.

Mourinho hadn’t left England yet, and Fleet Street hadn’t truly realized that their relationship with him was one of true love.

Perhaps only when Mourinho finally left would Fleet Street realize that the most special one truly was the most special.

Fleet Street had always treated Mourinho and his team as enemies, as if they were the public enemy of all Britain.

So when the scandal between John Terry and Ryan Bridge erupted, not a single media outlet spoke in Chelsea’s defense. Almost every major and minor newspaper went into a frenzy reporting on it.

Compared to this storm, the past reports about Ryan Giggs were nothing more than a light drizzle.

After all, Manchester United had long been the dominant force in England, while Chelsea was still an outsider.

Double standards and differential treatment were common flaws in human nature.

The media exploded, the fans exploded, and Chelsea’s internal dynamics exploded as well.

The captain had betrayed his teammate—and not just any teammate, but a close friend. Chaos was inevitable.

Even someone as strong-willed as Mourinho couldn’t suppress it in the short term.

Football, after all, was a team sport. Modern football emphasized collective strength more than ever, and Chelsea’s internal issues directly affected their performance on the field.

Over the weekend, Chelsea hosted Tottenham Hotspur at home. The usually unshakable Chelsea played as if they were a completely different team, trailing 0-2 before halftime.

Although Lampard pulled one back with a long-range shot early in the second half, it wasn’t enough to change the overall situation. Tottenham scored again, sealing the victory.

Later, Manchester United played at Old Trafford. Inspired by Chelsea’s loss, United’s morale soared, and they crushed their opponents 4-0.

After this round of matches, Manchester United’s lead over Chelsea in the league table finally stretched to more than one game.

In midweek, the first leg of the Champions League semifinal took place at Old Trafford. Ronan, Will Smith, and Tom Cruise—all three major shareholders—sat together in the VIP box.

Chelsea had strong adaptability, and Mourinho’s tactics were brilliant. The match started in a deadlock, as if the unstoppable “Special One” and the unshakable Chelsea had returned.

But Chelsea had been affected. In a high-level clash between top teams, any disruption in one area could directly impact the final result.

Ferguson had learned from Mourinho’s Chelsea, especially in the use of wingers.

Cristiano Ronaldo on the left and Arjen Robben on the right repeatedly attacked Chelsea’s defense, and eventually, Robben assisted Rooney in scoring the first goal.

“Great!”

Will Smith raised his arms in celebration, high-fiving Tom Cruise and Ronan. “We’re leading!”

Ronan seemed to see the Saint-Blaise Cup beckoning. “We have a real chance of making it to Istanbul.”

At this stage of the Champions League, who wouldn’t want to fight for the title?

Under Ferguson’s guidance, Manchester United had spent half a season integrating their tactics. The team now had a good mix of veterans like Giggs, Neville, and Scholes, along with rising stars like Cristiano Ronaldo, Rooney, Čech, Robben, and Vidic. The age structure was ideal, giving them a strong chance of winning both the Champions League and the Premier League.

Tom Cruise, who knew more about Manchester United, said, “Čech, who we signed last summer, has already become the starting goalkeeper and has performed exceptionally well. He’s widely regarded as the best goalkeeper Manchester United has had since Schmeichel. Vidic and Evra in defense, Robben and Alonso in midfield—all have become key players or rotation options. The only one who hasn’t performed as well is Drogba up front. Overall, our summer transfers were a huge success.”

Will Smith agreed. “Ronan, your eye for talent is impressive. If you switched industries to professional football, I think you’d succeed.”

Ronan modestly replied, “I’m an outsider in football. I just listen to good advice.”

Regardless, Manchester United’s transfers had laid a strong foundation for the future.

Should they try to sign Messi? After all, Robben was prone to injuries.

Ronan had specifically instructed the medical team to pay special attention to speed-based players like Cristiano Ronaldo and Robben. The former, though he looked slender, had a muscle type that was less prone to injury. Robben, on the other hand, had frequent minor issues.

But if Robben lost his speed, he would lose his greatest weapon. He himself didn’t take the medical team’s suggestions about adjusting his playing style seriously.

The fact that Messi and Ronaldo had reached such heights was partly due to their lack of serious injuries.

Though they occasionally had minor issues, they had never been sidelined for months at a time.

Players who were like a phone that took two hours to charge but only lasted five minutes—no matter how brilliant they were on the field—would struggle to reach the same heights.

Ronan thought of Messi and looked at Cristiano Ronaldo on the field. Since the start of the season, Ronaldo had made significant progress—his physique was stronger, his flashy moves were fewer, and he had further integrated into the team, playing more practically.

If they signed Messi, neither of them might reach their previous heights.

Top players weren’t always better in greater numbers.

Messi’s success was also tied to Barcelona’s consistent style of play over twenty years.

The key was still in the midfield—especially the first two. If there was an opportunity, maybe they could bring one to Manchester United to try?

A huge roar erupted from the stands. Ronan snapped back to reality—the ball had already gone into the net. Manchester United had scored again, this time from a cut-in shot by Cristiano Ronaldo, extending their lead to two goals.

On the sidelines, Mourinho angrily kicked a water bottle, and the referee immediately ran over to warn him.

Chelsea’s already unstable mentality and atmosphere began to unravel.

Just as Mourinho had attacked Arsène Wenger and lashed out at his peers, many things on the field were influenced by off-field factors.

In the past, Mourinho’s psychological warfare had been a prime example of winning battles off the field.

But now, the situation had reversed.

The final score was 4-0, with Manchester United securing an absolute advantage.

Tom Cruise and Will Smith celebrated wildly, while Ronan remained calm. After the match, he specifically sought out Ferguson for a chat. The Scottish veteran was equally composed, even believing that the team needed to focus on mental adjustments after the victory.

“Don’t forget AC Milan,” Ferguson cautioned. “They won big at home but were overturned by La Coruña away.”

Ronan solemnly added, “If Chelsea regains their footing and Mourinho goes all out, they can still be terrifying.”

This season, when Chelsea was behind, Mourinho had more than once sent out four strikers to fight back—and it had worked brilliantly.

“You can rest easy,” Ferguson said. “Manchester United isn’t AC Milan.”

Ronan knew that Ferguson’s Manchester United was also a team of madmen. In the Premier League and the Champions League, dramatic comebacks weren’t uncommon.

Especially in 1999, when they knocked out Juventus in the semifinals and scored a last-minute winner against Bayern Munich in the final—both were classic examples.

But they couldn’t afford to be careless. After all, there had been strong teams in the past that, despite leading by large margins in the first leg of the Champions League, had been dramatically overturned—sometimes consecutively.

In football, victory wasn’t always determined by pure strength.

Or rather, a team’s mentality, temperament, and spirit were also part of their strength.

Back at the hotel, Will Smith asked with concern, “Ronan, about these recent events…”

“What events?” Ronan asked, puzzled.

“Chelsea,” Will Smith said.

Tom Cruise chimed in, “That’s Chelsea’s internal problem. It has nothing to do with us.”

Ronan nodded. “Fleet Street really leaves no stone unturned. So, we need to guard against fire, theft, and paparazzi.”

Will Smith wasn’t stupid—he immediately understood the implication and laughed. “Right, what does Chelsea’s captain causing trouble have to do with Manchester United?”

He was in high spirits. “We’ll just wait for the championship.”

Since they were running a professional football club with Ronan, not winning a major title would be unacceptable. Manchester United winning a few prestigious trophies wouldn’t just be good for investment—it would also be a point of pride when talking to outsiders.

“Are we coming to watch the second leg of the semifinal?” Will Smith asked.

Tom Cruise also looked over.

Unknowingly, this trio had come to revolve entirely around Ronan.

“No,” Ronan said directly. “The summer season is coming up soon.”

Chapter 771: Super Gossip

In this era, Hollywood’s top-tier commercial blockbusters only appeared during two periods: the summer season and the holiday movie season starting in November.

Compared to the holiday season, which was closely tied to awards season, the summer season was undoubtedly more suitable for commercial blockbusters.

Among the entire summer season, May was the hottest month.

After several months of relatively sluggish screenings in the North American film market, audience anticipation and hunger often peaked in May. Faced with films that piqued their interest, they were generous with their wallets.

Every year, May, as the beginning of the summer season, was the period when the most top-tier commercial productions were released. Films confident in themselves often clustered in May.

The 2005 summer season began with Relativity Entertainment’s highly anticipated The Bourne Supremacy. In the following weeks, 20th Century Fox’s Kingdom of Heaven, DreamWorks’ super sci-fi blockbuster The Island co-produced with Michael Bay, Shai Entertainment Animation Studio’s first animated feature Despicable Me, and George Lucas’ final Star Wars film Heath’s Revenge were all set to be released one after another.

All parties were vying for dominance, each wanting to claim the largest slice of the summer season’s cake.

The summer season began with an immediate climax.

But before the summer season arrived, two pieces of film-related news instantly ignited the North American entertainment market.

Marvel Entertainment announced in the last issue of Fantastic Four comics published in April the end of this series, with the final issue also published simultaneously.

The Fantastic Four, who had already committed numerous crimes and completely become the ultimate villains, attempted to destroy the United States. They were stopped by the Avengers, led by Iron Man and Captain America, who assembled members like The Hulk, Thor, Hawkeye, and Black Widow. The two sides engaged in a fierce battle in New York.

During the battle, the Fantastic Four took the entire Manhattan Island hostage, threatening the Avengers.

After a grueling fight, the Avengers ultimately defeated the Fantastic Four, saving New York and the United States, and rescuing Manhattan.

But many people still lost their lives.

At the end of the comic, the public, media, and government condemned the Fantastic Four’s crimes, nailing them to the pillar of shame.

At the same time, because many civilians were affected, another voice began to emerge: Who gave the Avengers the authority to enforce the law? Did the Avengers have the authority to enforce the law? Should they also be restricted to prevent them from falling like the Fantastic Four under powerful supervision?

After all, the fall of the Fantastic Four had caused a series of negative effects worldwide.

At the end of the comic, led by the United Nations and the U.S. State Department, a measure to restrict and supervise superheroes was prepared—the Superhero Registration Act!

To make the Fantastic Four’s villainous image more ingrained, at Ronan’s suggestion, Marvel’s most famous major event, the once highly acclaimed Civil War, was used as the catalyst and beginning of the Fantastic Four’s fall into villainy.

As soon as May arrived, Marvel Entertainment immediately launched the prepared Civil War comic. The Fantastic Four’s crimes were repeatedly mentioned, completely becoming the ultimate villains in the comics.

As soon as the Civil War comic was released, the entire American comic industry was in an uproar. The political thriller elements involved were undoubtedly a reflection of real society, receiving unanimous praise from within and outside the industry.

With the promotion of Relativity Entertainment, related publicity and hype immediately followed. In this information age, once the heat rose, the influence instantly spread beyond comics.

With Relativity Entertainment’s support, although Marvel’s Civil War comic had just begun, its influence had already spread across the United States.

Similarly, due to Relativity Entertainment’s strong promotion, the Fantastic Four also became a notorious villain in comics.

Moreover, unlike Thanos, a villain with ideals and personality dedicated to population control, the Fantastic Four were thoroughly and completely degenerate.

This also led the media to start looking down on the upcoming Fantastic Four film.

“As a former flagship character of Marvel Comics, the fall of the Fantastic Four has caused a split among superheroes.” A media outlet said: “This will further solidify the comic image of the Fantastic Four among comic fans, and the film adaptation as a righteous protagonist will inevitably be negatively affected.”

According to the information Ronan received, 20th Century Fox had discussed postponing the release of Fantastic Four, but ultimately decided to stick to the original North American opening schedule.

Some high-level executives at 20th Century Fox believed that the longer the release of Fantastic Four was delayed, the longer the comic’s influence would ferment, which would be more detrimental to the film.

The originally planned Fantastic Four 2 was also temporarily shelved by 20th Century Fox.

20th Century Fox’s resources for commercial blockbusters were mainly shifted to two areas: first, continuing to increase the development of the X-Men series and related spin-off films, such as standalone films for Magneto, Professor X, and Wolverine; second, fully promoting the war epic film project.

The adaptation of Exodus, Moses Parts the Sea, had already been approved, and Ridley Scott had also signed with 20th Century Fox to direct this project. In several months of preliminary preparation, 20th Century Fox had already invested tens of millions of dollars.

Due to the successful cooperation on Independence Day and The Day After Tomorrow, 20th Century Fox was more proactive in promoting Roland Emmerich’s 10,000 BC. The project had not only begun preparation, but the male and female leads had also been confirmed. After the initial investment of twenty million dollars was spent, a second investment of thirty million dollars was also transferred to a third-party guarantee account by 20th Century Fox.

Another project adapted from Robin Hood was relatively lagging behind, and 20th Century Fox was recruiting screenwriters to create the script.

Even with the strength of Hollywood’s Big Six companies, they would not push too many top-tier blockbuster projects at the same time.

But for the two projects, 10,000 BC and the temporarily named Moses Parts the Sea, 20th Century Fox had already invested heavily. If they changed their minds and wanted to withdraw, it would be very difficult.

Sometimes, Hollywood could be particularly stubborn. Faced with some unknown and uncontrollable situations, such as 20th Century Fox’s entanglement with James Cameron’s Titanic back then, and Universal’s difficulties with the repeated delays and additional investments in Waterworld, the production companies’ final choice was always to continue investing and make the film.

Because once the film was made, it might achieve success. If the project was vetoed, the initial investment would be completely wasted.

Hollywood had too many cases where everyone was pessimistic, there were various accidents during filming, but after release, it became a box office hit.

The most typical example was George Lucas’ Star Wars: A New Hope. During test screenings, it was criticized by industry company representatives and professional film critics as being utterly worthless. However, after its release, it surprised everyone, staging a great counterattack and even becoming a representative of American pop culture.

Back then, George Lucas was scolded to the point of doubting his life. Even he himself didn’t have high hopes for this film. To get it released, he had to sell the screening rights to 20th Century Fox, which allowed it to appear in theaters.

Fortunately, at that time, toy and other merchandise for live-action films were not highly valued, and 20th Century Fox itself didn’t have high hopes for Star Wars: A New Hope, so they didn’t discuss merchandise rights with George Lucas.

Lucasfilm somehow managed to retain all the merchandise rights for Star Wars.

This was the key to Lucasfilm’s rise.

But there was one thing George Lucas could never recover, just like how the rights to Pixar’s animated features were in Disney’s hands. The rights to Star Wars: A New Hope had always been held by 20th Century Fox.

Whether it was the USC School of Cinematic Arts alumni association or the deployment against 20th Century Fox, Ronan was actually preparing for the future.

Ronan and Marvel Entertainment did not want Fantastic Four to succeed.

Another piece of news that exploded the entertainment market was also related to Relativity Entertainment. Its influence and topic level even far exceeded the news about Fantastic Four.

After a long period of brewing, the media, having obtained solid evidence, reported in great detail the super gossip that shocked the entire United States and even the world!

Brad Pitt had an affair with Angelina Jolie during the filming of Mr. & Mrs. Smith. After the post-production voice-over work for the male and female leads of Mr. & Mrs. Smith was completed, Jennifer Aniston personally caught the two in the act.

All three were famous Hollywood stars, especially Brad Pitt and Jennifer Aniston, who were known as Hollywood’s golden couple.

Rachel found love, and the princess lived happily ever after with the prince.

This was the media’s previous description of Brad Pitt and Jennifer Aniston’s happy life.

Now, the princess was cheated on by the prince, and all the beautiful love turned into bubbles and vanished.

Compared to Jennifer Aniston, Angelina Jolie was bold and fiery. Facing interviews with media reporters, she unhesitatingly admitted her affair with Brad Pitt, claiming that the love between them was the real deal.

A super-large-scale triangular gossip had already begun, and under the promotion of Relativity Entertainment, its sensationalism and influence completely surpassed the previous segment.

Jennifer Aniston was very tragic, but for Mr. & Mrs. Smith, this was the best possible publicity.

Many film fans, seeing the large posters of Brad Pitt and Angelina Jolie for Mr. & Mrs. Smith, cursed “those adulterers” with their mouths, but their hearts were filled with curiosity—what kind of film could make Brad Pitt and Angelina Jolie hook up?

Compared to the overwhelming gossip scandals of Mr. & Mrs. Smith, the upcoming The Bourne Supremacy was a bit quiet, but with the first two films as a foundation, no one could underestimate this film.

Chapter 772: A Textbook Example

The first two Bourne Identity films had achieved undeniable success, with Jason Bourne replacing James Bond and Ethan Hunt as the most iconic spy on Hollywood screens.

Many believed that Jason Bourne was what a real spy should be like.

The series had benefited Relativity Entertainment the most, followed by director Paul Greengrass and lead actor Matt Damon.

For Damon, in particular, the success of The Bourne Identity had catapulted him into Hollywood’s top-tier stars.

In Miramax’s fantasy adventure film The Brothers Grimm, Matt Damon had also officially entered the twenty-million-dollar club.

This film had also tied Matt Damon and Harvey Weinstein together in an inexplicable bond.

According to Ronan’s sources, Matt Damon and Harvey Weinstein had hit it off immediately, as if they had known each other for years. When a New York media outlet tried to expose something about Harvey Weinstein, Matt Damon had personally called the editor-in-chief to pressure them.

In the end, as usual, under pressure from multiple sides, the matter concerning Harvey Weinstein had ended without resolution.

For many small actors, minor stars, and even second-tier stars, Harvey Weinstein was a true powerhouse in Hollywood.

The success of the first two Bourne Identity films, both online and offline, had laid the foundation for the third installment.

Just as May began, Embassy Pictures held a grand premiere for The Bourne Ultimatum at the Kodak Theatre in Hollywood.

On the day of the premiere, media outlets gathered, stars shone brightly, and fans flocked to the event.

This was the first major commercial release of the 2005 summer season, and as a highly anticipated sequel, Embassy Pictures had already announced in their promotions that The Bourne Ultimatum would be the final chapter in the Bourne trilogy.

All of this had drawn significant attention from fans.

Unlike the promotional campaign for Mr. & Mrs. Smith, The Bourne Ultimatum didn’t need any gimmicks—it just had to follow the established formula.

Embassy Pictures had also secured an enormous opening release in 4,120 theaters.

At the premiere, Matt Damon was undoubtedly the center of attention.

When he saw Ronan, he said, “The trilogy is coming to an end. I’m really going to miss playing Jason Bourne.”

Ronan shook his hand. “Every journey, no matter how beautiful, must come to an end.”

Matt Damon smiled. “Ronan, thank you for choosing me for this role.”

“You’re welcome,” Ronan replied smoothly. “Matt, you’ve given Relativity Entertainment an unforgettable character.”

Like his relationship with Harvey Weinstein, Matt Damon understood the importance of maintaining good relations with industry heavyweights. He added, “This collaboration has been incredibly rewarding. I’ll never forget it. Now that this one is ending, I hope we can start another soon.”

Ronan thought of the potatoes he was growing on Mars and said, “There will be opportunities.”

In handling relationships, Matt Damon was as smooth and unassuming as his appearance, making it hard for anyone to dislike him.

Perhaps this was one of the key factors in his tremendous success.

Take Johnny Depp, for example—when things were going well, everyone flattered him for commercial gain. But if he ever hit a rough patch, the industry would likely turn on him in an instant.

Paul Greengrass also came over to chat with Ronan, mentioning a new project: “I plan to adapt the 1972 Bloody Sunday incident in Ireland into a film. The script is already in the works.”

Ronan nodded slightly. “Let’s talk after you finish the script.”

“Sure,” Paul Greengrass said.

After he left, Ronan turned to his assistant, Connie, and asked, “Do you know anything about the Bloody Sunday incident?”

It had happened in 1972, over thirty years ago, in a remote corner of Ireland. Ronan had never even heard of it.

Connie was also at a loss. Though she considered herself well-informed, even Ronan rarely stumped her. But who paid attention to Ireland, let alone something that happened over thirty years ago?

“I don’t know much about it,” Connie admitted. “I’ve never heard of it.”

Ronan nodded slightly. It didn’t seem like a major event. If it were adapted into a film, how much attention could it really draw beyond Paul Greengrass himself?

Of course, it was too early to judge. They could decide after seeing the script.

Ronan guessed it might be related to the political tensions between Ireland and the UK—a mess that could take days to unravel.

Many guests attended the premiere, including numerous stars with close ties to Relativity Entertainment.

They all came to greet Ronan, well aware that Relativity Entertainment had already surpassed some of the Big Six studios in Hollywood. In the future, it could offer actors many lucrative opportunities.

Few in Hollywood were truly above such considerations.

Behind closed doors, no actor would joke about pursuing art—Hollywood was, after all, a competitive arena.

If not for fame or fortune, why would anyone waste their life here?

To Ronan’s surprise, Angelina Jolie was among the attendees.

The other two figures in the super triangle scandal, Brad Pitt and Jennifer Aniston, had gone into hiding, but Angelina Jolie continued to attend events as boldly as ever, seemingly unaffected.

Angelina Jolie had known Ronan for many years and even shared the same fitness trainer. She spoke openly about the matter: “Why should I hide? This is my love. I’ve never been a coward. If I love someone, I pursue them boldly.”

Ronan could only say, “Julie, your courage is admirable.”

Angelina Jolie replied, “When I fall in love, I don’t let go. When I fall out of love, I don’t cling. That’s my view on love. It’s simple.”

Ronan didn’t know how to respond. By conventional standards, Angelina Jolie’s involvement as a third party in Brad Pitt and Jennifer Aniston’s marriage was highly immoral.

But Hollywood had never judged people by moral standards.

Such scandals were all too common in Hollywood—countless and endless.

Frankly, it was hard to say whether Jennifer Aniston had noticed anything before the media exposed the affair. She had remained silent all along.

If the media hadn’t broken the story, who knew if Jennifer Aniston would have ever filed for divorce?

In Hollywood, such messy affairs were far from rare.

For example, Charlie Sheen and Denise Richards—Denise was the female lead in Starship Troopers and had once been under Heidi Fleiss’s management.

Charlie Sheen had contacted Heidi Fleiss to arrange paid services, and that was how he met Denise Richards, who later became his wife. Denise even became a minor Hollywood star.

So, the story in Pretty Woman, starring Julia Roberts, wasn’t entirely far-fetched. Women in paid services could find other opportunities beyond honest men—just very rarely.

Angelina Jolie was a woman of strong convictions. Once she set her sights on Brad Pitt, she pursued him without hesitation, undeterred by outside interference.

From another perspective, if her love ever faded, she would leave Brad Pitt without a second thought.

As the time approached, Ronan also entered the theater. Chris from Sony Entertainment came over and swapped seats with Connie.

“How much do you estimate this film will make at the box office?” Chris asked directly. “Six hundred million globally?”

Ronan smiled. “Let’s hope so.”

Chris was dissatisfied with the vague answer. “You never give a straight answer. Some people estimate that The Bourne Identity has brought Relativity Entertainment over five hundred million in net profit, online and offline.”

Ronan spread his hands in a helpless gesture. “You’re in the film industry. Is that even possible?”

“Hard to say,” Chris replied. “You always hide your film revenues and profits, never disclosing them.”

Ronan countered, “Has Sony Columbia Pictures ever released accurate data on their film profits and revenues? We’re all the same.”

He smiled. “Money talks. Speculation is one thing, but if we actually released the numbers, how many people would come forward claiming the film violated their copyright? Would the original author and their interest groups start having other ideas?”

Chris couldn’t press further and instead echoed Ronan’s words: “So, many Hollywood films are said to have no profit.”

There was no right answer to this. Behind every successful Hollywood film, there were always numerous economic lawsuits.

The theater soon quieted down, and the screening of The Bourne Ultimatum began.

The film’s style remained consistent—handheld camera work, documentary-like visuals, rapid editing. Paul Greengrass and the Bourne Identity series had truly mastered their craft.

Now, both Paul Greengrass and Matt Damon were at the peak of their careers.

Since The Bourne Ultimatum was positioned as the finale of the trilogy, its main plot was clear and focused. Jason Bourne traversed more locations than the first two films combined, seeking the final answers. A series of carefully designed details were like pearls strung along the main plot, frequently delivering surprises.

The Bourne Ultimatum was destined to become a textbook example of spy films in the new century.

Without advanced weapons, organizational backing, or even much help, Bourne relied almost entirely on his bare hands to take on a more powerful CIA than in the previous films, outmaneuvering them at every turn.

In the end, Bourne not only brought the corrupt CIA officials to justice but also escaped unscathed.

Chapter 773: The Best in the Series

Since the release of The Bourne Identity, public opinion has consistently hailed the series as ushering in a new era for spy films in the new millennium.

Undoubtedly, The Bourne Ultimatum captivated audiences with its unique visual experience, leaving them eager and willing to follow Jason Bourne on his thrilling journey.

As the final installment of the trilogy, Jason Bourne finally rediscovered himself, bringing an end to his long exile.

The start of the 2005 summer season was destined to belong to The Bourne Ultimatum—and only The Bourne Ultimatum.

The only other film released on a large scale during the same period was House of Wax, starring Paris Hilton.

Whether in terms of genre or appeal to moviegoers, the two films were on entirely different levels, with the latter posing no threat to the former.

Warner Bros.’s attempt at a comeback with this film was, strictly speaking, not cheap—its production costs were half that of The Bourne Ultimatum, reaching a staggering forty million dollars.

But as Kevin Tsujihara’s influence within Warner Bros. continued to grow, no one could quite understand what the studio’s management was thinking. Beyond the Harry Potter and Batman franchises, their decisions seemed increasingly questionable.

Choosing to release a high-budget horror film like House of Wax at the start of the summer season—a period not particularly suited for horror—while directly competing with The Bourne Ultimatum, was baffling.

Perhaps, in the eyes of Warner Bros.’ distribution executives, the two films catered to distinctly different audiences.

Ronan had come to realize that, aside from Zack Snyder, there was little need to interfere with Warner Bros. Their recent actions suggested they were more than capable of digging their own graves—literally.

They dug the hole, jumped in, and then buried themselves.

Once the Harry Potter series concluded, Warner Bros. would undoubtedly scramble to find a new blockbuster franchise. Given the current state of their management, who knew what reckless decisions they might make.

At present, Warner Bros. was the best-performing among Hollywood’s major studios, but without the Harry Potter series, they were just one step away from plummeting to the bottom.

Christopher Nolan’s films had once been a cornerstone for Warner Bros., but now Nolan had chosen to collaborate long-term with Ronan and Relativity Entertainment.

Once Iron Man hit theaters and proved successful, Warner Bros. would likely rush to launch their “Justice League” project, starting with Green Lantern—a decision that would be nothing short of disastrous.

Constant reboots, constant self-sabotage…

Ronan wouldn’t sever ties with Warner Bros., though. If the opportunity arose, he would still consider collaborations similar to the Batman series. After all, Warner Bros. held the rights to many enticing properties.

As one of Hollywood’s most established studios, Warner Bros. possessed a treasure trove of classic films ripe for remakes.

For instance, Will Smith had already finalized a deal with Warner Bros. for I Am Legend.

Or take Stephen King’s 1986 horror novel It, whose film adaptation rights were held by Warner Bros.

As early as 1990, Warner Bros. had produced and released a related film.

When Ronan saw House of Wax, he recalled a period when Warner Bros. relied almost entirely on horror films, many of which were remakes. He specifically asked Connie to compile a list of Warner Bros.’ film library, where he discovered It.

He immediately called Robert Lee, instructing him to focus on It. If they could acquire the rights from Warner Bros., it would be ideal.

Under normal circumstances, the chances were slim, but with Warner Bros.’ current management making unpredictable decisions, anything was possible.

The summer season, especially the opening weekend, typically saw moviegoers flocking to major commercial blockbusters. Warner Bros.’ decision to release House of Wax during this period was doomed to fail.

In its opening weekend, House of Wax grossed only ten point two million dollars in North America. Many forecasting agencies, including Cinemascore, predicted that the film’s total North American box office would struggle to exceed thirty million dollars.

With a production budget of forty million dollars, plus marketing and distribution costs, Warner Bros. faced immense pressure to break even.

In contrast, The Bourne Ultimatum achieved a massive success in its opening weekend, grossing eighty-eight point nine two million dollars from four thousand one hundred and twenty theaters in North America over three days—setting a new record for the series.

Its North American opening weekend alone surpassed the film’s production costs.

Not only was the box office performance impressive, but The Bourne Ultimatum also received the best reviews of the trilogy, concluding the series in near-perfect fashion.

Though the trilogy had ended, fans were reluctant to let go.

“It’s hard to accept that the coolest agent on Earth has retired like this.”

“I hope they continue the series, like James Bond, and turn it into a major franchise.”

“As long as Jason Bourne is in it, I’ll buy a ticket.”

This wave of nostalgia laid a solid foundation for Relativity Entertainment to continue profiting from the series.

Unlike most modern commercial blockbusters that relied heavily on special effects and required theater equipment for optimal viewing, the Bourne series could be enjoyed just as much on a television or other devices.

Would the trilogy truly end here? For promotional purposes, Relativity Entertainment would certainly claim it had, as the first three films had indeed concluded Jason Bourne’s story.

But the future remained uncertain.

Telling fans that Jason Bourne’s adventures and exile had come to an end would draw more attention and ticket sales—a tried-and-true Hollywood marketing tactic.

Hadn’t Michael Bay claimed several times that each new Transformers film would be his last?

As for Quentin Tarantino and Luc Besson, well, that was another story.

The Bourne series would undoubtedly take a long hiatus after the trilogy’s conclusion, allowing ample time for its offline distribution and merchandising.

If fan demand remained strong in the future, Relativity Entertainment could always capitalize on it by launching new sequels or even a Jason Bourne television series.

However, Ronan had emphasized in internal meetings that under no circumstances would a Bourne film be made without Jason Bourne as the protagonist.

Such a bait-and-switch would only undermine the franchise’s foundation.

Then there was the issue of 3D. The Bourne series was among the least suitable for 3D technology.

Anyone who had seen it knew that.

Many had complained about it.

With The Bourne Ultimatum now in theaters, Embassy Pictures’ promotional campaign continued unabated, with praise for the series pouring in from all directions.

“This is a rare case where each sequel improves upon the last, as if climbing step by step toward a peak.”

“Jason Bourne is a super-agent who makes James Bond pale in comparison; The Bourne Series redefines the grammar of spy and action films.”

“A film worth watching repeatedly, savoring every detail and shot without growing tired—the Bourne trilogy has nothing left to prove. I plan to watch it about ten times.”

Amid the praise, there were also dissenting voices. A small group of Robert Ludlum’s original fans argued that the third film had severely deviated from the novel’s plot, and Jason Bourne was no longer the character from the books.

They weren’t entirely wrong. The third film’s story had completely abandoned the historical context and main plot of Ludlum’s Cold War-era novels. For those born after the Cold War, the events of that era held little relevance.

However, the conspiracy theories and government-trained assassins from Ludlum’s work had been faithfully adapted into the films.

Since the release of the Bourne series, Ludlum, the bestselling novelist, had been suspected of having connections within the CIA—someone who helped maintain the story’s high credibility.

From the original novels to the film adaptations, the portions involving the CIA felt so authentic that they seemed plausible.

Part of this was due to Ronan’s influence. Relativity Entertainment had long-standing ties with various U.S. agencies, including the CIA, FBI, and other government bodies, many of which had Hollywood liaison offices. When Hollywood studios approached them, these agencies were often eager to collaborate.

At Ronan’s request, Relativity Entertainment had even brought in several retired CIA personnel as special technical advisors for the film.

While they couldn’t disclose classified information, their involvement enhanced the film’s credibility and realism.

Combined with the mockumentary-style filming, the result was an overwhelming sense of authenticity.

Whether it was real or not, Ronan neither knew nor cared. As long as this so-called authenticity translated into massive profits, that was all that mattered.

Paul Greengrass’s directorial skills had also reached new heights with The Bourne Ultimatum, marking the pinnacle of his career. In the eyes of many in and outside Hollywood, he was not only a masterful storyteller but had also perfected his visual style.

The British director, with his long hair and artistic demeanor, had a knack for creating films that were both accessible to the masses and rich in depth.

As per his prior agreement with Ronan, on the first workday after the weekend, Paul Greengrass arrived at Relativity Tower.

Chapter 774: Each to Their Own

In the reception room on the top floor of Relativity Tower, Ronan was reviewing the script Paul Greengrass had brought.

After the premiere, Connie immediately researched the Derry incident in Ireland and compiled the information for Ronan, giving him a more intuitive understanding of the event.

This was a very serious bloody conflict, and any film adapted from it would inevitably carry strong political undertones.

Paul Greengrass, concerned that Ronan might not be familiar with the script’s background, explained, “This script is based on the real-life bloody event that took place in Northern Ireland on January 30, 1972—the ‘Bloody Sunday’ incident…”

He briefly described the events surrounding the incident.

Ronan set the script down, ignoring the details of the event, and asked directly, “Paul, how do you plan to shoot this film?”

“To achieve a raw visual style and a sense of immediacy, I will continue using handheld cinematography,” Paul Greengrass had a clear plan. “This will be a film close to a documentary.”

After a moment’s thought, he added, “Like live news coverage of a war event, shot in a style similar to news photography.”

Ronan nodded slowly and asked, “What about the production budget?”

Paul Greengrass replied, “Around fifteen million dollars.”

Considering the subject matter and background, Ronan didn’t reject it outright but said, “Paul, I need someone to research the project’s prospects.”

Paul Greengrass wasn’t particularly surprised. After all, having collaborated with Shai Entertainment on three consecutive films, he was quite familiar with Ronan’s work style.

“Understood,” Paul Greengrass more or less grasped Ronan’s thoughts.

Ronan pondered for a moment and then said, “Paul, you actually have other more suitable themes to choose from.”

With the success of the Bourne trilogy, Paul Greengrass was no longer the small British director he once was. Many directors, after achieving some success, often develop their own ideas—after all, people aren’t machines that can be easily controlled.

Paul Greengrass, however, said, “Actually, after finishing The Bourne Identity, I already had ideas and plans for this film, but I had to fulfill my contract with Shai Entertainment for the other two films first, so I had to postpone it until now.”

Each to their own. Paul Greengrass’s contract had expired, and Ronan couldn’t force him, nor would he.

“Hopefully, we can collaborate again in the future,” Paul Greengrass stood up to take his leave.

Ronan shook his hand and sincerely said, “Paul, good luck.”

For directors who had worked with Relativity Entertainment and created significant value for the company, Ronan held no negative feelings after their departure. Business collaborations should be mutually beneficial and end on good terms.

If they no longer worked together, they should at least leave a good impression. The Hollywood circle wasn’t that big, and no one could be sure if they might collaborate again in the future.

Turning former collaborators into enemies after their contracts expired would be incredibly naive. Besides, in a few years, Hollywood would be filled with enemies.

Ronan personally escorted Paul Greengrass to the first-floor lobby, a gesture of respect for the value he had brought to Relativity Entertainment.

Later, Kevin Feige came to visit and briefed Ronan on the latest developments in the Marvel Avengers universe.

Iron Man was still in post-production and wouldn’t be completed until the second half of the year. However, preparations for the new Hulk film had already begun.

Kevin Feige’s assistant had contacted Joaquin Phoenix, and the two had hit it off. Joaquin Phoenix had also participated in a special audition arranged by Kevin Feige, and the results were quite impressive.

Ronan watched the audition footage Kevin Feige had brought. The bespectacled Joaquin Phoenix exuded a scholarly charm, but when angered, he seemed capable of destroying the world.

“His acting is indeed excellent, and his image fits the role,” Ronan affirmed Joaquin Phoenix’s audition. “Have you discussed the contract with him? My only requirement is that Joaquin Phoenix must sign a long-term contract. That’s the prerequisite for collaboration.”

If they only signed for one film, they might as well go back to Edward Norton.

Suddenly changing actors wasn’t good for a series of films and usually brought negative consequences.

Kevin Feige said, “There shouldn’t be a problem. Before the audition, we informed Joaquin Phoenix about the situation, and he expressed willingness to negotiate with Marvel Entertainment on this matter.”

Ronan nodded slightly and said, “And the female lead—a decorative presence—also needs a long-term contract.”

In superhero films, female characters, including Black Widow, one of the original six Avengers, currently placed great importance on external appearance.

As for the inevitable rise of feminism in the future, that was a matter for later.

After all, the expression of feminism in Hollywood films was quite superficial and not overly complicated.

For example, Aunt Flo leading a group of female characters to beat up male villains—that was called feminism…

In comparison, Charlize Theron in Mad Max: Fury Road was more like true feminism.

Then there was the director for The Hulk. They definitely couldn’t use someone like Ang Lee, who was full of artistic sensibilities. Ronan specifically looked into the Russo brothers’ background. These director brothers were currently working on the sitcom Arrested Development, and their careers were still in the early stages, with severely lacking experience.

The two had only directed short films and had just entered the television industry. They hadn’t yet directed a feature film. Entrusting a large investment like The Hulk to such directors carried risks not much smaller than rehiring Ang Lee for another attempt.

Using gaming terms, the Russo brothers had just left the beginner’s village and entered the initial leveling stage. Letting them directly fight a skeleton-level boss would have predictable consequences.

Ronan had someone keep an eye on the Russo brothers and turned his attention to Joss Whedon.

He was the former director of The Avengers, who had excellently integrated the vastly different main characters into one film, a key factor in the success of the first phase of the series.

Compared to the Russo brothers, who had just left the beginner’s village, the current Joss Whedon was quite experienced.

Joss Whedon started as a screenwriter, coming from a Hollywood family—both his grandfather and father were Hollywood screenwriters.

Initially, Joss Whedon participated in film creation as a screenwriter, working on scripts for films like Toy Story and Alien Resurrection, and even receiving an Oscar nomination for Best Original Screenplay for Toy Story.

Later, Joss Whedon launched the self-produced, self-written, and self-directed TV series Buffy the Vampire Slayer, truly establishing his position in the industry.

The subsequent Firefly gave Joss Whedon a taste of failure. This 14-episode sci-fi series received poor feedback and was forcibly canceled by Fox TV after only 11 episodes due to dismal ratings.

But Joss Whedon quickly recovered from the failure and, with his silver tongue, convinced Universal to invest in the film Serenity, set in the same universe as Firefly.

This sci-fi film was released in March of this year and performed very poorly.

There were already rumors at Universal that not long after the funds were invested, Universal regretted it, but since a large sum had already been spent, they had no choice but to let the film be completed.

However, the film’s test screenings received poor reviews, and its chaotic, multi-element style seemed like a poorly cooked stew.

After the media screenings, many film critics predicted that Joss Whedon’s Serenity would face commercial failure.

Moreover, in Universal’s assessment, the film’s global box office would likely struggle to cover the production costs.

Sure enough, after its release, Serenity was forcibly pulled from North American theaters in just seven weeks due to lack of audience, with a final North American box office of just over twenty million dollars.

The overseas response was even worse, with the global box office still under thirty million dollars.

Universal’s review committee was stunned, wondering how they had approved such an unreliable film project from Joss Whedon.

The failures of Firefly and Serenity were less about the failure of the series and film and more about the normal market reaction to niche culture.

This genre was too niche. Even if it attracted a group of hardcore fans, it ultimately wasn’t a mainstream type, and its inherent flaws couldn’t be solved by the director’s filming and production alone.

Niche was niche because the audience was limited.

Ronan had read many analyses about Joss Whedon due to the success of The Avengers.

Many reports shared a common view: the failure of Serenity actually allowed Joss Whedon to summarize and learn many lessons, helping him avoid some pitfalls when filming the multi-element fusion stew film The Avengers.

In this sense, the failure of Serenity had actually contributed greatly to Marvel, helping Joss Whedon achieve success with The Avengers.

Consecutive failures had brought Joss Whedon’s career to its lowest point since entering Hollywood.

After learning about the situation, Ronan decided to reach out to Joss Whedon first. He had Kevin Feige contact the director and initiate preliminary discussions about the Hulk project.

The Hulk’s transformation into an uncontrollable, rampaging beast made the film difficult to shoot.

Moreover, to achieve a relatively ideal effect, the investment for such a superhero film would certainly not be small.

Now, without Universal’s constraints, the challenge was how to avoid repeating Ang Lee’s failure, which required careful planning.

Joss Whedon’s response was very positive. He was inherently a commercial type and was very interested in sci-fi and superhero themes.

Kevin Feige was still in communication with him, and further details would have to wait until both sides had a more thorough understanding.

Chapter 775: Kingdom of Heaven

The Fox Building was bustling with activity as the distribution and production departments of 20th Century Fox prepared for the final push before the opening of Kingdom of Heaven, a historical epic about Jerusalem with a production budget of one hundred and thirty million dollars.

After Ridley Scott completed his edit, two screenings were held, and the response and word of mouth were excellent. However, internally, 20th Century Fox was dissatisfied. Ridley Scott’s director’s cut was far too long—nearly two hundred minutes.

This was simply unacceptable.

First, audiences would grow tired and lose patience with such a lengthy film. Second, and more importantly, the extended runtime would severely impact the screening rate. A theater that could normally schedule six showings a day would now only manage four, reducing the number of tickets sold and ultimately dragging down box office performance.

Even though the screening version submitted by Ridley Scott had received rave reviews, from a commercial standpoint, 20th Century Fox had no choice but to intervene. After the screenings, they ordered the producers to reassemble the editing team and re-cut the film.

“All the new copies have been distributed,” Bruce DeWane reported to Jim Prather. “The new version has been reduced from one hundred and ninety-eight minutes to one hundred and thirty-two, allowing two additional screenings per theater per day.”

Jim Prather asked, “And Ridley Scott? No objections?”

Bruce DeWane replied, “None. The director’s contract doesn’t grant him final cut, and honestly, he went a bit overboard this time with such an excessive runtime.”

“Hollywood has its reasons for limiting directors’ power,” Jim Prather remarked. Directors were often unpredictable—if left unchecked, they might deliver a three-hundred-minute cut. “Many directors only care about their artistic vision, not the market pressures studios face.”

Bruce DeWane chuckled. “Ridley Scott is still reasonable. At least he doesn’t overstep his bounds. Peter Jackson, on the other hand… I hear Universal is having a rough time with him. They gave him final cut, and his first version was over two hundred minutes. And King Kong? The creature doesn’t even appear until more than an hour in…”

Jim Prather sighed. “Keep Ridley Scott happy. We’re still working with him on new projects. We don’t want his frustration affecting future collaborations.”

He had attended the screenings himself and seen the overwhelmingly positive reactions. Ridley Scott’s work on Kingdom of Heaven was undeniably impressive. But admiration aside, maximizing profit was 20th Century Fox’s priority.

Bruce DeWane nodded. “Ridley Scott is a professional. He follows direction well—not the rebellious type.”

Jim Prather agreed. Hollywood studios preferred working with Ridley Scott for good reason. Creative brilliance aside, no one wanted to deal with a director like James Cameron, who acted as if he were the center of the universe.

“Coordinate with the theaters to secure strong screening rates for Kingdom of Heaven,” Jim Prather instructed. Given the stellar reception of Ridley Scott’s screening version, he was optimistic about the film’s market prospects. “Have the PR team proceed with the planned marketing campaign.”

With seventy million dollars allocated for promotion and distribution, the goal was to ignite global excitement. If Kingdom of Heaven could replicate the success of Troy, 20th Century Fox would profit handsomely through both theatrical and ancillary markets.

Jim Prather and the studio were confident. Ridley Scott had already proven his mastery of war epics with Gladiator, a genre-defining classic. Based on the screening feedback, Kingdom of Heaven was of comparable, if not superior, quality.

After Bruce DeWane left, Jim Prather shifted his focus from the promising Kingdom of Heaven to the far more troublesome Fantastic Four.

The superhero film was nearing release, but the outlook was grim. Despite extensive media campaigns and PR efforts, Marvel Entertainment held the reins on the source material. No amount of promotional spin could match the impact of the comics themselves.

Marvel’s Civil War had just released its second issue, and the backlash against the Fantastic Four was growing. Once revered, the team was now vilified, serving as a foil for another superhero group. The Fantastic Four’s heyday was long past—its original fanbase had aged out of superhero fandom, and younger audiences, unfamiliar with the classic iterations, were now being introduced to the team through comics that portrayed them as insufferable villains.

The film’s prospects were bleak. 20th Century Fox had braced itself for failure.

But failure wouldn’t shake Jim Prather’s position. Tom Rothman, ever eager to climb the corporate ladder, wouldn’t find an opening anytime soon. The internal power struggle within the Murdoch family had already been decided—James Murdoch, favored by Rupert Murdoch, had emerged victorious. It wouldn’t be long before 20th Century Fox fell entirely under his control.

As one of James Murdoch’s trusted allies, Jim Prather felt secure in his role. The failure of Fantastic Four was inconsequential. The X-Men franchise was expanding with multiple spin-offs in development, and 20th Century Fox would fiercely protect its interests in that arena.

As for Marvel Entertainment, 20th Century Fox had little recourse. Backed by Relativity Entertainment, Marvel was a formidable opponent. The situation would have to wait until James Murdoch returned from London to personally take the helm of 20th Century Fox.

The Bourne Ultimatum had achieved massive success in its North American opening, and its simultaneous international release in Europe, Australia, and Latin America was equally explosive. In its first weekend overseas, the film grossed ninety-two million dollars across more than thirty countries and regions.

As time passed, the film would expand to over ninety markets worldwide. Its plot wasn’t politically sensitive—the only real antagonist was the CIA, which didn’t even object, even sending retired personnel to serve as technical advisors. As a result, The Bourne Ultimatum sailed through censorship in most territories.

Even Russia had confirmed plans for a wide release.

Though Paul Greengrass’s departure from Relativity Entertainment to pursue niche political films was regrettable, Ronan and Relativity understood that collaborations with directors and actors inevitably had an expiration date. Such transitions were part of the industry’s natural cycle.

The summer season was still in full swing. Following The Bourne Ultimatum, several new films were set to debut, but Ronan was most interested in Kingdom of Heaven.

The film had a polarizing reputation, but not in the traditional sense. Those who panned it had seen the theatrical cut, while those who praised it had watched Ridley Scott’s director’s cut.

Ronan had learned that 20th Century Fox, dissatisfied with Ridley Scott’s nearly two-hundred-minute version, had ordered a re-edit to shorten the runtime and maximize screening frequency.

Frankly, 20th Century Fox’s decision was justified. If Relativity Entertainment were in the same position, they would likely have done the same. A three-hour film was simply too demanding for audiences, and the financial implications were undeniable.

Ronan hadn’t seen the re-edited version, so he couldn’t judge its quality. But regardless of Kingdom of Heaven’s success or failure, one thing was certain: Hollywood would continue to restrict directors’ final cut privileges.

The film had often been cited online as a prime example of the failures of the producer-driven system. While this might hold true for Kingdom of Heaven specifically, limiting directors’ power was a necessity.

Take Michael Bay, for instance. If left unchecked, what kind of films would he produce? Non-stop explosions from start to finish.

Coincidentally, the weekend after Kingdom of Heaven’s release would see the wide opening of Michael Bay’s sci-fi blockbuster The Island—his first film without Jerry Bruckheimer’s oversight.

Chapter 776: How a Movie Gets Murdered

Often, a producer’s control over a director’s creative process can feel like shackles, but sometimes, those constraints aren’t necessarily a bad thing.

A significant number of directors, once freed from the reins that hold them back, tend to go wild on the path of artistic creation.

This might not be bad for the art of film itself, but for movie studios, it often spells disaster.

Good films ultimately require substantial investment to be made, and without commercial appeal, studios naturally lose interest in funding them.

Compared to their Hollywood peers, Relativity Entertainment has a strong commercial focus, and Ronan makes no secret of it.

He is a producer, but more than that, he is a film businessman.

Over the next two weekends, the North American box office will be led by Kingdom of Heaven and Escape from Clone Island, two films familiar to anyone with even a passing knowledge of Hollywood.

Following that, Relativity Entertainment will make another splash with the premiere of Despicable Me, the first animated feature from Shai Entertainment Animation Studio.

Promotion and distribution for the film are proceeding smoothly, and thanks to the positive reception of the short film Minions, Despicable Me has generated considerable buzz.

Especially after several screenings in April, the film has earned unanimous praise from both media and fans.

Then comes Memorial Day weekend, where George Lucas’s long-announced finale to the Star Wars saga, Revenge of the Sith, will dominate the prime release slot.

This is arguably the most anticipated film of the 2005 summer season, as everyone knows Anakin Skywalker will fall to the dark side, and the iconic Darth Vader will make his return.

Ronan has never been a fan of space opera sci-fi like Star Wars, especially the soft, lackluster lightsaber battles, but from a business standpoint, he understands its unparalleled dominance in the global film industry.

Even setting aside box office numbers, Lucasfilm’s merchandise revenue from Star Wars: A New Hope to now has exceeded twenty billion dollars.

The franchise has made George Lucas the undisputed wealthiest figure in Hollywood.

Ronan has cultivated an image as a devoted alumnus of the USC School of Cinematic Arts and has accepted George Lucas’s invitation to attend the premiere of Revenge of the Sith.

Perhaps experiencing the atmosphere and allure of Star Wars up close will give him more confidence in his future plans.

Whether he admits it or not, Ronan is on a unique path—following in Walt Disney’s footsteps while ensuring Walt Disney has no future path left to walk.

This week, 20th Century Fox held a grand premiere for Kingdom of Heaven.

With a combined production and marketing budget of two hundred million dollars, it’s undeniably a top-tier investment in the industry.

Over the weekend, Ronan made a point to visit a theater in Beverly Hills to see the film, accompanied by Jessica Felton, who had just returned to Los Angeles from New Mexico.

“Why did you suddenly invite me to see a movie?” Jessica Felton studied him curiously from their private box on the second floor. “What’s on your mind?”

Ronan handed her a bottle of mineral water. “Relax, I’m not trying to ask you out. A man inviting a woman to a movie isn’t always a date—sometimes it’s work-related.”

Jessica unscrewed the cap and took a small sip. “I make my living with my skills.”

Ronan got to the point. “This is Ridley Scott’s war epic. There’s a lot of talk about the tension between him and 20th Century Fox regarding this film.”

“I’ve heard about it,” Jessica said, no longer the reclusive editor she once was. She had access to many sources. “The power struggle between producer and director…”

She shook her head slightly. “Though I wouldn’t call it a struggle. From what I’ve heard, Ridley Scott didn’t put up much of a fight. After Fox emphasized their stance a few times, he agreed to cut the runtime.”

Ronan spoke softly. “Ridley Scott didn’t have much choice. He doesn’t have final cut.”

Jessica pondered this. “The screening reactions for Kingdom of Heaven were good, but the premiere response was poor. Could that be related?”

“Very likely,” Ronan speculated. “I’d guess the theatrical version is a second edit by the producers, cutting nearly sixty minutes from Ridley Scott’s director’s cut.”

Jessica, being a producer herself, naturally considered things from that perspective. “Ridley Scott’s director’s cut was way too long. Even if he needed more time to express his vision, he should have shown some restraint.”

She frowned slightly. “The scale of this production means the director can’t just do whatever he wants.”

The theater lights dimmed, and the screen lit up. Ronan said, “Let’s watch the film first. We’ll talk afterward.”

Once upon a time, Kingdom of Heaven was the poster child for the stark contrast between a theatrical release and a director’s cut—they were almost like two different films.

After watching the theatrical version, one might wonder: How could a Ridley Scott film be this bad?

Then, after downloading the director’s cut online, it all made sense—this was the film Ridley Scott had intended to make.

The version playing on screen now was nearly identical to the theatrical release Ronan remembered—just over two hours, a perfect length for a major year-end production, yet it left him restless.

Too many scenes felt inexplicably disjointed.

Eva Green’s character had almost no purpose, yet she was the female lead. Her entire role seemed to be connecting a few characters’ conflicts while engaging in a half-hearted romance with Orlando Bloom, never even showing a hint of skin.

An Eva Green who never undresses is never a good actress.

Orlando Bloom, thanks to Ronan, missed out on his chance to play the blacksmith’s apprentice in Pirates of the Caribbean, but in Kingdom of Heaven, he finally became a blacksmith.

Judging acting quality can be subjective at a certain level, but when the gap is too wide, even an amateur can tell.

In this film, Orlando Bloom was a prime example.

Edward Norton wore a mask throughout, but in every scene with Orlando Bloom, the masked man felt like the real protagonist.

The difference in acting was glaring—so obvious even a layman could spot it.

More importantly, in this version, Orlando Bloom’s character was inexplicably elevated. He started as a blacksmith, but the moment he inherited a title, he became a brilliant leader. And Orlando Bloom didn’t seem to have much to act—silence was golden, and he just had to keep a cool expression from start to finish.

If Ronan remembered correctly, this was Orlando Bloom’s last appearance in a major Hollywood production.

After his dream start with The Lord of the Rings, his luck had run out.

Without the blacksmith’s apprentice in Pirates of the Caribbean, and with the blacksmith in Kingdom of Heaven dragging the film down…

Orlando Bloom’s future was already clear.

By the end, Ronan could see Ridley Scott’s ambition—he genuinely wanted Kingdom of Heaven to be an epic, a traditional epic at that.

Some on the internet once said that watching both versions of Kingdom of Heaven together might offer more value, providing insight into how a decent film can be murdered.

Many argued that if Ridley Scott’s version had been released in theaters, Kingdom of Heaven might have had a completely different fate.

At the time, Ronan thought that made sense.

But after operating multiple films in Hollywood and continuously studying the North American and global markets, his perspective had changed entirely.

Even if Kingdom of Heaven had been released in theaters as the director’s cut, its box office fate wouldn’t have been much better—it was too slow, the plot too drawn out.

The premiere response for Kingdom of Heaven was terrible, and its box office fate was predictable.

But blaming 20th Century Fox entirely wasn’t fair. In Ronan’s eyes, Ridley Scott bore responsibility too.

His approach to filming meant the story required a long runtime to be told clearly.

As for Fox’s later edits, they could be summed up in one line: Keep the most expensive, grandest shots, and cut everything else.

And then there was the casting of the male lead.

Orlando Bloom was one of the film’s weakest links. A protagonist who can’t carry a film is like a model who can’t carry an outfit.

Perhaps Orlando Bloom worked hard, but the truth was, he had no talent for acting.

He was better suited to being a decorative presence—Legolas was his best role.

After the film, Ronan and Jessica Felton slipped out quietly.

“How was it?” Ronan asked directly. “As bad as the rumors?”

Jessica nodded slightly. “Worse than I expected.”

Ronan agreed. “This doesn’t even feel like a Ridley Scott film.”

“This movie made me think of something,” Jessica said, clearly affected. “20th Century Fox messed up.”

Chapter 777: Back-to-Back Championships

On the way back after dropping off Jessica Felton, Ronan said, “20th Century Fox definitely made a mistake.” He glanced at Jessica Felton sitting beside him and asked, “What do you think was their biggest mistake?”

Jessica Felton didn’t answer but instead asked, “What do you think?”

Ronan smiled. “Jessie, I want to hear your thoughts.”

Jessica Felton was a smart woman and knew that Ronan inviting her to watch such a film must have had a purpose, but it was definitely not for romantic reasons.

“I personally think that 20th Century Fox’s biggest mistake wasn’t the rumored re-editing of Ridley Scott’s director’s cut,” Jessica Felton said seriously. “It was not letting the producer lead another team to do the editing.”

Ronan slowly nodded; this was also his view.

Jessica Felton continued, “The person who understands this project best is definitely the director, Ridley Scott. 20th Century Fox’s decision to shorten the runtime of Kingdom of Heaven for commercial and audience endurance reasons wasn’t wrong. But they should have let the person who understands the film best, Ridley Scott himself, oversee the re-editing. That way, the film might not have turned out like this.”

Ronan completely agreed. “If Ridley Scott had handled it, Kingdom of Heaven should have maintained at least basic fluidity and plot logic.”

Jessica Felton casually remarked, “It seems we’re quite in sync.”

Ronan laughed. “Our work philosophies are getting closer and closer.”

In fact, Relativity Entertainment had encountered similar situations, such as with Guillermo del Toro’s Hellboy. But if Ronan was dissatisfied with the director’s submitted cut, he would send it back and have the director re-edit it according to his requirements.

Producers were more about overseeing the big picture, but when it came to the film itself, the director was usually the most knowledgeable.

With Hellboy grossing over eighty million dollars in North America and two hundred million worldwide, its success proved the approach’s viability.

The car stopped in front of Jessica Felton’s standalone villa. She pushed open the door and got out, turning back to say, “It’s getting late, and my place is a bit messy, so I won’t invite you in.”

Ronan, recalling the terrifyingly eerie scene he had witnessed the first time he met Jessica Felton, had no desire to go inside. He simply advised, “Hire a few hourly cleaners. Women should live more meticulously.”

Jessica Felton waved her hand. “I know, I have a dedicated housekeeping company.”

“Goodnight,” she said to Ronan.

Ronan waved back. “Goodnight.”

Only after Jessica Felton entered the villa did Ronan instruct his driver, David, “Back to the estate.”

Once home, since Kingdom of Heaven would be in direct competition with The Bourne Ultimatum this weekend, Ronan specifically checked the audience reception for Kingdom of Heaven.

The theatrical version’s reception was terrible. Many commented that the plot was extremely abrupt, feeling disjointed, and after watching for over an hour, they still didn’t understand what was going on.

This was clearly a consequence of poor editing.

Apart from the plot, Orlando Bloom received countless negative reviews.

“Elf Prince’s acting is truly unbearable.”

Setting aside everything else, just in terms of audience reception, Kingdom of Heaven and The Bourne Ultimatum were worlds apart—not even in the same league.

The most direct reflection of market response was undoubtedly the CineScore live audience scoring. The Bourne Ultimatum received an average score of A+, while Kingdom of Heaven only got a C.

This disparity was directly reflected in the box office.

Kingdom of Heaven only made seventeen million nine hundred fifty thousand dollars in its North American opening weekend, which, compared to the film’s investment and release scale, was undoubtedly a flop.

However, the summer season had just begun, and there weren’t many truly competitive films in the market. Kingdom of Heaven easily secured the second spot on the North American box office chart.

This week’s North American box office champion was successfully defended by The Bourne Ultimatum.

This spy action film, bolstered by strong word of mouth, maintained a very stable performance. In its second weekend in North America, it earned forty-two million seven hundred seventy thousand dollars, retaining its box office crown.

Including the box office earnings from the previous four weekdays, The Bourne Ultimatum had grossed one hundred fifty-one million two hundred eighty thousand dollars in North America after ten days of release.

With the film appearing in more overseas markets, the global box office had successfully surpassed the three hundred million dollar mark.

As the final installment of the trilogy, The Bourne Ultimatum generated far more excitement and market response than the first two films.

In contrast, Kingdom of Heaven became the first box office disaster of the 2005 summer season.

The first box office disaster had appeared—would the second be far behind?

DreamWorks and Spielberg had specially sent an invitation to the premiere of The Island to Relativity Entertainment.

No matter what, Relativity Entertainment and DreamWorks were currently on the same side. Moreover, Ronan had his eyes on Michael Bay and had been waiting for The Island to be released, so he unhesitatingly accepted Spielberg’s premiere invitation.

As the market response to The Bourne Ultimatum grew increasingly fervent, Netflix’s Chief Executive Officer, Marc Randolph, specifically called Ronan to inquire about the possibility of adapting The Bourne Identity into a series and exclusively streaming it on Netflix.

This was indeed a way to further develop the Bourne series. Ronan didn’t refuse but made it clear that it wasn’t suitable in the short term.

After all, the film trilogy had just concluded, and the related reactions needed time to ferment. The nostalgic effect also needed time to brew.

The Bourne Ultimatum had created a nearly perfect ending for the series, making it temporarily unsuitable for further development.

The media almost unanimously praised The Bourne Ultimatum.

“As the concluding chapter of a classic series, it successfully continues the excellent style of the franchise. Concise dialogue, solid and reliable performances, magnificent editing, and soundtrack. Whether in process or ending, it remains gripping.”

Jason Bourne had retired but was still alive, living in the film’s ending and in the hearts of fans. When the time was right, he could make a comeback.

In Hollywood, there were no forever-concluded film series, only unprofitable concluded ones.

Thanks to the massive success of the Bourne series, director Paul Greengrass quickly secured investment for his new project, Bloody Sunday.

The UK-based Red Bus Film Company, capitalizing on the immense heat generated by The Bourne Ultimatum, held a joint press conference with Paul Greengrass in London, announcing their collaboration on Bloody Sunday.

The Bourne series had provided Paul Greengrass with ample capital. He was no longer the once-ignored small-time director. Even though Ronan had no interest in Bloody Sunday, the project had no trouble finding partners.

New directors and established directors were never the same.

If it were a new director, finding investment for this project would be extremely difficult.

Matt Damon’s collaboration with Relativity Entertainment had also temporarily come to an end. From his debut in Good Will Hunting to his commercial breakthrough in Saving Private Ryan and reaching his peak with the Bourne series, Matt Damon had finally become “Dull.”

This was an actor who appeared very down-to-earth but was actually very intelligent and skilled at handling interpersonal relationships.

At the very least, Ronan’s impression of him was excellent, and he highly recognized his market appeal and commercial value. If there was another opportunity in the future, Relativity Entertainment would definitely continue to work with Matt Damon.

Compared to the high-spirited Ben Affleck, Ronan preferred Matt Damon.

Of course, The Bourne Ultimatum wasn’t loved by everyone. In fact, a large group of people criticized the camerawork, saying it had Parkinson’s disease.

The new week began, and Ronan needed to stay in North America to attend the premiere of The Island hosted by DreamWorks. He had no time to go to Europe to watch the second leg of the UEFA Champions League semifinals.

The two semifinal matches were held in Eindhoven and London.

The first team to secure a spot in the final at Istanbul’s Olympic Stadium was AC Milan.

Even though they had won 3-1 at home against AC Milan, PSV Eindhoven was eliminated due to fewer away goals.

Then, the second leg of the second semifinal kicked off at Chelsea’s home ground, Stamford Bridge.

After a period of adjustment, Mourinho displayed his magic, once again uniting the internally turbulent Chelsea into a cohesive team. Not only had they been winning consecutive matches in the Premier League, trailing Manchester United by only five points, but in this match, they also showed formidable strength.

Less than ten minutes into the game, Chelsea scored, and before the end of the first half, they added a second goal.

Leading 2-0 at home, the aggregate score was now 2-4, giving Chelsea hope of a comeback.

But Chelsea was facing Manchester United!

Not the Manchester United of a decade later, relegated to a second-tier Premier League team, but Ferguson’s Manchester United!

Defeating Ferguson’s Manchester United was extremely difficult.

At halftime, Ferguson’s hairdryer treatment was at full power. In the second half, Manchester United returned to form, and the real Manchester United was back.

This was, after all, a Manchester United team boasting attacking talents like Robben, van Nistelrooy, Alonso, Rooney, Cristiano Ronaldo, and Drogba.

In the second half, Manchester United turned the tables, completely dominating Mourinho’s Chelsea, and quickly equalized through Cristiano Ronaldo.

Chelsea was forced into a corner. Mourinho began a desperate gamble, with even Terry pushing up as a makeshift striker, giving Chelsea five forwards on the field at one point.

But the result of this gamble was Manchester United counterattacking, with Robben scoring a sneaky goal!

In the end, the two teams drew 2-2 at Stamford Bridge.

Manchester United successfully advanced to Istanbul!

Chapter 778: Preparing for the Future

“Just received an invitation from UEFA.”

On the way to the premiere of The Island, Connie took a call and said to Ronan, sitting in the back seat, “UEFA has formally invited you to attend the UEFA Champions League final on the 25th of this month.”

Ronan wasn’t surprised. “Make sure the itinerary is arranged properly, and coordinate with Will and Tom.”

Connie nodded slightly. “Understood.”

Istanbul—a place where miracles had once been made.

Manchester United had advanced to the Champions League final, and Ronan had already sent his congratulations. He had also spoken with Ferguson on the phone, specifically mentioning the need to be cautious of AC Milan.

But ultimately, the team’s affairs had to be left to the professionals. Ronan knew he was an outsider in this field. A reminder was enough; if they asked him to do something, he wouldn’t even know where to begin.

In the end, Ronan trusted Ferguson and believed in the current strength of this Manchester United squad.

At present, Manchester United led the Premier League by five points, making the Premier League title a near certainty.

In the Champions League, they had also reached the final, just one step away from the Saint-Blaise Cup.

To achieve a Premier League and Champions League double in the first year of owning the team was no small feat.

Setting aside everything else, Manchester United’s value would undoubtedly skyrocket. From a business perspective alone, this would be an extremely profitable deal.

Once they won the Champions League, the revenue from sponsors would also see a significant increase.

Recently, Ronan had been in communication with David Gill and Manchester United’s scouts, instructing them to keep an eye on Barcelona’s Xavi and Iniesta, with special attention to Leo Messi from La Masia.

If possible, it would be best to bring one or two of them over.

After some consideration, Ronan had come to a realization. From the perspective of Manchester United’s and his own asset appreciation, it would be best if the former “Galácticos” didn’t reappear.

Regardless of the criticism, whether or not there was a “sugar daddy,” the former Galácticos’ strength and performance on the field were undeniable. Especially the core trio of Xavi, Iniesta, and Busquets, and Messi—each was crucial.

Xavi, Iniesta, and Busquets were the foundation of tiki-taka, and Messi was the explosive element that broke the balance…

Taking away one might not have a significant impact, but losing two would undoubtedly affect the Galácticos.

As for Messi, from the perspective of maximizing capital interests, if there was an opportunity, bringing him to Manchester United, even if he stayed in the reserve team, seemed worthwhile.

Manchester United’s future goals were not limited to the Premier League but also included the Champions League. They needed to prepare for the future.

Ronan had also learned that Messi was currently a key development target of La Masia. Bringing him over wouldn’t be easy.

But it was said that Messi had a good father. Perhaps there was a way to work through him.

Ronan had already discussed these issues with the Manchester United club management. After this season ended, they would put the plan into action.

Arriving at the premiere theater for The Island, Ronan saw many old friends, including George Lucas, who had come to support Spielberg.

“I heard that Relativity Entertainment has recently provided many internship opportunities for USC School of Cinematic Arts?”

As a prominent figure of the USC School of Cinematic Arts, George Lucas never forgot his alma mater. “In this industry, learning theory is far from enough.”

Ronan modestly replied, “It’s actually a win-win situation. The students get hands-on learning opportunities, and my crew gets a fresh batch of new talent.”

George Lucas laughed heartily. “There aren’t many people in Hollywood who think like you.”

Ronan firmly stated, “Because they aren’t graduates of the USC School of Cinematic Arts.”

George Lucas felt the same way. “For people like us, the mark of the USC School of Cinematic Arts will always be there.”

Ronan echoed the words he had once spoken on the other side of the Pacific. “I have always taken pride in that.”

Indeed, whether Ronan admitted it or not, in the eyes of others, he was a member of the USC School of Cinematic Arts faction, and an important one at that.

Whether in the East or here, alumni networks were extremely important.

Before leaving, George Lucas reminded him, “Don’t forget to attend the premiere of Revenge of the Sith.”

Ronan tapped his forehead. “I remember.”

Relativity Entertainment was, after all, an entertainment conglomerate. Setting aside other aspects, in terms of film and television production alone, Industrial Light & Magic under Lucasfilm was priceless.

In the eyes of a purely commercial film producer like Ronan, Industrial Light & Magic had changed the film industry.

“What were you talking about?” Spielberg came over. “You’ve been getting quite close to George lately.”

Ronan smiled. “USC alumni, discussing ways to strengthen cooperation with the school.”

Although Spielberg wasn’t a graduate of the USC School of Cinematic Arts, he had always considered himself an alumnus. “If there are any activities, remember to include me.”

Ronan nodded. “I will.”

He saw Michael Bay and asked, “I heard the test screenings for The Island didn’t go well?”

Given the current situation, DreamWorks going under wouldn’t be in Relativity Entertainment’s best interest.

Spielberg said, “Haven’t Michael Bay’s films always been like this? Apart from The Rock, which of his films had good test screenings?”

Ronan thought about it carefully and realized it was true. Michael Bay’s films generally started with poor test screenings, with both media and audience reviews being bad, making it hard to get any good evaluations. Yet, after release, they always managed to achieve decent box office results.

It could only be said that this was the magic of Michael Bay’s films.

In the past, Michael Bay had a kind of magic. No matter how bad the film was, no matter how vulgar or ridiculous the content, he could always attract an audience.

Ronan had nothing to say. After all, he couldn’t exactly say at someone else’s premiere that the film was likely to fail.

That would be tantamount to breaking ties with DreamWorks and Spielberg.

But one thing was certain: The Island was being distributed solely by DreamWorks. If problems arose, it would reduce a lot of unnecessary losses.

If it were distributed by one of the Big Six companies as before, after deducting the distributor’s share, DreamWorks would struggle to recover much money.

Spielberg signaled his assistant to stop people from coming over to greet them, clearly having something to discuss with Ronan.

The two walked towards a less crowded corner, and Connie silently did similar work.

“Next weekend, your Shai Entertainment Animation Studio’s first animated feature film is premiering.” Spielberg slowly said, “I heard it’s called Despicable Me?”

Ronan directly replied, “An animated feature film expanded from the short film Minions.”

Spielberg asked, “This is the animation production team you took over from 20th Century Fox, right?”

Ronan slightly nodded. “That’s them. They’re all excellent practitioners.”

This made Ronan realize that Relativity Entertainment and 20th Century Fox truly had a deep connection, with such intersections even back then.

Spielberg asked, “If the film is successful, 20th Century Fox probably won’t stay quiet.”

“They have Blue Sky Studios, they have Ice Age.” Ronan shrugged. “I didn’t poach anyone from 20th Century Fox. They were let go by 20th Century Fox, and then I took over Chris Renaud’s team.”

Spielberg brought up this topic for a reason. “Ronan, your animation studio has already produced an animated feature film. I’m sure it will be successful next week. Embassy Pictures’ distribution resources will naturally prioritize your own films. Regarding DreamWorks Animation…”

The old man adjusted his glasses and looked at Ronan. “After David Geffen’s exit, DreamWorks is left with just me and Jeffrey Katzenberg holding it up. The business is now only divided into live-action film and television production and animation production. With DreamWorks Animation, DreamWorks is complete.”

The words were heartfelt, but Ronan wasn’t swayed. After some thought, he said, “Steven, I can give you one guarantee. After the distribution contract between DreamWorks Animation and Embassy Pictures expires, Relativity Entertainment will proactively withdraw. Internal matters within DreamWorks will have to be discussed between you and Jeffrey.”

Spielberg knew very well that he couldn’t get more from Ronan. In fact, he was advancing by retreating, wanting exactly this guarantee.

Ronan also knew this. Once Shai Entertainment Animation Studio stably produced animated feature films, Jeffrey Katzenberg and DreamWorks Animation wouldn’t continue their distribution cooperation with Embassy Pictures after the contract expired.

Spielberg shook hands with Ronan. “I hope DreamWorks and Relativity Entertainment remain allies forever.”

Ronan replied, “I hope so too.”

In truth, at the level of Ronan and Spielberg, many things weren’t decided by personal will but by corporate interests.

Even though Ronan had absolute control over Relativity Entertainment, the company’s performance directly affected the income of numerous management personnel and even ordinary employees.

These were things that business owners and decision-makers had to consider.

When the interests of DreamWorks and Relativity Entertainment clashed, even if Ronan and Spielberg had a good personal relationship, the two companies would become adversaries.

In this regard, DreamWorks and the Hollywood Big Six had already fully demonstrated this in the past.

The relationships within Hollywood were complex, but from the perspective of interests, it wasn’t difficult to sort them out.

Ronan then saw Michael Bay but only greeted him, not saying much. The timing wasn’t right yet.

Entering the theater, after waiting for a while, the premiere screening of The Island began.

As before, watching the first part, it was hard to imagine this was a Michael Bay film.

Without exaggeration, in the first half of the film, Michael Bay seemed to have changed his style.

But in the second half, the real Michael Bay returned.

The film began with collision after collision, explosion after explosion, truly a typical Michael Bay film.

Chapter 779: Despicable Me

If one were to look at either the first or second half of The Island in isolation, each would be considered quite decent. However, when combined, the film gives off an awkward, disjointed feeling.

To be frank, this is far from Michael Bay’s worst film—it’s at least better than the utterly unreliable Armageddon.

Since Scarlett Johansson had turned down the audition invitation due to her relationship with Ronan, Michael Bay ultimately chose Jessica Alba as the female lead. This ensured the film still had sufficient star power in terms of visual appeal.

The original The Island had cast Ewan McGregor and Scarlett Johansson, two quintessential art-house stars, as its leads—a choice many believed contributed to its failure.

Speaking of Michael Bay’s past works, The Island could be considered his most thought-provoking and emotionally charged film.

Well, that was the first half.

To be more precise, Michael Bay attempted to incorporate depth, but somehow, he ended up reverting to his usual formula of chases and explosions.

The split in style was the most damaging.

Poor reception during test screenings was nothing new for Michael Bay’s films, but in the past, his box office performance had always managed to turn things around for him.

This time, with The Island, that didn’t happen.

Even though DreamWorks had invested a staggering one hundred and eighty million dollars in production and marketing costs, it still couldn’t secure Michael Bay’s usual success.

In its North American opening weekend, The Island earned a mere eleven million and four hundred thousand dollars.

A box office flop!

And an irreversible one at that.

Spielberg, ever the shrewd businessman, saw the writing on the wall and decisively cut his losses by abandoning further investment.

Fortunately, DreamWorks was no longer the same studio it once was. After successfully securing financing from India and establishing independent global distribution channels, its risk resistance had grown stronger.

Otherwise, the failure of The Island might have forced DreamWorks down the same path of being acquired by one of the Big Six studios.

The underperformance of Kingdom of Heaven and The Island inadvertently paved the way for Relativity Entertainment’s The Bourne Ultimatum.

Since the start of the summer season, The Bourne Ultimatum had dominated the North American box office, effortlessly securing three consecutive weekends at the top.

In its third weekend, it raked in another twenty-two million and one hundred fifty thousand dollars, bringing its North American total to one hundred and ninety-one million and eight hundred thirty thousand dollars.

The film was well on its way to surpassing three hundred million dollars at the North American box office, with potential for even more.

Two major tentpole films failing in a row sent a chill through the industry. Hollywood was nothing if not pragmatic. Following The Island’s failure, DreamWorks temporarily halted discussions on new projects with Michael Bay. His first film after parting ways with Jerry Bruckheimer had ended in defeat.

Criticism of Michael Bay was mounting, but Ronan deliberately kept him away from the noise. In truth, this backlash wasn’t necessarily a bad thing for him.

Michael Bay was, at his core, a commercial director. Years of criticism from film critics had begun to sway him, leading him to abandon straightforward commercial films in favor of injecting humanistic themes into his big-budget projects—a misstep that rarely ended well.

Critics had led many talented commercial directors astray. Ronan felt particularly sorry for the Wachowskis. Once a duo of brothers (who later became sisters), they had the potential to bring a fresh perspective to Hollywood’s commercial cinema.

Unfortunately, the critics’ praise had sent them spiraling into philosophical musings, from which they never recovered. They never again achieved the success of The Matrix.

In fact, in many discussions about directors, the Wachowskis were often cited as a prime example of peaking with their debut.

Though The Matrix wasn’t their first film, it was the one that made them famous. Everything that followed was a decline.

Eventually, they turned to television, still brimming with wild ideas, but unable to escape failure. Their projects were repeatedly canceled…

The Wachowskis had been overpraised, while Michael Bay had been overcriticized.

Perhaps the failure of The Island would help Michael Bay regain clarity about his strengths.

Ronan called George Clint and instructed him to reach out to Michael Bay in June to discuss the Transformers project.

At the moment, Ronan couldn’t think of a more reliable director than Michael Bay.

Guillermo del Toro had expressed interest in Transformers, but his vision incorporated too many elements from Japanese mecha and giant robot anime. Ronan had his doubts and politely declined del Toro’s proposal.

The massive investment required for the Transformers project meant that market appeal and audience differences had to be considered from the very beginning.

Hasbro was far less patient than Relativity Entertainment, repeatedly urging them to accelerate the film’s production.

However, a project of this scale required at least two years of production, even without factoring in the final release and revenue recovery.

Compared to other directors, Michael Bay was known for his relatively fast filming pace.

Meanwhile, good news arrived from the Premier League.

In the second-to-last round of the 2004-2005 season, Manchester United crushed West Bromwich Albion at home. Although Chelsea also won their match, Manchester United maintained a five-point lead in the standings, securing the Premier League title with one game to spare.

This allowed Manchester United to focus all their energy on preparing for the UEFA Champions League final at the end of May.

Ronan had someone inquire about Chelsea’s situation. Despite missing out on the Premier League title, they still had the FA Cup to contend for. Roman Abramovich had no intention of firing Mourinho; in fact, he planned to increase investment in the next season.

The most effective way for a football club to improve its performance? Inject more money.

Modern professional football leagues had become entirely commercialized.

Ronan did not attend Manchester United’s Premier League victory celebration because Shai Entertainment Animation Studio’s first animated feature, Despicable Me, was premiering. Besides, Manchester United’s true celebration would have to wait until after the Champions League final.

Embassy Pictures also hosted a premiere for the animated film.

To Ronan’s surprise, he spotted representatives from 20th Century Fox at the event.

Chris Renaud, the director of Despicable Me, explained to Ronan, “I invited them.”

Ronan nodded slightly, understanding the sentiment behind the invitation.

Chris Renaud lowered his voice and said, “The team that was fired by 20th Century Fox is now the core of Shai Entertainment Animation Studio. They’ve held a grudge against Fox’s ruthlessness, and this is their way of venting.”

Ronan gave his arm a light pat. “I understand. Do what you need to do.”

Chris Renaud shook his head. “Tom Rothman, the one who kicked us out, has already lost his influence at Fox. The person they sent is just a mid-level manager.”

Ronan reassured him, “If Despicable Me succeeds, Fox will definitely regret their decision. They’ll suffer for their past stupidity.”

After all, if 20th Century Fox hadn’t fired Chris Renaud and his team, Shai Entertainment wouldn’t have been able to establish its own animation studio so smoothly.

In that sense, Relativity Entertainment should probably pay a visit to the Fox Building to express their gratitude.

Ronan swore he genuinely wanted to thank 20th Century Fox.

Perhaps Universal had felt the same way when they acquired Illumination Entertainment.

20th Century Fox must have thought that with Blue Sky Studios under their belt, they had secured a piece of the future animated feature market.

But Blue Sky Studios was already showing signs of stagnation.

Among Hollywood’s three major animation studios, Pixar continued to churn out successful animated films one after another; DreamWorks Animation, beyond Shrek, kept expanding with new projects—last year’s Shark Tale and this summer’s upcoming Madagascar were proof of that. Blue Sky Studios, on the other hand, lagged behind, clinging to the Ice Age franchise while falling short in other areas of development.

There were reasons for Blue Sky Studios’ decline.

After 2010, 20th Century Fox tried to sell Blue Sky Studios more than once but struggled to find a buyer.

The release of Despicable Me held significant importance for Relativity Entertainment.

Following their success in comedy films, Relativity had now expanded into feature-length animation.

Of course, compared to Pixar’s team-produced animated films, Despicable Me was technically rougher, with a production budget of only sixty million dollars.

While refined technology was a guarantee of success, not all successful animated films needed to be technically flawless.

Despicable Me perfectly exemplified this.

The film’s style mirrored that of the Minions short—simple and cute, rather than the bittersweet adult fairy tales Pixar was known for.

The plot and themes were straightforward, with the main characters, especially the Minions, responsible for the cuteness.

When a group of Minions appeared on screen, they melted the hearts of the entire theater.

Unsurprisingly, Despicable Me was a hit upon release. Its North American opening weekend grossed an astonishing sixty-five million and four hundred seventy thousand dollars!

This result caught everyone off guard.

Despicable Me dethroned The Bourne Ultimatum from its dominant position on the North American box office chart, snatching the top spot on its opening weekend.

It also signaled the rise of a new animation powerhouse beyond the traditional big three studios.

Chapter 780: Cover Story

The summer season of 2005 had already seen four weekends, each featuring at least one highly anticipated commercial film. Yet, the fates of these four films were starkly different—Kingdom of Heaven and The Island flopped in their opening weekends, while The Bourne Ultimatum and Despicable Me achieved resounding success.

Then, everyone noticed something: half of that success belonged entirely to Relativity Entertainment.

Media outlets began widely reporting on Relativity Entertainment and Ronan, while the industry itself fell into a brief silence.

A powerful company that integrated production, promotion, distribution, and merchandise operations had now stood before everyone in Hollywood.

Most importantly, this company possessed an almost complete film and television industry chain, making it extremely difficult for others to restrict its influence.

Moreover, Hollywood’s competitors had never truly united.

Given this situation, combined with Relativity Entertainment’s continuously demonstrated value and the financial market’s rumors about Netflix’s impending IPO, Ronan had garnered widespread attention.

This attention had long since transcended the entertainment industry and even related fields, spreading throughout North America’s entire business sector.

After several interactions with Ronan’s team, Forbes journalist Beryl Reynolds, through relentless effort, finally secured an exclusive interview with Ronan.

The interview took place in the VIP reception room of Relativity Tower.

Beryl Reynolds arrived early to set up, as Forbes placed great importance on this interview.

Despite Beryl being one of Forbes’ top journalists, the magazine had specifically assigned her former superior to guide her from behind the scenes.

“This interview opportunity is rare,” Michelle reminded Beryl. “Since leaving school to start his business, this is Ronan Anderson’s first media interview.”

Beryl looked over her prepared questions, making final adjustments. “I understand.”

Michelle added, “There’s one thing you must keep in mind—never judge Ronan Anderson by just one of his roles. He’s Hollywood’s golden producer, a Midas touch for film and television projects, a businessman, and a star in the internet industry. According to financial estimates, once Netflix goes public, Ronan Anderson will become America’s youngest billionaire.”

Beryl, now in her thirties, was neither lacking in drive nor experience. She had prepared thoroughly.

She knew exactly what kind of person she was about to face.

A prodigy? A genius blessed by fortune?

None of these descriptions seemed quite right. In her decade-long career, Beryl had never encountered a young man as outstanding as Ronan Anderson.

As the scheduled interview time approached, the cameraman was already ready. Beryl took a moment to exchange final thoughts with Michelle before heading to the lounge to touch up her makeup and adjust her clothes.

This was a sign of respect—for others and for herself.

At 9:30 AM, Ronan arrived punctually at the reception room and met Beryl Reynolds.

She was an ordinary-looking woman with sharp, strong features and brown hair.

“Good morning, Mr. Anderson,” Beryl stepped forward first, shaking Ronan’s hand. “It’s a pleasure to see you again.”

Ronan shook her hand and smiled. “It’s my honor to be interviewed by Ms. Reynolds.”

After Beryl briefly introduced the Forbes staff present, Ronan said, “If you’re ready, let’s begin. I have to attend the premiere of Star Wars: Episode III – Revenge of the Sith this afternoon.”

They sat across from each other. Beryl subtly signaled the cameraman and turned on her recorder, asking casually, as if chatting with an old friend, “You’re a big fan of the Star Wars series?”

Ronan smiled back. “How many people in America aren’t fans of Star Wars?”

Beryl adapted quickly, following his lead. “Many critics say George Lucas’s prequel trilogy ruined the Star Wars franchise. What do you think?”

Ronan shook his head slightly. “The prequel trilogy, like the original, is a great masterpiece. Personally, I hope the series continues to expand the Star Wars universe.”

Beryl pressed on. “Is that why Relativity Entertainment produces so many franchise films?”

“Movies exist to bring joy,” Ronan replied smoothly. “As long as audiences enjoy them, many films have a reason to exist. And I’m not just a producer—I’m also a businessman. Investing in films that audiences love and that bring profits is the best of both worlds.”

Beryl’s questions grew sharper. “But many say Relativity Entertainment specializes in making bad movies—whole series of them.”

Ronan spoke calmly. “No film can please everyone. Every movie has its audience. Even a critically acclaimed series like The Bourne Identity has people who despise it.”

“Do you ever hope to make a film that everyone loves?” Beryl asked.

Ronan spread his hands. “Movies aren’t dollar bills.”

Beryl couldn’t help but laugh, the tone softening. “Whenever media or Hollywood mentions you, they list a string of films—Pirates of the Caribbean, The Bourne Identity—but few know much about you personally. From what I’ve gathered, you were once on the brink of bankruptcy?”

Ronan thought for a moment. “Back then, I had just ruined my first official feature film. Most of the employees at Shai Entertainment, the company my father left me, had resigned. Including me, only four people remained. If we couldn’t secure new investments, the company would’ve gone bankrupt. Fortunately, we found new investors, and our next film succeeded.”

Beryl asked, “Was Shai Entertainment the most valuable inheritance your father left you?”

“Not exactly,” Ronan said with mock seriousness. “My father taught me to have confidence and to uncover opportunities—that’s how you overcome difficulties.”

Beryl keenly followed up. “Like how everyone thought pirate movies were dead, but you revived the genre with Pirates of the Caribbean?”

“It’s actually quite different from traditional pirate films—it incorporates many supernatural elements,” Ronan explained simply. “I’ll quote what Hollywood journalists and experts have written: Pirates of the Caribbean’s box office miracle comes from its fresh plot and unique creativity. More importantly, it moved beyond using sex and violence as selling points, making it suitable for audiences of all ages.”

Beryl then asked, “Aside from being a producer, you’re also the head of a film company. Doesn’t managing the company distract from your filmmaking?”

Ronan smiled. “I have an excellent team. They raise the flag for us, consult with me, and handle the work. It’s they who do it, not me. I just need to work with talented people.”

The interview proceeded smoothly, and the topic soon turned to Netflix.

“Mr. Anderson, Netflix has been preparing for its IPO,” Beryl said. “There are many rumors—large investment firms want to invest, and once Netflix goes public, you’ll become a billionaire. Are you ready for that?”

Ronan remained calm. “After Netflix goes public, nothing will really change. I believe Netflix’s greatest value lies in earning market and user recognition.”

Beryl continued, “The youngest billionaire…”

Ronan didn’t dwell on the topic. “Netflix hasn’t gone public yet, so it’s not happening, right?”

Beryl laughed and changed the subject. “Just as you’re the boss of Netflix, I’ve noticed the public knows very little about you.”

Ronan spread his hands. “I’ve always thought I was famous.”

Beryl silently scoffed but pressed on. “Most young billionaires in America settle down early, and stable family life is proven to help careers. Have you considered this?”

Ronan put on a serious expression. “I have, but I haven’t met the right person yet. Maybe when I do, I’ll get married as soon as possible.”

The interview remained mostly friendly, and afterward, they took many photos of Ronan.

In the next issue of Forbes, Ronan would appear as the cover story.

This was his first time being featured on the cover of a major magazine.

Ronan knew full well that once Netflix went public, everything would change. He would inevitably face even more attention—perhaps like Gates and Jobs, where his every move could become news.

At noon, Ronan, as the host, treated Beryl Reynolds and her team to a meal.

With Netflix’s IPO approaching, maintaining good relations with financial and business media like Forbes was essential.

After seeing off the Forbes team, Ronan changed into formal attire and headed to Hollywood for the premiere of Star Wars: Episode III – Revenge of the Sith.

This was a personal invitation from George Lucas and part of Relativity Entertainment’s future plans.

Contrary to what he had said in the interview, Ronan wasn’t particularly fond of the Star Wars series. But this didn’t conflict with business plans. At a certain scale, he wouldn’t judge projects based solely on personal interest.

Besides, this was undeniably the biggest IP in the film industry.

Chapter 781: A Different Philosophy

In 1978, George Lucas’s Star Wars series made its meteoric rise. For the United States, a nation often criticized for its lack of cultural depth, it was as if they had finally found a legacy of their own. In just over twenty years, everything related to Star Wars had become an inseparable part of American culture and life.

Even Ronald Reagan’s Strategic Defense Initiative was dubbed the “Star Wars Program.”

Audiences in other film markets struggled to understand America’s obsession with Star Wars culture. Ronan, for instance, couldn’t fathom why Jedi knights wielding soft, glowing sticks were so captivating. Or why Americans raved about the classical romance of space battles—when, in a different setting, it wasn’t all that different from the cannon duels in Pirates of the Caribbean.

Ronan didn’t get it, but millions of Americans did. They were passionate, even fanatical.

At the premiere venue, when the clone troopers marched onto the screen and the speakers blasted the iconic breathing of Darth Vader, the audience erupted in frenzy. It was hard to believe a fictional character could provoke such a reaction unless you witnessed it firsthand.

This was the allure of Darth Vader!

This was the magic of Star Wars!

With this single franchise, George Lucas had secured his place in Hollywood history.

Ronan stood at the theater entrance, watching the sea of fans—tens of thousands strong. Some wore costumes, others waved props, all holding at least one Star Wars-themed item. And then there were the die-hard fans fully dressed as Darth Vader.

As for lightsabers? They were practically standard issue for attendees.

Seeing this with his own eyes was far more impactful than any sales figure—over twenty billion dollars in revenue.

Even without considering future Star Wars sequels, the merchandise alone was worth careful planning by Relativity Entertainment.

Few knew that George Lucas was planning to retire. Even fewer could have predicted that upon retiring, he would sell Lucasfilm, the empire he had built from scratch.

Ronan had been cultivating his reputation with George Lucas for years, not for anything grand—just to ensure that when the time came, Lucas would prioritize Relativity Entertainment under equal conditions.

There would be competitors, of course, but Disney’s chances weren’t as high as one might think.

“You’re deep in thought.” A nasal voice interrupted: “Ronan, why are you standing here alone?”

Ronan turned to see Sophia Coppola approaching. He smiled. “I’m soaking in the magic of Star Wars.”

Sophia invited, “Shall we go inside together?”

Ronan nodded slightly. “Let’s.”

As they walked into the theater, Sophia mentioned that after collaborating with Relativity on Lost in Translation, she had been on hiatus, in no rush for her next project.

Unlike most directors, Sophia Coppola worked on her own terms—a privilege she was born with.

Ronan first greeted George Lucas, then asked pointedly, “George, are you really ending the Star Wars films like this?”

George was blunt: “As I designed it, this was always the story of the Skywalker family. Every story, no matter how long, must have an ending.”

Ronan sighed. “Life without new Star Wars films feels incomplete.”

“Can’t be helped.” George chuckled. “I’m getting old. I don’t want to endure endless criticism anymore. It’s time to wrap it up.”

He then shifted the topic. “But someone like you—full of energy—your animation studio’s first feature was a massive success. That’s impressive.”

Ronan knew he was referring to Despicable Me. “Well, I got lucky. Chris Renaud’s team already had mature ideas and technology before joining Relativity. They just needed funding and opportunity. We happened to be there at the right time.”

George was well-informed. “I heard from some old friends that someone at 20th Century Fox might be in trouble over this.”

Ronan shrugged. “That’s Fox’s problem.”

George laughed, then added, “Despicable Me showed me something—there’s another way to make animation beyond Pixar.”

“Hollywood needs diversity,” Ronan said sincerely. “That’s what makes it so compelling.”

At Shai Entertainment Animation Studio under Relativity, Ronan had implemented a distinct philosophy: efficient production control and precise cost management.

Despicable Me had a production budget of only sixty million dollars. At Pixar, that would barely cover the modeling phase.

From the moment he recruited Chris Renaud’s team—formerly Fox Animation—Ronan never intended to turn them into another Pixar.

That was impossible. Pixar’s style and philosophy had taken twenty years to develop.

Instead, Shai Animation embraced a simpler, more economical approach.

Unlike Pixar, which meticulously crafted stories, Shai focused on character development—especially the main characters. They imbued these characters with distinct personalities, charm, and entertainment value, making them relatable and endearing to audiences.

The Minions and Gru were perfect examples.

In contrast, Despicable Me’s plot was mediocre, even clichéd.

And when it came to animation quality, the differences were even starker.

Shai Animation didn’t chase perfection in every frame. Instead, they concentrated resources on key scenes, avoiding unnecessary expenditure on details like water, hair, or leaves—elements that Pixar might obsess over.

Pixar’s team was elite, not just in technology and philosophy, but also in burning cash.

Shai Animation, on the other hand, was more commercial. They strictly controlled costs to ensure profitability while minimizing investment risks.

This aligned with Ronan’s consistent demands.

For the foreseeable future, Shai Animation wouldn’t produce any films with budgets exceeding one hundred million dollars.

In fact, Ronan, George Clint, and Chris Renaud had already agreed to outsource parts of Minions and Kung Fu Panda to overseas companies to further reduce costs.

After greeting George Lucas, Ronan approached the USC School of Cinematic Arts alumni circle.

After exchanging pleasantries with several people, he had a longer conversation with Robert Zemeckis.

“Still undecided, Robert?” Ronan asked directly. “I can’t think of a better director for Alice in Wonderland in all of Hollywood.”

Robert smiled. “I was planning to rest a bit longer. You’re cutting my vacation short.”

They were close, so Ronan didn’t beat around the bush. “This is a pure 3D film. You can fully explore your ideas in that medium.”

Robert’s smile faded, and he spoke seriously. “I’ve seen the script and the plans. To achieve the effect I want, the budget might need around one hundred and eighty million dollars.”

Ronan had expected this. True 3D films were expensive. “One hundred and eighty million for production? Shai Entertainment can handle that. No problem on my end.”

At this point, Robert stopped hesitating. “Have your people contact my agent to discuss the contract. In principle, I agree. I want to make a truly immersive live-action 3D film.”

Like James Cameron, Robert Zemeckis was relentless in pursuing cutting-edge film technology.

Robert went to find his agent, and Ronan instructed Connie to immediately relay the news to George Clint.

“Hello, Mr. Anderson.” The night’s female lead suddenly appeared before Ronan.

He took her outstretched hand lightly. “Hello, Miss Portman.”

It was Natalie Portman.

Perhaps due to long-term dieting and vegetarianism, Natalie was extremely thin—almost gaunt.

Ronan had met her before but wasn’t particularly familiar with her.

“I loved the female lead in The Girl,” Natalie said. “Unfortunately, I didn’t perform well enough to land the role.”

Ronan smiled. “The role wasn’t quite right for you, Miss Portman.”

Natalie replied, “Isn’t the challenge of playing roles unlike ourselves, of experiencing different lives, what actors strive for?”

Her words carried artistic flair, but she had chosen the wrong audience.

Ronan said, “From a producer’s perspective, the first priority is ensuring the audience accepts the character.”

Natalie was sharp. She immediately realized her misstep and adjusted her tone. “As filmmakers, we must be responsible to our audience.”

Ronan nodded slightly. “Indeed.”

Natalie found Ronan different from her expectations. To avoid negative impressions, she concluded, “Mr. Anderson, every actor in Hollywood dreams of working with your company. I hope we can collaborate in the future.”

They shook hands and parted.

Undoubtedly, she was a very intelligent young woman.

Too bad she grew up to be so… damaged. Matilda was much cuter.

Chapter 782: Passing the Blame

The summer season had begun, and by the end of May, the North American film market was dominated by Relativity Entertainment. But Revenge of the Sith put an end to that.

As the distributor, 20th Century Fox, having suffered the painful failure of Kingdom of Heaven, finally had something to celebrate.

Unfortunately, at the premiere, aside from polite greetings, no one from Fox spoke to Ronan again.

Over the past year, due to conflicting interests, the two sides had been at odds, their relationship as tense as fire and water.

But none of this hindered the massive success of Revenge of the Sith.

Despicable Me had ended The Bourne Ultimatum’s three-week reign at the North American box office, but Revenge of the Sith gave Despicable Me no chance at a second weekend victory.

The film’s North American opening weekend grossed an impressive one hundred and eighteen million dollars.

In an era where opening weekends exceeding one hundred million were extremely rare, this was an outstanding achievement.

Relativity Entertainment’s two films were also performing well.

The Bourne Ultimatum had been in North American theaters for five weeks, accumulating a total of two hundred and twelve million dollars.

With overseas earnings, its global box office was nearing five hundred million.

The film currently sat at the top of both the North American and global box office charts for 2005.

Animated films, once successful, tended to have stable performance, and Despicable Me was no exception. In its second weekend, it earned another thirty-eight million dollars in North America.

After ten days of release, the animated film had grossed one hundred and thirty-five million dollars in North America.

Overseas screenings would soon follow. While North America had no concept of Children’s Day on June 1st, many countries and regions abroad did.

Despicable Me would be released in as many overseas theaters as possible before June 1st.

For Chris Renaud and his team, after being ousted by Fox two years ago, their success in animated features finally gave them a sense of vindication.

“When Fox fired us, did they ever think we’d succeed?” Chris Renaud sighed in the Shai Entertainment Animation Studio. “We didn’t do this for anyone else—just to prove ourselves.”

Ronan acknowledged their achievements. “You’ve done an excellent job.”

Chris Renaud shook Ronan’s hand firmly. “Thank you, Ronan. Without your support, we couldn’t have done it.”

The other team leaders in the office nodded in agreement. Without Relativity Entertainment and Ronan’s strong backing, the ousted group would never have achieved such remarkable success.

Ronan smiled slightly. “You’re too modest. We’re a team.”

For the foreseeable future, Shai Entertainment Animation Studio would remain highly motivated, creating immense value for Relativity Entertainment.

Where there was joy, there was also sorrow—especially for Fox, which had let Chris Renaud’s team go.

In the Fox Building, young James Murdoch frowned as he reviewed Despicable Me’s box office numbers and Chris Renaud’s resume.

Jim Prather knew exactly why. “Chris Renaud’s Fox Animation team had worked at Fox for years. But in 2000, the company decided to acquire Blue Sky Studios. Combined with the failure of Renaud’s animated feature, Tom Rothman and his faction pushed for the dissolution of Fox Animation.”

James Murdoch remained silent. Talent loss was inevitable in Hollywood, but actively letting go of talent was harder to accept.

Many long-established traditional companies not only had strong foundations but also fierce internal power struggles. Fox was no exception.

Jim Prather seized every opportunity to suppress his rivals. “Tom Rothman’s mistake cost Fox its animation studio.”

“Don’t overlook Ronan Anderson’s role,” James Murdoch, though young, was sharp enough to see through Jim Prather’s motives. “From what I know, the concept of the Minions and the entire animated feature came from Ronan Anderson.”

Thinking of the man younger than himself, James Murdoch felt a pang of admiration. Though Ronan hadn’t started from scratch, the challenges he faced were far greater, yet he had achieved such success—his abilities were undeniable.

Unfortunately, Ronan Anderson’s ambitions were too grand for Fox to acquire him.

Jim Prather didn’t give up easily. “Ronan Anderson’s creativity was key, but Chris Renaud’s team provided the technical foundation. Without them, even the best ideas would remain just ideas.”

He lowered his voice. “James, have you heard of Peppa Pig?”

“I’ve seen some of it. It’s very popular in the UK—both the show and the merchandise are selling well.” James Murdoch asked, “Is this also from Shai Entertainment Animation Studio?”

Jim Prather confirmed, “Yes. The original concept came from Ronan Anderson, and Chris Renaud’s team handled the design and production.”

James Murdoch wasn’t surprised—Relativity Entertainment only had Shai Entertainment Animation Studio under its banner.

Jim Prather then revealed the most critical part: “Market estimates suggest that Relativity Entertainment earned over three hundred and fifty million dollars last year from Peppa Pig alone, just from animation rights and merchandise.”

This figure was significant even for Fox. James Murdoch had been studying the film and related industries and understood that a show like Peppa Pig could generate hundreds of millions in revenue annually for years to come.

Ronan Anderson was truly a genius! Even a little pink pig could be turned into such a goldmine.

Losing Fox Animation wasn’t a big deal—Fox still had Blue Sky Studios.

James Murdoch shook his head slightly. The real mistake was not acquiring Relativity Entertainment before it grew.

“I’ll have the board hold Tom Rothman accountable for this,” James Murdoch said before changing the subject. “Is Kingdom of Heaven confirmed a failure?”

Jim Prather didn’t evade the question. “It won’t recover its investment in the short term.”

James Murdoch asked, “If the project failed, why continue collaborating with Ridley Scott on similar, even more expensive films?”

“The biggest failure of Kingdom of Heaven wasn’t Ridley Scott’s fault—it was producer Bruce DeWane’s problem.” Jim Prather was as skilled at shifting blame as any corporate executive. “The director’s cut had good test screenings, but Bruce DeWane thought it had too many issues. So he personally assembled another editing team to re-cut the film…”

James Murdoch frowned. “Is that so?”

Jim Prather continued, “Bruce DeWane has years of experience. I… and the other executives trusted his judgment, so we agreed. But the final release didn’t perform well.”

This was a universal truth—when things went right, the leaders took credit; when they went wrong, the subordinates took the fall.

Power dynamics often dictated this outcome.

James Murdoch said, “Understood. Don’t let Bruce DeWane be involved in future major projects.” He asked again, “Are you sure Ridley Scott is the right choice?”

Millions had already been invested in the project. Stopping now would mean even greater losses. Jim Prather, having successfully shifted blame, wasn’t about to contradict himself. “Ridley Scott is still trustworthy.”

James Murdoch wasn’t an expert in production and relied on professional judgment, but he added, “Be cautious with major projects.”

Even a company as large as Fox couldn’t afford another Kingdom of Heaven-level disaster.

Jim Prather spoke confidently, “Our current production plan focuses on the X-Men series and related spin-offs, as well as projects with Ridley Scott and Roland Emmerich. Roland has worked with us multiple times—he’s a guarantee of success.”

James Murdoch said, “Let’s hope we don’t have another Kingdom of Heaven situation.”

Jim Prather managed expectations, “Fantastic Four’s prospects…”

James Murdoch was well aware of the recent tensions between Fox and Marvel Entertainment. He waved his hand dismissively. “Even if the film fails, we can’t back down on this.”

If they conceded once, Ronan Anderson and Relativity Entertainment would become even more aggressive, possibly demanding the return of the X-Men rights.

This was Fox’s flagship film series, with a ten-year development plan in place. There could be no compromise.

Jim Prather agreed, “Yes. I’ll have the legal team continue dealing with Marvel. If necessary, we’ll drag it out.”

The success or failure of major films was shaping the fortunes of the companies behind them.

Soon after Revenge of the Sith, Ronan chartered a private jet with Will Smith and Tom Cruise, heading to Istanbul, Turkey’s famous city.

Chapter 783: The Script is Wrong

The Olympic Stadium in Istanbul was packed to the brim. One of the highest honors in European professional football, the UEFA Champions League champion, was about to be decided tonight.

Ronan, Will Smith, Tom Cruise, and several Manchester United executives had taken their seats in the VIP box early, exchanging pleasantries with UEFA officials in the adjacent box to the left during the pre-match warm-up.

This was a meticulously crafted tournament by UEFA. Many even claimed that the knockout stages of the Champions League were the highest caliber and most thrilling football matches on the planet.

To a large extent, this claim wasn’t wrong.

Setting aside political significance, the overall quality of the World Cup had indeed fallen short of the Champions League in the current state of football.

Among the UEFA officials, Ronan spotted the former French legend Michel Platini. According to Manchester United’s Chief Executive Officer, David Gill, Platini was preparing to run for the next UEFA presidency.

If memory served, Platini’s successful election would mark the beginning of the “godfather era.”

“Look to the right, there’s someone familiar,” Tom Cruise reminded Ronan. “Our old competitors.”

Will Smith was the first to glance over, speaking up, “They’re here to watch the final too.”

Ronan also saw the group, led by Sheikh Mansour, with another familiar face among them.

Despite the thick beard he had grown since they last met, Ronan recognized him instantly—Prince Salih of the Abu Dhabi Emirate.

It had been a long time.

Someone whispered in Salih’s ear, and he turned to look at Ronan.

Their eyes met, and Ronan gave Salih a slight nod.

Salih quickly averted his gaze.

Ronan didn’t mind. After all, he had taken advantage of Salih back then.

“That’s another prince of Abu Dhabi?” Tom Cruise asked curiously. “Seems like there’s a story between you two.”

Ronan replied, “You must have heard how I saved Shai Entertainment with Arab funding.”

Will Smith lowered his voice, “There’s been talk in Hollywood that you swindled the Arabs to start Relativity Entertainment.”

“Swindled? How could I?” Ronan declared confidently, “I went to secure investments—a win-win with the Abu Dhabi Group. Every Arab who invested in Shai Entertainment’s film projects made a fortune!”

On this point, he could stake his reputation.

Will Smith chuckled, “I don’t think Sheikh Mansour sees it that way.”

Ronan calmly responded, “One reason they invested in Shai Entertainment was to acquire my company and use it as a stepping stone into Hollywood. Was I supposed to hand over my company just like that? I resisted the financial temptation from Abu Dhabi and defended Hollywood against their monetary assault…”

At this point, Ronan couldn’t even convince himself anymore.

The Champions League anthem blared through the stadium as Manchester United and AC Milan took the field. The match was about to begin.

“Let’s watch the game,” Ronan suggested. “Hopefully, we’ll have the last laugh.”

Will Smith turned his head to look at a private box behind and to the side, where AC Milan’s Galliani’s bald head stood out.

“Next to him are the Berlusconi father and daughter,” Tom Cruise, who had clearly studied their opponents, remarked. “The blonde girl is Barbara. Rumor has it she’s quite the flirt.”

Will Smith stroked his chin, “Really? Will we have any dealings with AC Milan later?”

Ronan reminded them, “The match is starting.”

The two stopped their discussion, their attention fully on the field as the 2004-2005 UEFA Champions League final kicked off.

That match had been dubbed the “Miracle of Istanbul” by countless people, and Ronan remembered it well. He had subtly reminded Ferguson.

Compared to the previous Benitez, Ferguson was far more experienced and commanded greater respect among the players. After emphasizing the need to quickly focus and get into the game, the Manchester United players took it seriously.

This was reflected on the field—Manchester United entered the game much faster.

AC Milan had an older average age, which brought experience but also made them vulnerable to sudden bursts from younger players.

However, compared to Manchester United, AC Milan had better overall cohesion.

But the young Manchester United had many explosive players.

Less than thirty seconds into the game, the Little Flying Dutchman, Arjen Robben, went into overdrive. Receiving a long pass from Xabi Alonso, he charged straight into AC Milan’s penalty area.

In the Champions League final, there were no secrets between the two sides. Manchester United had studied Shevchenko and Kaká, and AC Milan knew the strengths of every Manchester United player.

There was a type of player in this world who, even if you knew what they were going to do next and that they wouldn’t choose a second option, you still couldn’t stop them.

Robben at his best was undoubtedly one of them.

Robben cut inside, feinted a shot, cut inside again, feinted another shot, then curled a left-footed strike into the far corner of the net.

In just forty seconds, Manchester United took the lead!

Gattuso and Maldini, who were defending Robben, helplessly spread their hands. They knew what Robben was going to do but couldn’t keep up with his pace.

One trick, and you can eat the world!

This was the fastest goal in Champions League final history!

Will Smith incredulously clutched his head, Tom Cruise’s mouth hung open in shock, and Ronan scratched his head, as if he couldn’t believe his team had taken the lead so easily.

“We… we’re leading?” Will Smith first questioned, then forcefully hugged Tom Cruise. “Amazing! We’re leading!”

Ronan also embraced Tom Cruise and Will Smith one by one, celebrating the moment.

The lead came too quickly, catching everyone off guard.

The somewhat aging AC Milan seemed stunned by the youthful and energetic Manchester United. The Red Devils’ aggressive play had the older AC Milan defense struggling to keep up.

Manchester United dominated the field!

After just over ten minutes, the struggling AC Milan finally couldn’t withstand Manchester United’s relentless high-tempo attacks.

Rooney played a backheel pass, and Robben bolted through the crowd, using his weaker right foot to shoot toward the far post. Cristiano Ronaldo, with his youthful explosiveness, beat Cafu to the ball and slotted it into the net.

Manchester United led AC Milan 2-0!

On the field, the players celebrated wildly.

Seeing this, Ronan high-fived Will Smith and Tom Cruise!

In this match, Manchester United was in better form, with a more targeted approach. Ferguson seemed to have noticed the inevitable physical decline of Cafu and Maldini due to age, instructing Ronaldo and Robben to use their speed and explosiveness to attack their defensive zones.

Perhaps time was the fairest judge of all.

Experience could compensate for some of the decline in physical abilities but not entirely.

Facing two of the best attackers in the future world, the aging Cafu and Maldini were struggling.

This reminded Ronan of the 2002 World Cup. Setting aside the referees and other factors, Maldini’s golden goal loss wasn’t just because of age—he had been outpaced by a younger South Korean forward.

Of course, under normal circumstances, South Korea would have been eliminated early, but they ended up being the most shameless hosts in World Cup history.

Not far away, Sheikh Mansour watched as the even more excited Manchester United players continued to dominate AC Milan. He turned to look at Ronan’s box, a thoughtful expression on his face.

He had one thought: the Manchester United team built by Ronan Anderson was stronger and more combative than the one he had wanted to acquire!

Ronan Anderson wasn’t just formidable in film investments; his eye for football talent was extraordinary!

This Manchester United team was even more attractive to Mansour.

Before the end of the first half, Manchester United launched another offensive wave. Ronaldo and Robben suddenly switched positions, transitioning from inverted wingers to traditional wingers in a very short time.

Robben used his speed to overpower Cafu on the left flank, sending a cross to the back post. Ronaldo, like that South Korean forward in the World Cup, used his youthful height and strength to overpower Maldini, who had already positioned himself, and headed the ball toward the center.

Interfered by Maldini, Ronaldo’s header wasn’t ideal, landing behind the Manchester United players making the run.

But!

With Rooney the Tank on the team, fortune favored them!

Rooney scored with a bicycle kick. AC Milan’s goalkeeper Dida couldn’t react in time, and the ball found the net again!

Before the end of the first half, Manchester United rewrote the score, leading AC Milan by a massive three-goal margin.

The Manchester United players on the field and the fans in the stands were going wild.

Before the match, everyone had expected a grueling battle, but no one had anticipated that before the first half even ended, Manchester United would slice through AC Milan like a hot knife through butter, scoring three goals.

Even the usually composed veteran manager Ferguson was chewing gum with a smile.

The match was going far better than anyone could have imagined.

“We’re champions!” Will Smith shouted at Ronan. “We’re champions!”

Tom Cruise laughed brightly, “The match is over! This game is over early! Manchester United has won!”

At the moment Rooney scored, Ronan, like Will Smith and Tom Cruise, was initially excited, subconsciously thinking that Manchester United’s championship was secure.

But as Will Smith and Tom Cruise shouted “We’re champions” and “The match is over early” in his ear, a sudden, inexplicable worry crept into Ronan’s mind.

The first half ended with Manchester United leading AC Milan 3-0.

Ronan looked at the scoreboard and muttered, “This script doesn’t seem right! How did we end up leading 3-0?”

Speaking of which, what happened to the team that once led 3-0?

Ronan quickly turned to a Manchester United staff member beside him, “I need to speak with Coach Ferguson.”

Chapter 784: The Madness of Football

Inside the stadium, the two teams’ locker rooms were not far apart. The AC Milan locker room was silent, the air seemingly frozen, as all the players sat in exhaustion, confusion, and disbelief, listening to the raucous cheers and celebrations coming from the nearby Manchester United locker room.

It was the sound of Manchester United celebrating as if they had already won the championship.

“Did you hear that? They’re celebrating!” Maldini decided to speak up, and he had to. “The game isn’t over yet, and those Manchester United bastards are already celebrating their victory…”

Meanwhile, the veteran coach Ferguson hung up the phone, his smile gradually fading, his expression turning unusually serious.

The boss was right to remind him—the game had only been going for forty-five minutes!

Their opponent was AC Milan, one of the best teams in all of Europe!

Ferguson chewed his gum, standing at the locker room door, listening to the various noisy celebrations inside, his expression growing ever more serious.

It wasn’t until the stern Alex Ferguson returned that he pushed open the door and entered the locker room.

When Ferguson walked in, the scene was chaotic. The players were shouting at each other, as if they had already won the championship.

So Ferguson immediately switched to his “hair dryer” mode, roaring: “Shut up! I don’t want to hear a single word from any of you for the next five minutes! Not a single word!”

Ferguson’s authority in this team was undeniable. Many had once called Cantona the king of Manchester United, and Keane the greatest captain.

But in reality, at the team level, there was only one true boss at Manchester United, and that was Ferguson!

All the players fell silent, and the Manchester United locker room immediately quieted down. Then Ferguson began to instruct them on the matters for the second half, especially regarding AC Milan’s inevitable counterattack.

But once a person’s nerves become too excited or relaxed, it’s hard to adjust in a short period of time, especially for young people.

Ronan had been worried all along. Would the 3-0 lead at halftime cause psychological changes in the relatively young Manchester United team?

After all, even the experienced AC Milan team had not escaped such normal human changes.

“You look very serious.” Will Smith asked curiously: “Aren’t we leading by three goals? Looking at your expression, I thought AC Milan was the one leading.”

Ronan said: “The second half will be tough.”

Tom Cruise, who had always been knowledgeable about English football, added: “In the first half, Manchester United took the initiative to set the pace of the attack, completely suppressing AC Milan, but they also consumed too much energy. Will they run out of steam in the second half? After all, our opponent is AC Milan.”

Ronan nodded slightly. The AC Milan of the past might have also faced physical issues beyond psychological changes.

In this match, if there had been no halftime break, Manchester United could have very well scored a fourth or even a fifth goal against AC Milan. But after the halftime adjustments, it was hard to say.

Sure enough, as soon as the second half began, the situation on the field changed immediately. AC Milan, who had been passively defending, adjusted their lineup and took the initiative to press forward.

Manchester United seemed to have undergone some changes—not obvious, but noticeable.

As one of the three midfielders, Scholes keenly sensed this change and repeatedly shouted to remind his teammates. Ferguson’s assistant coach on the sidelines also kept yelling.

Even Ferguson called over Essien, who was warming up and had a stronger defensive presence, preparing to make a substitution.

In the first half, Manchester United had struck AC Milan hard from the start, seizing the initiative.

In the second half, AC Milan returned the favor. In less than three minutes, Kaká broke free from Alonso and charged forward, his signature rapid dribbling.

Unlike the flashy footwork of traditional Brazilian players when breaking through, Kaká’s style was more like a European midfielder—more concise, practical, and reliant on explosive power and acceleration.

Thus, Kaká would face the same problem as almost all speed-based players—injuries.

But a healthy Kaká was extremely terrifying.

AC Milan’s momentum was recovering, but overall, it wasn’t particularly ideal. Just like Manchester United in the first half, the personal ability of key players at critical moments became the catalyst to break the deadlock.

Kaká single-handedly penetrated Manchester United’s midfield line. Just as Vidic was closing in to block, he lifted his foot and shot from the edge of the penalty area. The ball grazed the post and flew into the net.

AC Milan’s morale soared, while most of Manchester United’s players fell silent.

Defenders Ferdinand and Gary Neville, midfielder Scholes, and other veteran players tried to boost the team’s morale.

“It’s fine.” Will Smith muttered: “It’s just one goal.”

Ronan frowned slightly, but at this moment, apart from the players on the field, even the head coach’s influence was limited.

The coach could only adjust through substitutions. Ferguson replaced Scholes with Essien, specifically using the “beastly waist” to deal with Kaká.

But as soon as the substitution was made, AC Milan scored their second goal!

Cafu’s cross from the flank, which seemed harmless, was flicked by Shevchenko near the penalty spot. The ball curved strangely, hitting the post near the corner of the goal and going in!

With Vidic and Ferdinand closing in, such a header could only be attributed to luck.

Manchester United’s players were stunned.

All of AC Milan celebrated, and the confidence of the old European powerhouse returned to them.

The situation changed in an instant!

At this point, Manchester United’s players were somewhat dazed, as if they couldn’t believe that in just three minutes, they had so easily conceded two goals?

This was simply an inexplicable and astonishing turn of events.

Ronan watched all of this, wondering if the script had truly gone wrong. How could such a bizarre situation occur?

Will Smith angrily shouted: “What are they thinking? Damn it! How did it suddenly become a one-goal lead?”

Tom Cruise said: “Things aren’t looking good for Manchester United.”

Ronan slowly nodded, but the game was still ongoing. Apart from watching from the stands, they could only hope that Manchester United’s players could hold on for the rest of the match.

Those who understood football knew that Manchester United was truly in danger.

Teams that led 3-0 and then conceded consecutive goals often not only allowed the opponent to equalize but also suffered a major comeback.

If Manchester United was overturned by AC Milan in this match, it would become a laughingstock among fans for many years to come.

For example, a certain strong European team and its star player had, for years, led by a large margin in the first leg of the UEFA Champions League semifinals, only to be overturned by their opponents, becoming a topic of celebration for countless haters.

Their supporters couldn’t even refute it logically because the team’s and the star’s performances were right there.

Thus, issues of fighting spirit and willpower had always been their greatest flaws.

Had Manchester United been broken by two consecutive goals? They were indeed somewhat dazed. The players on the field were making mistakes, and even Robben, who had performed the best in the first half, was making repeated errors.

During this time, Shevchenko had another one-on-one opportunity, but Čech resolved the crisis.

The game had undoubtedly reached its most critical moment. Ronan really wanted his team to win the championship and had done a lot of work for it—such as easily eliminating Mourinho’s Chelsea in the semifinals, securing the Premier League title a round early to have ample time to prepare for the UEFA Champions League final, and reminding Ferguson to pay attention to certain issues within the team.

More importantly, Ronan had brought many key players, both present and future, to this Manchester United team.

Defenders like Čech, Evra, and Vidic; midfielders like Essien, Carrick, and Alonso; and attackers like Robben, Rooney, and Drogba.

It could be said that without Ronan successfully acquiring Manchester United, there would not have been this Manchester United team on the UEFA Champions League final field.

Now, the problem could only be solved by the players and the coach.

All of Ronan’s calculations had led to this moment, but they were difficult to take effect. In the end, the game could only be decided by the players.

AC Milan’s third goal came as if it had been planned. Pirlo’s lofted ball went straight into the corner of the goal.

At this moment, all the Manchester United fans in the stadium fell silent. Even Ronan, Will Smith, and Tom Cruise were left speechless.

Anyone with a bit of common sense knew that Manchester United, having suffered consecutive blows, might lose this final.

Ferguson’s face was ashen, and the players on the field were dispirited. Even veteran players like Ferdinand and Gary Neville seemed to have lost their temper.

The performances of the two teams in the first and second halves seemed to have swapped.

This was undoubtedly the most exciting UEFA Champions League final in history, and the most dramatic one!

AC Milan’s players were fully awake, encouraging each other, wanting to take the opportunity to score a few more goals and win the match.

Manchester United was in adversity.

Professional players were also human, with emotions. Manchester United’s players seemed to be on the verge of collapse.

Ronan watched the players on the field, who seemed to have lost their souls, and had no doubt that they would concede a fourth and fifth goal next.

But some players were born for big moments, always stepping up when the team needed them most.

Perhaps these players had issues like arrogance, madness, and inferiority, but they were never broken. Their nerves in the game were as tough as steel.

Undoubtedly, Cristiano Ronaldo was such a player.

When the few leaders on the field fell silent, Cristiano Ronaldo stood up, constantly shouting, waving his arms, and clapping his hands to encourage his teammates.

Ferguson’s main opponent this season was Mourinho. Learning from the opponent’s strengths had always been the veteran coach’s advantage.

Mourinho, who seemed conservative, had his moments of madness, such as daring to gamble at critical moments.

So Ferguson did not bring on a defensive player. Instead, he sent out a forty-meter-long cleaver!

Drogba replaced Rooney on the field!

The powerful “beast,” with his superior physical attributes, created survival space for the two scoring wingers.

The attacking line regained its dominance, which also made AC Milan hesitant to press forward with all their players. Manchester United stabilized the situation on the field. After eighty minutes, as AC Milan’s energy declined, they regained the advantage.

Drogba received a pass from Alonso, turned his back to make a pass to Cristiano Ronaldo, who then cut inside. Without even looking up, he took a long shot that pierced through Dida’s ten fingers!

Manchester United took the lead again and maintained it until the end of the match!

Chapter 785: Champions

“We won! We won!”

As the final whistle blew, Ronan, Will Smith, and Tom Cruise exchanged high-fives. “This victory didn’t come easy!”

As the club’s three shareholders, they embraced one by one in celebration.

In their first year of owning the team, they had secured both the Premier League and UEFA Champions League titles. Beyond the honor and asset appreciation, it was a matter of prestige—something crucial for the wealthy and influential.

On the field, Manchester United players were hugging in celebration, while substitutes and coaches had already rushed onto the pitch.

Old coach Ferguson’s white hair fluttered in the night breeze, unable to hide his radiant smile.

Since the treble in 1999, Ferguson had dreamed of reclaiming the Champions League throne, even sparking a technical revolution at Manchester United.

Now, his dream had finally come true.

Where there are winners, there must be losers. AC Milan’s players could only serve as the backdrop to Manchester United’s success this season, despite coming agonizingly close to victory at one point.

The match was over.

After ninety minutes of fierce battle, Manchester United defeated AC Milan 4-3, claiming the club’s third Champions League title!

In the stands, people around Ronan, Will Smith, and Tom Cruise offered their congratulations.

Before the season began, when the three had jointly acquired Manchester United, though British and European media favored them over Mansour’s Abu Dhabi Group, some were still waiting to see Manchester United fail.

Some European fans and media even dubbed Manchester United the “Hollywood Team.”

But as the European season drew to a close, Manchester United had become one of the most successful teams on the continent.

Many further confirmed a long-acknowledged truth in professional football through Ronan’s management of Manchester United:

Big investments bring top players! Money wins championships!

Next season, the arms race in European leagues would undoubtedly escalate.

Representatives from Manchester United’s sponsors also came to congratulate Ronan. While the club’s victory meant additional bonuses for sponsors, it was a win-win situation.

Soon, Manchester United would negotiate new sponsorship deals with them.

Given Manchester United’s commercial influence and this season’s performance, a twenty percent increase in sponsorship contracts would be effortless.

The championship brought not only glory but also massive financial gains.

The Champions League prize alone amounted to forty million euros.

The honor was beyond words—how many top players dreamed of lifting the Saint-Blaise Cup but never could?

For instance, Ronaldo had yet to win a Champions League title.

Or take Buffon, who, even in his forties, refused to retire, as if chasing that one elusive Champions League trophy.

There were many such examples.

After the award ceremony, Ronan, Will Smith, and Tom Cruise congratulated the team on their victory. Ronan personally promised that the Champions League bonus would be deposited immediately upon their return to Manchester.

The immense honor and generous bonuses sent the players into a frenzy. Led by Rooney and Cristiano Ronaldo, some players grabbed champagne bottles and began showering Ronan and the others with champagne.

The three quickly retreated.

Manchester United’s season had been a resounding success.

The next day, as the team returned to Manchester, the airport was packed with fans, and the British media went wild.

Fleet Street not only heaped the highest praise on the team but also lavished compliments on the three owners—Ronan, Will Smith, and Tom Cruise.

Particularly, Ronan’s summer transfers from the previous year were highly acclaimed.

“Ronan Anderson brought top-tier fresh blood to Manchester United, while Ferguson and the new and old players delivered the two most prestigious titles of the season for Manchester United and Ronan Anderson!”

Almost everyone acknowledged that Ronan’s transfers after acquiring Manchester United had laid the foundation for this season’s success.

Manchester United’s new signings were gradually rising to prominence, becoming starters or rotational players.

For example, Drogba’s emergence, coupled with Rooney’s ability to play as a striker, had increasingly sidelined Van Nistelrooy.

Professional football was ruthless—someone’s gain was another’s loss.

Van Nistelrooy was a prime example of the latter.

After this season, he was determined to leave Manchester United. Several clubs had already expressed strong interest in the “King of the Small Box.”

Since Van Nistelrooy was in his prime and still had two years left on his contract, the transfer fee would undoubtedly bring in a substantial sum.

David Gill had informed Ronan that Real Madrid intended to oust Ronaldo and was interested in signing Van Nistelrooy. He planned to use the funds from Van Nistelrooy’s sale to poach talent from Barcelona and La Masia Academy.

Manchester United had already contacted Leo Messi’s father, offering a highly attractive commission and contract. The father seemed tempted.

However, David Gill wasn’t entirely confident about the deal. Leo Messi wasn’t an ordinary reserve player. As early as February 2004, just after turning sixteen, he had signed his first professional contract with Barcelona.

Ronan instructed David Gill to further investigate whether there was a penalty fee clause in the contract. If so, as long as the player and his family were willing to join Manchester United, they could activate the penalty fee clause.

Barcelona was optimistic about Messi’s future but couldn’t be certain how far he would go.

Frankly, La Masia Academy had produced many young talents with astonishing potential, but very few had actually made it big.

Ronan recalled a former Barcelona prodigy, whose name he couldn’t quite remember, said to be even more talented than Messi. During his time at La Masia Academy, he had broken all of Messi’s records and was hailed as the crown prince.

But in the end, even Ronan, an avid football watcher, had no idea where that player had ended up.

In professional football, there were far too many who failed to live up to their potential.

Take Ronaldinho, who was currently dominating La Liga. Who could have predicted that he would experience a severe decline in his prime at twenty-seven or twenty-eight?

There was also room to maneuver for Xabi and Iniesta, who were already playing for the first team. The core of this Barcelona team, coached by Rijkaard, was Deco, not Xabi.

As for Guardiola, he seemed more suited for a career in Hollywood.

After landing in Manchester, the team held a grand championship parade. That evening, Manchester United Football Club hosted a celebratory banquet.

As the club’s owner, Ronan naturally attended.

At the banquet, he encountered an unexpected guest.

“Welcome,” Ronan said, shaking hands with the bearded Arab man. “Good evening, Salih. Long time no see.”

Salih looked at his former friend and spoke in fluent English. “Hello, Ronan. It’s been a long time.”

His words carried a hint of resentment. “Congratulations. Your team has achieved great success.”

Ronan, as the host, remained warm. “Thank you.”

Salih asked, “Do you have time now? I’d like to talk to you.”

“Of course,” Ronan didn’t refuse. “Salih, we’re old friends. Speak freely.”

Salih countered, “Old friends? Ronan, do you really think we’re friends?”

Ronan smiled calmly. “Of course. I’ve always considered you a friend.”

“But do friends act like you?” Salih questioned. “Back then, you took advantage of Abu Dhabi’s trust, using their funds to start your career, then betrayed your partners. Last year, when Brother Mansour intended to buy Manchester United, you interfered and snatched the club away.”

He stared intently at Ronan. “What kind of friend does that?”

Ronan’s smile faded, and he spoke seriously. “Salih, I invested in Abu Dhabi. As an investor, did they receive returns? What was the return on investment? How many legal businesses in the world have an annual return of fifty percent?”

Ronan didn’t wait for Salih’s answer. “Every investment I made with the Abu Dhabi Group had a return exceeding fifty percent. Did any of our collaborations violate the contract? Or did I fail to deliver the promised returns? Salih, you were involved—you should know.”

“I…” Salih was momentarily speechless.

Ronan continued, “When you came to me before, I said the same thing. My investment cooperation with Abu Dhabi was a win-win. I brought massive returns to Abu Dhabi. But what did Abu Dhabi want? Not just returns—they wanted my company!”

He glanced at Salih. “Last year’s acquisition of Manchester United—apart from normal business competition, I had been researching Manchester United for years. Otherwise, would the acquisition have gone so smoothly? How could I have brought in so many successful new signings right after the acquisition?”

Noticing the situation, Mansour approached.

Salih had nothing left to say. Mansour gently patted Salih and whispered, “No need.”

He turned to Ronan, smiling slightly. “Congratulations on your team winning the Champions League.”

Ronan replied, “Thank you. It’s an honor to have you here, Minister.”

“You achieved such success in your first season with Manchester United,” Mansour said, still smiling. “Truly remarkable.”

Ronan said, “It’s all thanks to Coach Ferguson and the players. I never expected to win two championships this season.”

Since Mansour’s arrival, Salih had stepped aside and remained silent.

It was clear his status in Abu Dhabi was far below Mansour’s.

Mansour suddenly said, “Ronan, I have a proposal.”

Chapter 786: Ruthless Wealth

Anyone who achieves success should not be underestimated, even if Mansour’s success is closely tied to his background and identity.

The difference in status between Mansour and Salih also reveals that Mansour’s abilities must surpass Salih’s by a significant margin. Otherwise, the sheikhs of Abu Dhabi would not have entrusted him with managing the Abu Dhabi Group.

Ronan had dealt with Mansour multiple times, and the deepest impression he left was not the extravagance typical of Arabs, but a resilient spirit—unyielding in victory or defeat.

This man had remarkable tenacity.

It made sense. Western society’s attitude toward the Arab world was no secret. If Mansour, as Abu Dhabi’s representative in the West, could be easily defeated, the Abu Dhabi Group would not have achieved so many successful investments.

In recent years, even in the United States, the Abu Dhabi Group had made significant strides, acquiring two teams from the four major professional sports leagues.

Perhaps for a conglomerate worth hundreds of billions, this was no great feat. But considering it was led by an Arab, it was truly remarkable.

Although Ronan had ended his cooperation with the Abu Dhabi Group due to societal trends and their ambitious nature, he did not want to turn them into enemies if it could be avoided.

“Minister,” Ronan maintained the polite smile expected of a host. “Please, speak your mind.”

Having spent years in the West, Mansour seemed to have adopted a more direct approach. “Mr. Anderson, I still have a strong interest in Manchester United. To be precise, my interest has only grown since last night.”

Ronan had a rough idea of what he was about to say.

Sure enough, Mansour continued, “For both of us, Manchester United Football Club is ultimately a business, an investment. Now, your investment has paid off handsomely. Mr. Anderson, the Abu Dhabi Group is willing to acquire Manchester United from you for one billion pounds.”

The offer was tempting. Ronan had acquired Manchester United through financing and loans, spending just over six hundred million dollars. Selling now would mean nearly a forty percent return on investment.

Seeing Ronan’s silence, Mansour added weight to his offer: “All of Manchester United’s debts will be handled by the Abu Dhabi Group upon completion of the acquisition.”

Ronan looked at Mansour. Truly, the Arabs were filthy rich—so wealthy it defied human nature.

As Mansour put it, all the debt Ronan had shifted onto Manchester United after his acquisition would be repaid by the Abu Dhabi Group. Apart from a small portion of personal investment, if this deal went through, Ronan’s involvement with Manchester United would become the epitome of a highly leveraged acquisition!

In just one year, a profit of seven to eight hundred million dollars—even arms dealing wasn’t this lucrative.

Mansour understood that when money reached a certain level, it wasn’t just a numbers game; it could manipulate hearts and minds.

Manchester United, especially this current team—well-structured, full of vitality and energy—he truly desired it and was willing to pay a high price.

Ronan steadied himself and smiled. “Minister, I appreciate your sincerity. Allow me to consider it.”

At the end of the day, Ronan was still human, and as a businessman, the prospect of such high investment returns was impossible to ignore.

Mansour shook Ronan’s hand. “I hope you will give it serious thought, Mr. Anderson. My offer remains valid until the start of next season.”

Ronan shrugged slightly. “I also need to discuss this with the other shareholders.”

After a few more pleasantries, Mansour took his leave. Salih glanced at Ronan but ultimately said nothing, following Mansour.

“There are many teams in the Premier League,” Salih said quietly. “We don’t have to fixate on Manchester United.”

Mansour looked at his beloved younger brother and patiently explained, “Why do we want to buy a football team, Salih? Have you thought about it?”

Salih replied, “It can’t just be for the money, can it?”

Mansour shook his head slightly. “Football is the world’s most popular sport, and the Premier League is the most commercially successful and widely broadcast league. We need a window—a way for the entire world to recognize and understand Abu Dhabi. That’s why I’ve been planning to acquire a Premier League team.”

With rare patience, he continued, “This means we must buy a super club with sufficient influence. The cost may be high, but the results will be quick. If we buy a mid-tier or small team and try to build it into a renowned club, think about how much time it would take, how many players we’d need to buy, how many famous coaches we’d need to hire…”

Salih slowly nodded, understanding his brother’s intentions.

Mansour’s perspective was far more insightful than most. “In that case, the money we spend wouldn’t be less than buying Manchester United from Ronan Anderson—it might even be more. And there’s the time cost, which money can’t measure!”

“I understand,” Salih said.

Mansour lightly patted his shoulder. “Looking at the entire Premier League, only Manchester United and Arsenal meet our requirements, but Manchester United is the better choice. I’m under pressure too—I need to spend a large sum quickly to see results, or how can I justify it to Abu Dhabi?”

After all, he was only the Chief Operating Officer of the Abu Dhabi Group, not the true owner.

Salih said, “Acquiring Manchester United won’t be easy. Ronan Anderson is too cunning.”

Mansour shook his head slightly. “He is cunning, but in another sense, Ronan Anderson is simple. He’s a businessman at heart, and football is just a business venture. As long as the profit is high enough…”

He suddenly smiled. “If we can get Manchester United, even if it costs more than one billion pounds, it’s worth it.”

The Abu Dhabi Group lacked nothing but money.

For Mansour, any problem that could be solved with money was never a problem.

At the reception, Ronan juggled social obligations while weighing the pros and cons of Mansour’s proposal.

From an investment standpoint, it was an incredibly lucrative deal.

Truthfully, Ronan needed funds at this stage to realize more of his plans.

But selling Manchester United felt like a bitter pill to swallow.

Faced with such a choice, most would sell immediately. But Ronan’s wealth gave him the confidence to refuse—after all, he might become a billionaire in name this very year.

After the reception, Ronan sought out Will Smith and Tom Cruise, briefly discussing the matter with them.

Both were visibly excited.

Such high investment returns were hard to resist.

But they were not ordinary men. In Hollywood, they were among the elite with fortunes exceeding a hundred million.

After Ronan’s brief introduction, Will Smith calmed down. “I’ll follow your lead on the investment, Ronan. If you want to sell, I support you. If you want to remain Manchester United’s owner, I’m willing too. Football is actually quite interesting.”

Tom Cruise added, “From an investment perspective, selling is indeed very profitable. But we don’t lack money, and with Manchester United’s current trajectory, it might be worth even more in the future.”

Ronan nodded slightly. “Let’s not rush to respond to Mansour. We’ll take some time to consider and discuss it again in July.”

He emphasized, “This information stays between the three of us. Don’t let it affect the club’s normal operations.”

“Understood,” Will Smith said. “Don’t worry.”

Tom Cruise worried, “What about Mansour? What if he speaks to the media…”

Ronan replied directly, “Then we’ll publicly reject him. I’m sure he won’t make such an unwise choice.”

Whether it was Ronan, Will Smith, or Tom Cruise, they needed time to calm the excitement stirred by the enormous financial gain and approach the decision with a clearer mind.

A transaction involving billions of pounds demanded caution. Taking more time to consider would only be beneficial.

The news did not spread, so it did not affect Manchester United’s normal operations. The team concluded the 2004-2005 season with outstanding performances, winning both the Premier League and the UEFA Champions League.

Subsequently, Ronan, representing Manchester United, signed new sponsorship contracts with multiple sponsors. These deals alone would bring in over a hundred million pounds annually for the club.

Ronan did not need to invest any additional funds into Manchester United. The club’s self-sustaining ability not only covered the needs for new signings but also allowed for debt repayment.

In the first week after the UEFA Champions League final, Manchester United reached an agreement with Real Madrid. Ruud van Nistelrooy transferred to Real Madrid for thirty-five million euros.

This sum would be used by Manchester United to poach players from Barcelona.

The professional football world was becoming increasingly commercialized. With enough money, no wall was too high to scale.

A few years ago, how did Luis Figo, Barcelona’s captain and icon, end up at their bitter rivals, Real Madrid?

In the future, clubs like Manchester United and Liverpool, which had no direct player transfers between them, would become rarer.

As Manchester United’s season ended, Ronan, Will Smith, and Tom Cruise held two meetings with the club’s senior management before leaving London and returning to Los Angeles.

The North American summer season was in full swing, with blockbuster after blockbuster hitting theaters.

Among them were highly successful films like The Bourne Ultimatum and Revenge of the Sith, as well as commercial failures like Kingdom of Heaven and The Island.

The directors of these two flops had substantial capital backing, so they weren’t too affected.

A producer from 20th Century Fox became the scapegoat for Kingdom of Heaven, while Ridley Scott remained largely unscathed, continuing to prepare his next project.

DreamWorks suspended its collaboration with Michael Bay, but Shai Entertainment had already reached out to him.

Chapter 787: Finding Oneself Again

In the reception room on the top floor of Relativity Tower, Ronan met with Michael Bay.

The director, known for his explosive style, had a long, memorable face.

“Take a seat.” Ronan gestured. “Michael, we’re old friends. No need for formalities.”

Michael Bay sat on a single sofa, speaking bluntly, “I didn’t expect you to want to work with me at this time, Ronan.”

Ronan smiled. “The Transformers project suits your style. I believe you can make it a success.”

“Thank you.” Michael Bay’s recent failure had given him a taste of Hollywood’s coldness like never before. “Ronan, thank you for believing in me.”

From his first film in Hollywood, even though Pearl Harbor didn’t meet the studio’s expectations, Michael Bay had never truly failed. His career had been smooth sailing, and aside from the cynical film critics, everyone seemed to value him.

But after The Island flopped, DreamWorks halted their collaboration with him, and those around him began to turn cold. Everything had changed.

It was at this moment that Relativity Entertainment extended an invitation.

Michael Bay also hoped to prove himself again with a new success.

“Regarding the Transformers project,” Ronan cut to the chase. “Michael, are you interested?”

There was no need for either of them to beat around the bush. If Michael Bay wasn’t interested, Relativity would move on to their backup director.

The man sitting across from him was Ronan Anderson, and the invitation came from Relativity Entertainment. Michael Bay knew this was exactly what he needed right now. Without hesitation, he said, “Ronan, I’ve read both versions of the script. Personally, I’m willing to be the director for the Transformers project.”

Ronan nodded slightly. “I’ll have Shai Entertainment discuss the details with your agent.”

Michael Bay replied, “I’ll let my agent know.”

Ronan was well aware that the smoothness of this conversation and Michael Bay’s quick agreement were closely tied to the failure of The Island.

The film’s disastrous box office and critical reception had severely shaken Michael Bay’s overconfidence, which had built up over years of success.

But there were things Ronan needed to address upfront to prevent Transformers from suffering the same fate as The Island.

Ronan spoke directly, “Michael, The Island didn’t perform well. Have you considered why?”

Michael Bay let out a bitter smile. “Maybe the audience is tired of me.”

Ronan shook his finger. “How could the audience be tired of you?”

Michael Bay’s smile faded as he spoke seriously, “I’ve thought about it. During the filming of The Island, I had too many ideas.”

“I see it the same way,” Ronan said. He couldn’t let Transformers become another experimental project for Michael Bay’s style shift. “Michael, in my view, your ability has never been the issue. The problems you faced after The Island aren’t hard to solve.”

If anyone else had said this, Michael Bay wouldn’t have paid them any mind. But coming from one of Hollywood’s top producers, he had to take it seriously.

Michael Bay was humble, at least in front of Ronan. “Ronan, I really need someone to guide me right now.”

Ronan certainly didn’t have the ability to guide Michael Bay—after all, he wasn’t a director—but from an outsider’s perspective, he could offer some reminders to this commercial filmmaker.

After a moment of thought, Ronan said, “Actually, the key lies in your choices. Michael, you just said that you had too many ideas while making The Island. So, abandon those unnecessary thoughts. Find yourself again. Return to yourself.”

The meaning was clear. Michael Bay pondered it briefly before understanding Ronan’s point. “You mean I should go back to a purely commercial approach?”

Ronan didn’t like to meddle in others’ lives, but he had to be responsible for the company’s projects. “The Transformers project is purely commercial. Michael, I brought you on as director to showcase your strongest style.”

No one knew Michael Bay’s strengths better than himself.

Ronan continued, “I don’t need you to overthink this project. Just bring out what made you successful in the past. I believe you can succeed.”

Michael Bay slowly replied, “I understand.”

In truth, the failure of The Island had already made Michael Bay reflect on whether he had overthought the film’s production.

As for Michael Bay’s excessive use of explosions and crude humor, Ronan didn’t bring it up yet. When the project was in preparation, he would set aside time to discuss these issues with Michael Bay.

Unlike before, Ronan intended to make Transformers a series from the start, incorporating some elements of G.I. Joe to create a Transformers universe. All the films would be connected, with a unified plan, avoiding the self-contradictions of the previous Transformers series.

In other words, the planning rights for the series lay with Relativity Entertainment and Shai Entertainment, not Michael Bay.

The failure of The Island not only lowered Michael Bay’s salary but also effectively limited his power.

This was why Ronan had waited until after The Island to have Relativity approach Michael Bay.

Countless fans had complained that their interest in Transformers stemmed from childhood nostalgia and the massive promotional hype.

Those waiting to see the Autobots battle the Decepticons were disappointed with the first half of the film, which spent over an hour on how Bumblebee helped a clumsy American teenager with his love life.

Even more complained that Optimus Prime, the absolute protagonist, didn’t appear until after an hour, and the Decepticon emblem was never shown.

The best way to watch Transformers, some suggested, was to sleep for the first hour in the theater, then wake up refreshed for the exciting second half.

Then there was the forced humor throughout.

Even in North America, Michael Bay’s jokes were widely considered unfunny, often just awkward exchanges between characters.

Perhaps Michael Bay was deeply influenced by his collaborations with Will Smith, believing his comedic skills were strong. But without Will Smith, even American audiences found his jokes dull.

What audiences truly loved about Michael Bay were the explosions, collisions, and special effects.

Though he sometimes overused them, in these areas, Michael Bay was among Hollywood’s best.

Ronan had carefully considered inviting Michael Bay as director. On one hand, he needed to limit Michael Bay’s excessive use of certain elements. On the other, he wanted to ensure the robot designs allowed audiences to clearly distinguish between Autobots and Decepticons, as well as the main hero and villain characters.

Otherwise, the battles would be chaotic, making it hard to tell who was who, which would ruin the viewing experience.

The Industrial Light & Magic team, hired by Shai Entertainment, had already begun preliminary work on the designs for the Autobots and Decepticons. To maximize nostalgia, Ronan emphasized that the designs should be retro, allowing those familiar with the toys and cartoons to immediately connect the film’s designs with their memories.

No one could deny that the success of the Transformers film series and its merchandise sales relied heavily on nostalgia.

Michael Bay wasn’t a Transformers fan, and he admitted it outright.

In Ronan’s view, this wasn’t a flaw but an advantage. Transformers needed nostalgia, but it couldn’t become a pure fan film, or there would be serious problems.

Zack Snyder, for example, was a die-hard DC Comics fan who wanted to bring the comics to the big screen unchanged.

The result? Relying solely on fans to support a major commercial film was difficult.

“Not being a Transformers fan isn’t a problem,” Ronan reminded Michael Bay. “But you must understand the series.”

He emphasized, “Michael, after this meeting, you need to study everything about Transformers. It has influenced many people’s lives. We need to bring them into the theaters. The film’s framework is already set. We’re making a film that highlights Optimus Prime and the Autobots’ humanity, then finding the best actors to make the most of this robotic cultural property.”

Michael Bay had already done some research. “Those who grew up in the ’80s might really want to see their favorite characters and stories from back then brought to life. I think that would be a wonderful feeling.”

Ronan smiled. “Relativity Entertainment has a series of promotional plans. Once we reach an agreement, you’ll see them. I hope you can cooperate with Relativity’s work.”

“I’ll have my agent discuss the details with you,” Michael Bay said. He wouldn’t make promises about things he didn’t fully understand. “I hope we can ultimately collaborate on this great project.”

Ronan shook his hand. “I hope so too.”

Chapter 788: Decepticons Strike

With Michael Bay now confirmed as the director of Transformers, the series’ preparations shifted into high gear. Given the importance of the franchise, Ronan would personally serve as the producer for the first film.

The production budget was set at a staggering one hundred and eighty million dollars, financed by the Pacific Investment Foundation.

Both parties were eager to collaborate, and negotiations between Shai Entertainment and Michael Bay proceeded smoothly. They quickly reached an agreement on the director’s salary, a critical point in the discussions.

Michael Bay’s salary for directing Transformers was set at thirteen million dollars, with no additional backend profits.

This was an inevitable consequence of The Island’s disastrous failure.

Previously, when Michael Bay directed Pearl Harbor and Bad Boys II, he had earned twenty-five million dollars for the former and over thirty million for the latter, including backend profits.

The value of a commercial director was always measured by one standard alone—the box office. The Island’s failure had dragged down Michael Bay’s market value.

As the producer, Ronan’s salary was ten million dollars, along with a portion of the backend profits, as per industry standards.

Ronan and Michael Bay would be the two highest-paid individuals on set.

For the actors, however, the budget would be as tight as possible.

Ronan and Michael Bay had agreed to use relatively inexperienced actors with some acting background, ensuring no single actor’s salary exceeded one million dollars.

The savings would all be redirected into special effects production.

Ronan understood that audiences wanted to see the Transformers—the Autobots and Decepticons. Since they had Michael Bay on board, they would focus heavily on this aspect.

There was no need to cater to the producer’s godson or include excessive scenes of American youth culture. The number of special effects shots would far surpass previous films.

Additionally, Ronan required Shai Entertainment to sign long-term contracts with the actors for the entire series. Any actor unwilling to commit to a long-term contract would not be considered.

As for Michael Bay’s questionable tastes, such as the swinging iron balls in Hercules, those would not appear in this film.

From the very beginning, Ronan had never considered Shia LaBeouf for the role.

Even when Spielberg personally recommended Shia LaBeouf for his godson, Ronan remained unmoved.

There was no need to worry about finding actors.

What did Hollywood have in abundance? Actors desperate for their big break.

Many were willing to pay an unimaginable price for fame.

Shai Entertainment had already posted casting notices in the Actors Guild and related entertainment media. The final cast would be determined through auditions.

Established stars generally wouldn’t consider this type of film, as it was clear they would be playing second fiddle to the robots.

But Hollywood was full of people waiting for their chance.

Within just three days of the announcement, Shai Entertainment had received hundreds of submissions from interested actors.

Everyone knew that appearing in a Relativity Entertainment film was almost a guarantee of fame, especially with Ronan as the producer.

Transformers had been highly anticipated since its inception. Beyond the promotional efforts of Relativity Entertainment and Hasbro, the franchise itself had already captured the attention of countless fans.

It was one of the most successful toy lines of the eighties and nineties in North America, standing alongside G.I. Joe and My Little Pony as Hasbro’s three major franchises. For many, it was a cherished childhood memory.

Hollywood had proven time and again that nostalgia, when handled correctly, could translate directly into profits.

Nostalgia was a powerful force.

Of course, nostalgia had another name—the “Childhood Ruiner” series.

No matter how well you filmed it, some people’s beautiful memories would inevitably be destroyed.

These memories, kept in the heart and spoken of fondly, were always perfect. Once they were brought to life, the flaws became apparent.

As a former fan of the Transformers animated series, Ronan understood this mindset well. He would cater to the majority of fans but would not follow the demands of the most hardcore enthusiasts.

A film made purely for fans could not support Transformers’ global market.

According to Ronan’s plan, the production budget was one hundred and eighty million dollars, and the future marketing and distribution budget would not be less than one hundred million dollars. Even though Hasbro would cover a significant portion of the promotional costs to revitalize their Transformers toy line, Relativity Entertainment’s investment was still astronomical.

This meant the film had to be accessible enough for casual viewers.

Additionally, Ronan specifically had Michael Bay watch Hasbro’s Transformers: The Movie from the eighties.

At the time, the film had been heavily criticized by both media and fans, even becoming a turning point for the Transformers series.

The reason was that Hasbro had killed off the two most charismatic characters in the series—Optimus Prime and Megatron.

The former died in battle, while the latter was resurrected by Unicron as Galvatron.

Neither Hot Rod, who took over as the Autobot leader (later known as Rodimus Prime), nor Galvatron, Megatron’s new form, were well-received.

Hasbro had severely underestimated the appeal of Optimus Prime and Megatron.

Like G.I. Joe, the Transformers animated series was essentially an advertisement for Hasbro’s toys. From a sales perspective, constantly introducing new toys wasn’t wrong—it stimulated consumer demand.

But Hasbro had gone too far. Without giving fans any psychological preparation, they had killed off the two most beloved characters.

These were valuable lessons for the film.

Frankly, Galvatron was manageable, but Hot Rod, as Optimus Prime’s successor, had no charisma whatsoever.

In the live-action series, as long as the audience accepted it, Optimus Prime and Megatron would continue their eternal struggle.

After all, according to Hasbro’s Cybertron civil war lore, before the war broke out, Optimus Prime and Megatron had once been as close as brothers.

With Michael Bay and Shai Entertainment officially signed, a press conference initiated by Shai Entertainment, attended by Ronan, Michael Bay, and Hasbro’s Chief Executive Officer Brian Goldner, was held in the lobby of Relativity Tower.

Hundreds of reporters were present.

In the small plaza in front of Relativity Tower, thousands of Transformers fans, known as “Steelies,” had gathered.

Reporters, arranged in advance, had already begun interviewing the fans before the press conference.

“Ronan Anderson is adapting Transformers into a film. Are you looking forward to it?” a reporter asked.

A white man in his thirties, holding a limited-edition Optimus Prime figure, raised his hand and said, “Absolutely! I’ve been waiting for this day for so long! I’ve always wanted to see Transformers made into a movie, but I was worried it might ruin my beautiful memories of the franchise. Now that Ronan Anderson is taking on the project, I’m full of hope. He’s a top producer in Hollywood—he’s bound to succeed.”

The reporter said, “Ronan Anderson’s films have never failed.”

The man smiled, waving his Optimus Prime figure at the camera, and shouted, “I love Transformers! I love Optimus Prime!”

Suddenly, another person pushed forward, holding a Megatron model, stealing Optimus Prime’s spotlight. “I am Megatron! Decepticons, attack!”

Laughter erupted around them as many began discussing Transformers.

For them, Transformers was one of their most beautiful memories.

The press conference began, hosted by George Clint, who first invited Ronan, Michael Bay, Hasbro’s Chief Executive Officer Brian Goldner, and… Peter Cullen to the stage.

The moment the latter spoke, the crowd of Transformers fans went wild, as if Optimus Prime himself had arrived.

George Clint took the opportunity to announce that Peter Cullen would continue to voice Optimus Prime in the Transformers film.

This immediately reignited the fans’ beautiful memories, instantly bridging the gap between the production company and the Steelies.

Next, George Clint announced that the film crew would hold an event called the “Optimus Prime Line Contest,” inviting Steelies to write lines for Optimus Prime in the film. The winning line would appear in the movie.

These interactions effectively increased audience engagement, making them more invested in the film.

Additionally, starting in the second half of the year, Marvel Entertainment would begin publishing new Transformers comics.

These comics would serve as prequels to the film’s story.

A series of other books would also be published to build hype for the upcoming live-action film.

A film’s success required extensive pre-release promotion. The marketing and distribution costs for a major Hollywood blockbuster were increasing daily.

A one hundred million dollar marketing budget wasn’t excessive, as it needed to cover nearly a hundred countries and regions worldwide.

Although some regions didn’t require direct investment from Relativity Entertainment, there were still over seventy markets that did.

Relativity Entertainment was currently in negotiations with nearly two hundred companies across more than seventy countries and regions to facilitate the film’s promotion and distribution.

Marketing and distribution were just as massive an undertaking as the filming itself.

The press conference concluded with a Q&A session, where the media’s focus was entirely on Ronan.

“Mr. Anderson,” a reporter from the Los Angeles Times asked first, “what inspired you to bring Transformers to the big screen?”

This time, Ronan didn’t beat around the bush—he was a Steelie himself. “I’ve always been a hardcore Transformers fan… I mean, making this film isn’t just about pleasing the market. I’ve been reading the comics, collecting the models—I’m deeply fascinated by the stories that have spun off from the series. Anything related to Transformers could end up in my personal collection. And I’ve always believed that Hasbro would eventually license it for a summer blockbuster.”

He smiled and said, “Now, my goal has been achieved.”

Chapter 789: A Child Star with Innate Talent

As an honest and reliable man, Ronan swore to the heavens that even as a child, he had dreamed of making a Transformers movie. But realizing that dream required like-minded partners—his collaborator, Michael Bay.

He wasn’t afraid of the media digging into this, because everyone had wild childhood fantasies.

Besides, Ronan’s reputation in Hollywood was top-tier.

Reputation was relative, after all. Hollywood had far too many people like Harvey Weinstein who couldn’t be trusted, which made figures like Ronan and Spielberg stand out even more.

Ronan felt he was on par with Spielberg in this regard, and there was no issue with that.

Michael Bay, now Ronan’s directing partner, also had a solid reputation. He had transformed into a Transformers enthusiast.

When reporters asked, Michael Bay didn’t hesitate: “Transformers was one of my favorite toys and animated series as a kid. When Ronan invited me, I was so excited I shook all over! But I also knew bringing this series to the big screen would be incredibly difficult. So I constantly remind myself to love what I pursue, no matter how tough the process, because turning dreams into reality takes a lot of dull, tedious time.”

The press conference was a success. News of Transformers being greenlit and the crew forming quickly spread through the industry and then the world.

The Transformers team also launched an official account on Netflix sharing, gaining hundreds of thousands of followers on the first day.

This was just the beginning. As filming progressed, various promotional activities would continue to roll out.

Hasbro, considering toy sales, was also planning a Transformers marketing campaign.

Transformers had always been Hasbro’s flagship product line, creating numerous toy sales miracles. Though it had grown somewhat outdated, even Brian Goldner believed it still had massive development potential.

However, Brian Goldner had reservations about Ronan choosing Michael Bay as director.

“Michael Bay’s The Island was a disastrous failure.”

In Relativity Entertainment’s office, Brian Goldner voiced his concerns to Ronan: “The film was pulled from North American theaters, with a measly North American box office of just over thirty million dollars. And its budget? Rumor has it production and marketing cost nearly two hundred million?”

Ronan nodded slightly. “More or less. Spielberg halted promotions after the first day of the premiere, so the damage control was timely. The total investment shouldn’t have reached two hundred million.”

Brian Goldner said, “Michael Bay’s last film was a disaster. Is he really the right choice to direct the Transformers series?”

Ronan replied, “The Island* doesn’t reflect Michael Bay’s true abilities. The film wasn’t typical of his style.”

Since they were partners on Transformers, Ronan patiently explained: “In my opinion, aside from James Cameron, no one is better suited to direct this film than Michael Bay. He has a real knack for this type of story—he can blend fictional characters into reality and give them genuine human nature. In his hands, whether Autobots or Decepticons, they’ll clash in an incredibly intense way.”

Brian Goldner thought about Michael Bay’s films and had to admit there was some truth to that.

Ronan, of course, couldn’t say that his choice of Michael Bay was influenced by past events, but Michael Bay had plenty of convincing reasons: “Michael Bay has had very successful collaborations with the Department of Defense in multiple films. He’s the director with the best relationship between Hollywood and the Pentagon—no exceptions. This film will require extensive military equipment and personnel. With Michael Bay on board, that aspect will go much smoother.”

He stated an undeniable fact: “If we can’t use military bases and equipment, we’d have to rely on CGI, which would add at least thirty million dollars to the production budget. And without professional equipment, the film might still get made, but the effects definitely wouldn’t be ideal.”

Brian Goldner considered it carefully before saying, “I understand.” He spread his hands. “Ronan, you’re the expert in filmmaking.”

As Ronan had said, Michael Bay was the best choice after comprehensive consideration.

Additionally, Spielberg had specifically discussed the Transformers project with Ronan.

At the War of the Worlds premiere, Spielberg took the time to probe Ronan’s thoughts.

“Relativity Entertainment has launched several major projects simultaneously. Is the funding under pressure?” Spielberg seemed concerned for Ronan. “If needed, DreamWorks has funds to support Transformers.”

Ronan understood the implication. “Not necessary for now. Relativity can handle it. Steven, if we need help, you’ll be the first to know.”

Spielberg couldn’t hide his regret. “A couple of years ago, DreamWorks’ producer Tom DeSanto recommended the Transformers series to me, but I didn’t pay attention. Now, I see the toy series’ copyright has already been secured by you.”

Ronan smiled. “I’m a Transformers fan, so I got involved early.”

Spielberg didn’t give up easily. “DreamWorks is very sincere about collaborating.”

Ronan wouldn’t easily relinquish such a lucrative series. He tactfully replied, “Steven, if Relativity really can’t handle the pressure, I’ll definitely turn to DreamWorks for help.”

Though DreamWorks and Relativity were part of the same alliance, that didn’t mean Ronan would give up such significant expected returns.

Spielberg was about to say more when Tom Cruise suddenly approached with a little girl.

“Ronan, let me introduce a friend to you.” Tom Cruise interrupted Spielberg, smiling as he introduced the girl: “This is Dakota Fanning. She plays my daughter in the film.”

The blonde girl had two pigtails, looking incredibly cute.

Having acted in many Hollywood films, Dakota Fanning wasn’t shy at all. Instead, she took the initiative to shake Ronan’s hand, politely saying, “Hello, Mr. Anderson. It’s an honor to meet you.”

Ronan smiled. “Hello. I’ve seen your movies. You’re a genius.”

“Thank you.” Dakota Fanning acted like a little adult. “Can I tell my mom you’ve seen my movies?”

Ronan shrugged. “Of course.”

Spielberg glanced at Tom Cruise, asked Dakota Fanning a question, and then led her away.

“Looked like you and Steven were having a disagreement?” Tom Cruise asked.

Ronan calmly replied, “Just a small issue regarding a film project—Transformers.”

Tom Cruise smiled. “Seems I came at the right time?”

Ronan nodded. “Very appropriate.” He then asked, “How’s Dakota Fanning doing in the filming?”

“Pretty good.” Tom Cruise said directly. “She quickly grasps the script, and her performance is natural and controlled.”

He added, “That’s what Spielberg said.”

Ronan asked, “Compared to Kirsten Dunst in Interview with the Vampire?”

Tom Cruise thought for a moment. “They each have their strengths. Though both are child stars, they’re different types.”

Ronan casually mentioned, “I have a project that needs a cute young actress. Dakota Fanning might be a good fit.”

Tom Cruise said, “Just talk to her mother. They’ve expressed more than once that the Fanning sisters’ future is in Hollywood. Oh, right, Dakota Fanning has a sister who’s also a child star.”

Ronan remembered—her name was Elle Fanning, once famous for having no ankles.

From what he recalled, the younger sister wasn’t as impressive as the older one when they were kids, but as they grew up, the younger one surpassed her.

Speaking of which, Dakota Fanning was adorable now, but as she grew older, she might end up in the “grew up ugly” category.

The rights to Kick-Ass had already been secured by Robert Lee, and the role of Hit-Girl would definitely require a young actress.

He hadn’t heard anything about Chloë Moretz, so if she couldn’t be found, Dakota Fanning might be a suitable alternative.

However, convincing responsible parents to let their daughter star in such a film would be difficult.

From what he remembered, the Fanning sisters’ parents were among the more responsible types when it came to child stars.

Ronan chatted with Tom Cruise about Dakota Fanning’s acting for a while before entering the theater. The War of the Worlds premiere began, and he could see Dakota Fanning’s performance firsthand.

Honestly, Dakota Fanning’s acting was impressive, giving off a sense of innate talent.

Unfortunately, most child stars who excel early often become mediocre as they grow up.

Take Macaulay Culkin and Haley Joel Osment, especially the latter—his performance in The Sixth Sense was truly unforgettable.

War of the Worlds wasn’t particularly outstanding among Spielberg’s films—it was rather mediocre. But the combined star power of Spielberg and Tom Cruise was enormous, and the premiere venue was packed with excitement.

Still, the film left many disappointed, feeling the ending was too rushed.

Someone once said of this movie: “The male lead takes two kids, faces a bunch of lunatics, and somehow wins for no reason.”

Chapter 790: The Expected Failure

Sometimes, the success or failure of a film in the market is not proportional to its quality. Hollywood has seen too many such cases over the past decade.

A prime example is The Blair Witch Project.

Many major studios prefer the combination of a big-name director and a big-name star, not because this guarantees a good film—after all, the ratio of flops from such pairings is not low—but because the commercial appeal of such a combination is extraordinary.

This is especially true when the names involved are Steven Spielberg and Tom Cruise.

War of the Worlds received poor reviews, with criticism particularly directed at its rushed ending. Yet, thanks to the star power of Spielberg and Cruise, hordes of fans still flocked to theaters to see it.

Another factor not to be overlooked is that War of the Worlds was distributed globally by DreamWorks itself, avoiding many of the complications that come with third-party distribution and allowing for more rational allocation of resources.

On its opening weekend, this sci-fi tentpole—with an IMDb audience rating of just 6.5 and a Rotten Tomatoes score of only 60%—still managed to pull in $77.16 million across over 4,100 theaters in North America.

This set a new record for the highest opening weekend of any film starring Tom Cruise.

Undoubtedly, the film was a commercial success.

The strong North American opening of War of the Worlds also relieved some of the pressure on DreamWorks, which had been under heavy strain following the disastrous performance of The Island.

While The Island wasn’t enough to sink DreamWorks, another failure like War of the Worlds would have placed the studio in an even more precarious position.

DreamWorks had survived its most difficult month.

After this weekend, Kingdom of Heaven, another May release, followed in the footsteps of The Island, being pulled from all North American theaters with a final domestic gross of just $37.58 million.

Including its current overseas earnings, the global box office stood at just over $80 million.

For 20th Century Fox, this project was a significant short-term loss, and it would likely take five to ten years of ancillary revenue to recoup the costs.

In contrast, Relativity Entertainment’s two films continued their triumphant march.

The Bourne Ultimatum was on the verge of crossing $300 million domestically, with a global box office approaching $600 million.

Shai Entertainment Animation Studio had also made a splash with Despicable Me, establishing itself as a well-known animation studio in Hollywood.

The animated feature had accumulated $211.27 million at the North American box office.

Even without considering future and overseas earnings, Despicable Me was already a success.

Starting from the eve of June 1, Despicable Me began rolling out in over fifty overseas countries and regions. Faced with the distinct personalities of the characters and the adorable Minions, foreign audiences were equally powerless to resist.

The film’s overseas box office had already surpassed $100 million.

As the summer season progressed, Relativity Entertainment emerged as the biggest winner. Moreover, the upcoming release of Mr. & Mrs. Smith, fueled by the real-life love triangle involving Brad Pitt, Angelina Jolie, and Jennifer Aniston, had generated immense buzz. Many were curious about this film, which had sparked Hollywood’s biggest scandal of the new century.

Just like War of the Worlds, the market success of a film often has little to do with the film itself.

Though Mr. & Mrs. Smith had not yet been released, the hype surrounding it was already phenomenal.

Amid the relentless tabloid frenzy over the love triangle, the upcoming Fantastic Four seemed overshadowed, with its promotional efforts appearing lackluster.

Influenced by over a year of negative publicity from Marvel’s comics, both audiences and media regarded Fantastic Four with skepticism.

If Marvel Entertainment had been fighting 20th Century Fox alone and had hastily thrown together a Fantastic Four comic, the situation would not have been as dire.

With Relativity Entertainment’s strong backing, the plan had been in motion for over a year, continuously releasing related comics and promotions. Even with 20th Century Fox’s efforts, Marvel’s relentless campaign had successfully turned the Fantastic Four into villains in the eyes of modern audiences.

In fact, after surveying market reactions to the Fantastic Four, Marvel had a preliminary plan: if they could ever reclaim the Fantastic Four rights, they could use the team as the ultimate villains in a future Avengers film or another multi-hero crossover.

A battle between a team of heroes and a team of villains would certainly be a spectacle.

At 20th Century Fox, Jim Prather was well aware that Fantastic Four was beyond their control. Facing an unfavorable situation, and after consulting with James Murdoch, he made the decisive call to cut losses, limiting the film’s promotion and distribution scale.

The situation was clear: the more they invested, the greater the losses for 20th Century Fox on this project.

No one in the industry had high hopes for Fantastic Four.

Even the cast of Fantastic Four began to fall apart before the film’s release.

First, Jessica Alba, who played the Invisible Woman, announced during a media interview that she would be stepping away from all other projects, including those with 20th Century Fox, to focus entirely on her collaboration with James Cameron at Weta Workshop in Wellington, New Zealand, where she was assisting with the modeling of the Na’vi. There was a strong possibility she would land the female lead role in Cameron’s film.

Regardless of Fantastic Four’s success or failure, Jessica Alba would not be reprising her role as the Invisible Woman.

The actress had made a very wise decision.

Frankly, Jessica Alba’s acting skills were mediocre, perhaps not even on par with Milla Jovovich or Kate Beckinsale. However, during Ronan’s last visit to Weta Workshop, he observed that under Cameron’s guidance, she had developed a keen understanding of motion capture filming.

Cameron’s choice of Jessica Alba to assist with the Na’vi modeling was partly due to his confidence in her and partly because her tall, slender physique was perfectly suited for the motion capture of the Na’vi female lead.

Her natural good looks played a significant role.

Having witnessed this firsthand, if Cameron chose Jessica Alba as the female lead, Ronan would not object.

Moreover, he believed that an actress involved in the actual modeling work was more suited to the role than others.

Besides, when the film was released, the tabloids might even stir up rumors about Cameron and Jessica Alba, giving the film an extra promotional boost.

Following Jessica Alba, Chris Evans, who played the Human Torch, also announced that Fantastic Four would be his last superhero film and that he would not take on any more superhero roles in the future.

This statement did not attract much attention, as Chris Evans was still a minor actor, far less famous or established than Jessica Alba, who was barely a second-tier star.

Ronan only smiled when he saw this. Many actors’ statements about their roles were as unreliable as directors claiming, “This is my last film.”

He remembered how the original Captain America was always saying, “I’m not playing Captain America anymore, I have other plans…”

In the end, he always came back.

Speaking of which, how many of Marvel’s stars could command the same audience loyalty outside of Marvel films as they did within them?

Marvel made them, and Marvel also limited them.

20th Century Fox’s Fantastic Four, under the weight of overwhelming negative publicity, had not even been released yet, and the cast had already scattered.

It was easy to predict what kind of commercial performance such a film would have.

On its North American opening weekend, Fantastic Four debuted in only 3,241 theaters—a number typically reserved for mid-tier commercial films or R-rated movies.

In this era, commercial tentpoles with budgets of $100 million or more, unless R-rated, usually opened in around 4,000 theaters.

20th Century Fox’s limited distribution investment was one factor, but theater owners’ lack of confidence in Fantastic Four was another.

As expected, on its opening day in North America, Fantastic Four grossed just $12.64 million—a clear failure given its $100 million production budget.

Following Kingdom of Heaven, this was the second film produced and distributed by 20th Century Fox this summer season to end in failure.

Perhaps the only bright spot for 20th Century Fox this summer was the box office success of Star Wars: Episode III – Revenge of the Sith.

Most audiences, influenced by over a year of Marvel’s campaign, had a very poor impression of the Fantastic Four.

“I can’t imagine how boring it is to watch four notorious villains pretend to save the world. This movie gives us the four most hypocritical characters.”

“When I see the four of them on screen, I just think of all the disgusting things they’ve done, and the movie feels so fake.”

Some casual moviegoers even said, “What’s the point of this movie besides Jessica Alba?”

“Even a beauty like Jessica Alba can’t save this brain-dead film.”

“This is the worst Marvel movie I’ve ever seen, even worse than The Hulk.”

Fantastic Four failed not only at the box office but also in terms of reception.

With Marvel’s Civil War comics continuing to vilify the Fantastic Four, a sequel was now out of the question.

Chapter 791: The “It’s Actually Good” Rule

“This box office performance is absolutely terrible.”

In a modest apartment in Los Angeles, Chris Evans looked at the newspaper and said to his younger brother, Scott Evans, “20th Century Fox’s investment is going to be hard to recover.”

Scott Evans curiously asked, “So, you’re announcing that you won’t act in superhero movies anymore?”

Chris Evans said, “There definitely won’t be a sequel to Fantastic Four, and I can’t play the Human Torch again. A public declaration like that might still grab some attention.”

Scott Evans laughed, “But no one is paying attention to you.”

“Yeah.” Chris Evans said helplessly, “That’s the tragedy of being a small-time actor.”

He asked, “Do you still want to be an actor?”

Scott Evans said, “Of course, I’ve already decided.”

Chris Evans put on an air of seniority, “As someone with experience, I’m telling you, this path is very difficult.”

Like his brother, Scott Evans was also someone who harbored fantasies about Hollywood. He didn’t take up this topic but instead said, “You should worry about yourself first, Chris. You just participated in a major commercial tentpole that completely flopped, and you were one of the four leads. No one will easily cast you in big commercial films anymore.”

Chris Evans shrugged, “I’ve already thought about it. Besides going into indie films, what else can I do? My agent suggested that I go into indie films to hone my acting skills, try to land leading or major supporting roles in small productions, get some recognition or awards, and then return to commercial films.”

This was a path many Hollywood actors took.

Scott Evans knew his brother wanted to be famous and said, “Are you sure? This path is very difficult. You might not make it by the time you’re thirty.”

“I’ve already decided.” Chris Evans looked very serious, “From now on, I will firmly say no to vulgar superhero movies. I will dedicate myself to art!”

Scott Evans didn’t believe him, “Are you sure?”

Chris Evans said without hesitation, “I’m very sure!”

Suddenly, there was a knock at the door. Scott went to open it, and Chris Evans’ CAA agent, Gustav, walked in.

“Is there more bad news?” Chris Evans asked.

Scott spoke first, “Maybe it’s good news.”

Chris shrugged, “What good news could there be at this time?”

In fact, ever since he took on the role of the Human Torch, he felt like he was cursed. Everything went wrong. He originally wanted to pursue Jessica Alba, but suddenly, tabloids reported that Jessica Alba was ill, which almost scared him half to death.

Although the chances of it being fake were high, it was still terrifying and completely cooled his enthusiasm.

After that, there were many other misfortunes, like car scrapes and bicycle falls.

Until this weekend, the Fantastic Four movie he starred in was a massive box office flop, making him one of the four unlucky ones.

Chris Evans felt that he and 20th Century Fox were not on the same wavelength. Ever since they started working together, nothing good had happened.

Unfortunately, he wasn’t like Jessica Alba, who had a big backer like James Cameron to rely on.

Agent Gustav then said with a smile, “Chris, it’s actually good news.”

Chris Evans casually said, “What good news? Tell me.”

Gustav said, “I received an invitation from Marvel Entertainment. Marvel Entertainment invites you to audition at Relativity Tower next week.”

“What?” Chris Evans paused, “Marvel Entertainment?”

Gustav nodded very seriously and said, “According to the information CAA received, it was Ronan Anderson himself who personally had Marvel Entertainment send you the invitation, inviting you to play a Marvel superhero.”

Chris Evans looked at Gustav in surprise, “Really?”

Gustav said, “I wouldn’t joke about work.”

“Which superhero?” Chris Evans continued to ask, “It shouldn’t be the Human Torch, right? The copyright for Fantastic Four is with 20th Century Fox…”

Gustav said very confidently, “It’s not Fantastic Four. As for which one it is, I don’t know yet.”

Chris Evans didn’t dwell on this question but asked instead, “You just said that Ronan Anderson invited me?”

Gustav said, “Yes, it’s said that Ronan Anderson made this decision after watching Fantastic Four.”

Chris Evans took a deep breath and suddenly said, “Is God finally smiling upon me?”

Scott then said, “Chris, you just said you wouldn’t take on superhero movies anymore.”

Chris Evans looked confused, “When did I say that?”

Scott continued, “You also said you were going into indie films to dedicate yourself to art.”

Chris Evans’ face showed disgust, “I’m not interested in contributing my ass!” He suddenly grabbed Gustav’s hand without warning, “You go reply to them quickly. I accept the invitation! Whenever they want me to audition, I’ll be there!”

Gustav said, “I’ll contact them right away.”

He went to the side room and made a call, first reporting to the company and then contacting Kevin Feige, the Vice President in charge of production at Marvel Entertainment.

Scott said, “Chris, you’ve betrayed yourself! What about your artistic pursuit?”

“Fuck artistic pursuit!” Chris Evans shouted, as if this was the only way to vent his excitement, “This is an invitation from Ronan Anderson, the universally recognized shortcut to fame in Hollywood! Who the fuck would go into indie films to sell their ass when they can easily become a star!”

Agent Gustav came back after making the call and said, “Chris, there’s another situation I need to inform you about in advance.”

Chris Evans, who had some experience as a small-time star, gradually calmed down and asked, “Has something changed?”

Gustav directly said, “Just now, Kevin Feige reminded me of a situation I overlooked. The invitation for you to audition comes with a condition. If you pass the audition, you will need to sign a very long-term contract with Marvel Entertainment, possibly involving ten or more films.”

Chris Evans knew his situation well. With Ronan Anderson’s influence, he knew which path to choose. Without hesitation, he said, “It’s not a problem even if it’s twenty films, as long as I can become famous!”

Gustav said, “Then there’s no problem. Let me remind you, Chris, to intensify your fitness training recently.”

Chris Evans nodded heavily. Superheroes were all muscular, so fitness training was always a good idea.

As for signing a long-term contract, was that a problem? There were countless actors in Hollywood who dreamed of such an opportunity.

“I’m a fucking lucky guy!” Chris Evans muttered.

With Joaquin Phoenix signing a long-term contract with Marvel Entertainment, The Incredible Hulk had its lead actor. The selection of actors for other superhero roles was also put on Ronan’s schedule.

Samuel L. Jackson was the first actor to sign with Marvel Entertainment, confirmed to play Nick Fury, who would connect many films and superheroes.

The experienced Clark Gregg signed a long-term contract before joining the Iron Man crew, taking on the role of the village chief of the newbie village in Marvel.

Scarlett Johansson wasn’t a problem; she would appear as Black Widow in Iron Man.

The actors for Thor, Hawkeye, and Captain America also needed to be confirmed as soon as possible.

After watching Fantastic Four, Ronan naturally recognized that Chris Evans played the Human Torch.

Based on past impressions, Chris Evans was his first choice.

For Thor, Ronan couldn’t find an actor named Chris Hemsworth, who was probably still swinging a hammer somewhere in Australia.

According to Ronan’s request, CAA provided Marvel Entertainment and Relativity Entertainment with a large amount of information on young actors for selection.

Although they didn’t know the specifics, CAA also understood that once someone was chosen by Ronan, CAA would have another young star client.

This was ultimately a good thing.

In the list of actors, Ronan saw a somewhat familiar name, Jason Momoa, from Hawaii, currently a series regular in the TV show Stargate: Atlantis.

Last year, he also appeared in a film called The Johnson Family Vacation, but as a supporting role.

Ronan specifically had Connie find detailed information about him, including some videos, to confirm he hadn’t made a mistake. This Jason Momoa was indeed Aquaman without a beard.

Speaking of which, this person looked better with a beard.

Then, Ronan sent the relevant information to Kevin Feige, asking Kevin Feige to send an audition invitation.

It wasn’t practical to go all the way to Australia to find Chris Hemsworth. After all, it was the role that made the actor. The former Aquaman seemed pretty good.

The once-famous Mr. Xu could play both Thor and Aquaman, proving that his image wasn’t a problem.

Ronan suddenly had an idea: why not invite Mr. Xu to play Thor?

Mr. Xu had extraordinary skills; he could swing on chains, perform high-difficulty aerial stunts, and even pull a bull…

Every Christmas in North America, people waited for a man with a white beard and a red hat. Wasn’t that Mr. Xu?

Ronan also had Connie collect information about Mr. Xu and sent it to Kevin Feige, asking him to send an invitation to Hong Kong. As for whether Mr. Xu would come to audition, that was beyond his control.

For a third-rate comic book superhero like Thor, Mr. Xu probably hadn’t even heard of him.

Mr. Xu was the true man who dedicated himself to art!

Anyone who had seen Mr. Xu’s movies would give a thumbs up and praise, “A man should be like this!”

Chapter 792: Top Star

The auditions for Thor and Captain America were scheduled for the end of June. Jason Momoa and Chris Evans were the primary candidates, but not the only ones.

At the end of the day, superhero films were ultimately about the roles making the actors, and Iron Man was no exception for Robert Downey Jr.

Iron Man had already entered post-production, with Industrial Light & Magic handling the effects, which would take a considerable amount of time. The earliest the film could be completed was March of next year.

Unlike many directors who rushed through filming, special effects production couldn’t afford the slightest carelessness, and the quality was directly proportional to the time and money invested.

Embassy Pictures had announced that Iron Man would premiere at the start of next year’s summer season.

From now on, Marvel Entertainment’s superhero films would aim to release at the beginning of the summer season each year. Ronan had a vision—to turn the first weekend of the summer season into a grand celebration of Marvel superhero films.

This wouldn’t be easy. It would require film after film to influence fans’ choices.

If Iron Man succeeded, it would pave the way for Marvel’s superhero films, kicking off the long-running Avengers movie saga.

If all went well, the Marvel film series would become Relativity Entertainment’s flagship, though not its only one.

The Transformers series needed no introduction, and the second Pirates of the Caribbean film would premiere during the Independence Day weekend, with the third installment coming next year.

Ronan was determined to turn Johnny Depp into the real-life Captain Jack Sparrow.

Additionally, there were two other film series Ronan planned to prioritize.

Lindsay Bill, who had just returned to Los Angeles after collaborating with David Finch in New York, was summoned to Ronan’s office.

“How’s the filming going?” Ronan asked the increasingly mature female screenwriter and producer across from him. “Still smooth?”

Lindsay Bill’s delicate face forced a smile. “Not as smooth as expected.” She explained briefly, “David Finch is extremely strict with his filming requirements. The female lead, Rachel McAdams, is fine, but the other actors keep making mistakes, leading to constant reshoots.”

Ronan nodded slightly. “David Finch is the kind of director who works slowly in both filming and production. Stay patient. The nature of this film demands perfection.”

Lindsay Bill agreed. “Yes, David Finch is the strictest director I’ve ever worked with.”

Of course, her experience with directors was limited.

Ronan trusted David Finch completely and instead asked, “How’s the female lead, Rachel McAdams?”

“She’s fantastic, truly outstanding. And it’s not just my opinion—David Finch feels the same way.” Lindsay Bill thought for a moment before continuing, “It’s like the role was made for her. Rachel McAdams fits the character perfectly, probably because she prepared so thoroughly. Her understanding of the role and its psychology is spot-on.”

Ronan smiled. “Looks like we chose the right actress.”

Lindsay Bill added, “If the film turns out well, Rachel McAdams might even contend for a Golden Globe or an Oscar during awards season.”

“I’m looking forward to it,” Ronan said. “We’ve put in a lot of preparation, planning for over two years. I hope it succeeds in the future.”

Lindsay Bill also remarked, “I personally think this film will provoke a strong reaction. Ronan, don’t forget—I did field research and studied this industry in depth. The situation is getting worse and more common.”

She sighed lightly. “Girls all want to live a refined life, like in Gossip Girl. They all want to be queen bees, but to do that, the most basic requirement is money—and not the kind you earn from part-time jobs or internships. That money isn’t enough; it doesn’t satisfy them.”

Ronan, having experienced the rapid spread of information in the age of social media, had a general understanding of many girls’ mindsets.

Though the line “I’d rather cry in a BMW than smile on a bicycle” was a scripted line from a show, it reflected the real psychology of many girls.

And that reflection wasn’t entirely accurate. Some girls with enough capital didn’t even need to cry in a BMW—they could buy one themselves.

In the English-speaking world, some statistics might be exaggerated, but they revealed that such situations were no longer rare and were becoming increasingly common.

Once you got a taste of it, it was hard to stop.

When you got used to earning a lot of money without much effort, how many would still be willing to work hard for a salary?

Besides, there were always simps driving up the prices, making the market increasingly inflated.

In the end, some girls thought they had earned enough, wiped their hands clean, and left to start anew elsewhere. After all, the world was vast, and with decent conditions, they could always find someone to take over if they lowered their standards.

“The more I see of this, the sadder I feel,” Lindsay Bill said. “Even if they went after rich men, it would be better than this.”

Ronan shrugged, unsure how to respond.

Lindsay Bill smiled awkwardly. “I know it’s not realistic. Rich men never lack beautiful women.”

Ronan couldn’t help but laugh. “You see things clearly.”

Lindsay Bill then asked, “You called me earlier—are you planning to adapt those two series now?”

Ronan didn’t beat around the bush. “Twilight and The Hunger Games have always been your responsibility, and I plan to hand over the film adaptations to you as well.”

Lindsay Bill immediately replied, “Leave it to me! Gossip Girl is already finished, just waiting to be released on Netflix Streaming Media. The Girl crew isn’t very busy either—filming is entirely under David Finch’s direction, and I’m mostly coordinating. I have enough energy to handle the preliminary planning for these two projects.”

Ronan corrected her, “These two projects won’t run simultaneously. I plan to adapt the Twilight series first, followed by The Hunger Games.”

“No problem.” Lindsay Bill had long known these two series would hit the big screen and was mentally prepared. “I already have some ideas for the adapted scripts.”

Ronan said, “Take the time to finish the first draft of the script this year, following the novel’s main plot. We’ll aim for the first film to succeed, paving the way for the entire series to be brought to the big screen.”

Lindsay Bill agreed, “Alright. After I finish the first draft, we can discuss it in detail.”

Ronan nodded slightly. “Good.” He also reminded her, “The budget for each film in the series won’t be high. Try to keep it under forty million dollars, so control the big, expensive scenes.”

Lindsay Bill understood. “I know. The appeal of this series isn’t in the big scenes.”

Ronan still trusted Lindsay Bill. After giving her a few more instructions, he ended the meeting.

Lindsay Bill wouldn’t stay long in Los Angeles. After a short rest, she would head to New Jersey to rejoin David Finch’s crew and continue coordinating the filming as a producer.

In the afternoon, Ronan visited Shai Entertainment Animation Studio.

After the massive success of Despicable Me, production on Minions and Kung Fu Panda was in full swing.

“After Minions is completed, the team will immediately shift to Despicable Me 2,” Chris Renaud said confidently in the office. “We’ve already figured out the successful formula. Following this pattern, we’re confident the next few animated features will gain market recognition.”

Ronan advised, “Don’t underestimate the market. Make sure to collect feedback on Despicable Me promptly.”

Chris Renaud replied, “We have a professional team handling that.”

“Good.” Ronan always paid close attention to market trends.

Since the founding of Relativity Entertainment, research and feedback on market information had never stopped, as films were deeply influenced by societal conditions.

Chris Renaud then added, “The new team has been assembled, using a model where experienced members guide newcomers. I’m preparing to launch the third project—your idea about cavemen and mountain formation.”

Ronan thought for a moment before agreeing, “Alright.” But he still cautioned, “Chris, the animation studio should expand moderately. Development shouldn’t be too hasty. We must build a solid foundation and not launch more than three animated feature projects simultaneously.”

At this point, Ronan emphasized, “Don’t forget, you still have the Peppa Pig project.”

In terms of revenue from a single animation project, Peppa Pig was undoubtedly the animation studio’s top star. In the first quarter of this year alone, revenue from various sources had reached one hundred and fifty million dollars, with the total annual income expected to exceed five hundred million.

This was the true cash cow.

Chris Renaud was very clear-headed. “Peppa Pig remains our top priority. The new season of the animation is about to be completed and will air on television at the end of this month.”

Ronan nodded slightly. “This little pink pig has become Relativity Entertainment’s biggest single revenue star.”

Whether it was Jason Bourne or Captain Jack Sparrow, the revenue they generated paled in comparison to Peppa Pig.

Why had Walt Disney stood tall for decades and become the only Hollywood company to evolve into a media conglomerate? Aside from financial capital operations, owning numerous animation copyrights was another reason.

Unfortunately, these animations were Disney’s lifeblood. Unless they acquired Disney entirely, obtaining the copyrights to these animations was nearly impossible.

As the new week began, the gossip about the love triangle grew wilder, and the infamous “dog couple” film was about to premiere.

Chapter 793: A Strong Personality

The love triangle and gossip surrounding Hollywood stars could stir up quite a sensation and stimulate consumer desire. However, no case had ever matched the impact of Brad Pitt, Jennifer Aniston, and Angelina Jolie, whose scandal drove the development of the entire entertainment industry and related sectors.

Since the news broke in late April, the gossip media had relentlessly pursued the trio, focusing not only on their relationships but also digging up every detail of their past romantic histories. Even photos of Angelina Jolie under the influence of drugs were unearthed.

Brad Pitt and Jennifer Aniston fared no better—every aspect of their past was laid bare by the media for public scrutiny.

In a way, the three of them became the saviors of traditional tabloid journalism. The once-struggling gossip rags, squeezed by the rise of the internet, experienced a surge in sales thanks to this scandal.

Compared to the same period last year, entertainment newspapers and magazines saw a nearly thirty percent increase in sales.

To some extent, Brad Pitt, Jennifer Aniston, and Angelina Jolie could be called the saviors of traditional entertainment media.

There were even rumors that the entertainment reporter who first broke the super-gossip would be awarded the Outstanding Contribution Medal by the industry.

This was a feast for the entertainment media, allowing them to temporarily escape the brink of bankruptcy. Like sharks smelling blood, they swarmed into the territory of Brad Pitt, Jennifer Aniston, and Angelina Jolie, voraciously devouring every juicy morsel.

As for whether the parties involved would be hurt or ruined by this, it was of no concern to them.

Alongside this super-gossip, Mr. & Mrs. Smith also rose to prominence.

The film could even be described as eagerly anticipated. Relativity Entertainment had not held any pre-screenings, leaving the audience and public curiosity to build up to its peak.

Entertainment gossip often had a shelf life. By June, the super-gossip had begun to cool down. But Jennifer Aniston, tired of the chaos surrounding Brad Pitt, decided to put an end to it. Through her agent, she called a press conference where the famous divorce statement was released on her behalf.

“…The magic of marriage lies in the fact that, after enduring so many whirlpools and waves, the person standing beside you is still the same. I sought a relationship of the deepest loyalty, but he had the right to choose another path, and so he chose to end it.”

With this divorce statement, public opinion, which had already leaned toward Jennifer Aniston, firmly sided with her.

By all accounts, Jennifer Aniston was the victim.

But Angelina Jolie’s strength far exceeded ordinary imagination. After Jennifer Aniston’s divorce statement, she rejected Brad Pitt’s suggestion to hide in Africa and boldly moved into his home, assuming the posture of the lady of the house.

Everyone had their own personality. Perhaps in Angelina Jolie’s eyes, she was merely pursuing her own love.

Angelina Jolie had never been a woman to back down. Faced with Jennifer Aniston’s clever PR strategy of retreat as advance, she decided to respond with unusual firmness.

At Relativity Tower, Angelina Jolie waited for Ronan in the reception room.

“Long time no see,” Ronan greeted Angelina Jolie, with whom he was quite familiar. “Jolie, how are you?”

Angelina Jolie couldn’t help but be affected, her face showing signs of weariness. “I’m fine, thank you for asking,” she said, getting straight to the point. “Ronan, I need your help.”

Ronan gestured for her to sit and asked, “Coffee?”

“Just water,” Angelina Jolie replied, glancing down at her abdomen. “I can’t drink coffee right now.”

Ronan had someone bring in two glasses of water and asked, “What kind of help?”

Angelina Jolie knew Ronan well and spoke directly: “Relativity Entertainment has deep cooperative relationships with many media outlets. I don’t know if you’ve noticed, but public opinion is overwhelmingly on Jennifer Aniston’s side. Jennifer is very clever—she’s taken a step back to force Brad and me into a corner.”

Ronan had been following the super-gossip closely. Whether intentionally or not, Jennifer Aniston’s divorce statement had firmly placed Angelina Jolie and Brad Pitt on the opposite side of public opinion.

The acting skills and influence of Hollywood stars had never been tied to moral standards, but prolonged negative publicity could still affect Brad Pitt and Angelina Jolie’s careers.

Their film careers might not suffer much, but both had commercial endorsements outside of movies. Angelina Jolie, in particular, served as a goodwill ambassador for a United Nations organization.

Ronan understood this, and Angelina Jolie, who had transformed from a rebellious girl into a shrewd woman, understood it just as well.

“I need your help with the media and entertainment,” Angelina Jolie said. “We’re friends, Ronan. Can you help me?”

Ronan could more or less guess what Angelina Jolie was thinking. “Jolie, this is your private matter. I shouldn’t get involved.”

Angelina Jolie fell silent for a moment before saying, “Brad suggested we go to Africa to lay low for a while, but I refused. I can’t hide forever, and I don’t want to be suppressed by Jennifer Aniston.”

Ronan nodded slightly. This was in line with the Angelina Jolie he knew.

Hiding now might win her love, but she would lose momentum.

Angelina Jolie continued, “Besides, we still have promotional appearances for Mr. & Mrs. Smith. We can’t just abandon our work—I wouldn’t be able to face you if we did.”

Ronan would have to be a fool to believe that.

“Actually, for you and Relativity Entertainment, this is just a small favor,” Angelina Jolie persisted. Without help, she and Brad couldn’t turn the tide on their own. “Given our years of friendship, at least let me explain before you decide. Can you do that?”

Ronan nodded slightly. “Go on.”

Angelina Jolie said, “I’m pregnant.”

Ronan was taken aback and shook his head. “That’s unexpected.”

“I’ll announce it publicly,” Angelina Jolie said.

Ronan replied calmly, “Actually, you don’t need my help. The public is generally lenient toward pregnant women.”

Angelina Jolie clearly had more in mind. “But I want to suppress Jennifer Aniston.” She revealed her plan: “The reason Brad chose me over Jennifer Aniston is that Jennifer didn’t want to have children, while Brad had always hoped for a child from their love. Their inability to agree on this led to their breakup…”

Ronan looked at Angelina Jolie, genuinely surprised. This woman was no ordinary star—she had been one of Hollywood’s most famous actresses for years without even acting in films.

Her cunning and decisiveness were beyond compare.

Angelina Jolie continued, “But this can’t come from Brad or me. And it won’t be enough if only a few media outlets report it—we need widespread coverage…”

Ronan smiled. “So, you thought of me.”

Angelina Jolie admitted, “Among the people I know, only you can make this happen.”

Ronan slowly tapped his fingers, seemingly weighing the pros and cons.

“Actually, this would also benefit the promotion of Mr. & Mrs. Smith,” Angelina Jolie had prepared thoroughly. “The more the news about us is hyped, the more attention the movie gets. Ronan, you must have noticed this.”

She smiled. “We can’t have the news cooling down right after the movie premieres, can we?”

Ronan still didn’t budge. Although he had brought Brad Pitt and Angelina Jolie to Shai Entertainment for Mr. & Mrs. Smith, neither he nor anyone at Shai Entertainment had ever directly intervened in their personal affairs.

This time, Ronan had no intention of intervening, even though it would be effortless for him.

“Sorry, Jolie,” Ronan politely declined. “This is your private matter. Neither I nor Relativity Entertainment should get involved.”

Angelina Jolie was disappointed but not defeated. Gritting her teeth, she said, “I can sign another multi-picture deal with Shai Entertainment for just one million dollars.”

Ronan slowly but firmly shook his head. “I never interfere in others’ private lives. Jolie, I can’t help you with this.”

Besides, the current media hype was already sufficient for Mr. & Mrs. Smith.

Moreover, he still had some principles.

Ronan deliberately glanced at his wristwatch. “I have another meeting. Let’s talk another time.”

Angelina Jolie knew she couldn’t push further and didn’t want to offend Ronan. “Alright, then. Another time, Brad and I will treat you to dinner.”

Ronan escorted Angelina Jolie out of the reception room and had Connie accompany her to the first-floor lobby.

Although Relativity Entertainment and Ronan did not intervene, the next day, Angelina Jolie announced her pregnancy through her agent.

At the same time, a few media outlets began circulating reports that Jennifer Aniston’s refusal to have children for Brad was the real reason for their breakup.

However, these reports were like small boats in a storm, barely making a dent in the overwhelming public opinion favoring Jennifer Aniston.

Undeniably, after Angelina Jolie’s pregnancy announcement, public criticism of her intensified behind closed doors, but the media’s coverage of her noticeably softened.

Angelina Jolie’s strong personality was on full display. Not only did she reject Brad Pitt’s idea of hiding in Africa, but she also overruled her agent’s advice to skip the premiere.

Chapter 794: A Duty to Be Together

The premiere of Mr. & Mrs. Smith hosted by Embassy Pictures saw both Brad Pitt and Angelina Jolie in attendance, despite being at the center of a media storm.

Brad Pitt kept a tense expression throughout, hurrying across the red carpet and declining all media interviews.

Angelina Jolie, draped in a fiery red gown, strode onto the carpet like a burning flame, met with a chorus of boos from the crowd.

Yet, this extraordinary woman held her head high.

Perhaps, in Angelina Jolie’s worldview, pursuing love was never wrong.

No matter how loud the boos or how frantically the media snapped photos, she stood unshaken, blooming like a flower in the storm.

The premiere drew nearly a thousand media personnel and over ten thousand spectators.

The collective boos created an overwhelming effect.

Many were die-hard fans of Friends, and seeing Angelina Jolie, they surged with hostility, as if facing their greatest enemy.

Ronan called Thomas, who was overseeing the premiere: “Send someone to remind Jolie to get inside the theater quickly.”

This woman—should he admire her or despise her?

But the premiere couldn’t descend into chaos. Though security had been tightened, with thousands of people, even the burly professionals lining the red carpet might not be enough to hold back a riot.

A security guard near Angelina Jolie received instructions through his earpiece and immediately approached her. Angelina Jolie was no longer the reckless teenager she once was. Even if not for herself, she had to consider the child in her womb. She quickened her pace.

Due to the unrest, Thomas canceled all media photo sessions and ushered Angelina Jolie into the theater.

Once her fiery figure disappeared, the crowd outside gradually quieted.

Those who had been cursing Brad Pitt and Angelina Jolie now prepared to enter the theater, eager to see the film.

Movie audiences were a peculiar bunch—curiosity often drove them to make strange choices.

Like wondering what a film about a cheating couple would look like.

Or how bad a universally panned movie could be.

This was why commercial cinema saw so many mediocre films succeed purely on marketing.

Great films faded, while bad ones thrived—far too common in the industry.

Inside the theater, Angelina Jolie boldly linked arms with Brad Pitt, ignoring the stares, and walked straight to Ronan.

“Hello, Ronan,” Brad Pitt initiated a handshake. “Hope recent events haven’t caused you trouble.”

A man who had risen from the bottom—even as a former male servant to a gay star—knew the importance of connections.

Ronan smiled. “No trouble at all.”

Angelina Jolie suddenly interjected, “Pitt, we should thank Ronan.”

“Hmm?” Ronan looked at her in surprise.

Angelina Jolie beamed. “If Ronan hadn’t invited us to star in Mr. & Mrs. Smith, we never would have ended up together.”

Brad Pitt didn’t know how to respond.

Angelina Jolie placed a hand on her stomach. “Ronan, without you, without this project, Pitt and I wouldn’t be together, and this little one wouldn’t exist.”

Ronan just shook his head, smiling. After everything, Angelina Jolie was evolving into the shrewd woman she was once known to be.

Even in her youth, despite countless reckless mistakes, she had grown into one of Hollywood’s most astute women.

Angelina Jolie continued, “Ronan, would you be this child’s godfather?”

Ronan understood—this was the real point.

Having a Hollywood mogul as a godfather, even in name, would bring immense future benefits.

“Sorry,” Ronan replied, his tone gentle but firm. “I’m not ready to be a parent.”

He raised a hand to stop her. “That’s enough, Jolie. The movie’s about to start. We can’t miss it.”

Ronan led the way into the screening hall.

Brad Pitt watched his retreating figure. “Jolie, why didn’t you discuss this with me?”

Angelina Jolie glanced at him, walking ahead. “I’m thinking of our child’s future.”

“Ronan Anderson seems kind,” Brad Pitt warned. “But he’s hard to get close to—and not a good man.”

“A good man?” Angelina Jolie smirked. “Are we?”

Brad Pitt fell silent.

Angelina Jolie added casually, “I’ve known Ronan for five or six years. I know him better than you.”

“Fine, handle it yourself.” Brad Pitt knew he couldn’t control her. As they walked, he revisited an old topic: “After the premiere, let’s go to Africa. No one will bother us there.”

Angelina Jolie retorted, “Why Africa? We’re staying in Los Angeles. We’ll show everyone our happiness!”

Brad Pitt grew anxious. “What’s wrong with Africa? Do we have to stay in this media storm? My career—”

Angelina Jolie felt an inexplicable disgust at his lack of resolve. She couldn’t help but sneer, “You didn’t think about your career when you climbed into my bed!”

“Okay! Okay!” Brad Pitt raised his hands. “I won’t argue, but Africa—”

Angelina Jolie finally snapped. “Don’t mention Africa again!”

With that, she stormed into the screening hall.

As she took her seat in the front row, another wave of boos filled the air.

Ronan shook his head. For years to come, Brad Pitt and Angelina Jolie would symbolize something in many people’s minds.

But that didn’t stop them from watching the movie.

In fact, they were eager to critique the so-called “affair” on screen.

The buzz around Mr. & Mrs. Smith was less about the film itself and more about the scandalous gossip.

Compared to the real-life drama of Brad Pitt, Jennifer Aniston, and Angelina Jolie, the movie’s plot was a hundred times simpler.

Life, after all, was the greatest show—and Hollywood stars lived the most dramatic lives.

Brad Pitt, from the start of his fame, had only dated Hollywood’s so-called goddesses.

Angelina Jolie was no different—her wild youth could fill two bestsellers.

If the public had a choice, they’d lock the prince and princess in a tower forever, just to keep them together.

Most sided with Jennifer Aniston, just as they did in reality. Public opinion always favored her.

But Angelina Jolie embodied the untamed, restless side of men.

To many, she was every man’s dream—sexy, bold, and fiery.

Laura Croft alone could ignite countless fantasies.

In contrast, Jennifer Aniston was like a delicate orchid—graceful, understated.

Most believed Brad Pitt and Jennifer Aniston’s marriage had been built on a beautiful love story. Wisdom and composure might sustain a relationship, but they couldn’t ignite passion.

And Angelina Jolie was no ordinary woman.

Hollywood had seen many affairs, and scandals of this magnitude weren’t rare. But none had ever caused such a prolonged uproar.

The key reason? Angelina Jolie’s unapologetic, bold approach to being the “other woman.” She showed no shame or hesitation.

From his interactions with her at Relativity Tower, Ronan understood her mindset.

She had no regrets, no guilt—only the pursuit of love’s happiness.

Superstars paired with bombshells, while everyone else was just passing through.

And so, the coolest couple in the eyes of the world came together.

A union perfectly tailored for the market.

From a business standpoint, Brad Pitt and Angelina Jolie had to be together.

Mr. & Mrs. Smith needed them. They carried the film’s box office weight.

They even carried the sales of global entertainment magazines, the expectations of moviegoers, and the overtime pay of tabloid reporters.

In the movie, they saved the world. In reality, they saved the world from boredom.

Compared to their real-life drama, Mr. & Mrs. Smith was just another clichéd action flick—handsome leads, tired action sequences, flashy weapons. Nothing special.

Of course, as pure popcorn entertainment, it was decent.

But many bought tickets purely for the scandal.

Some might even change their minds after watching, believing Brad Pitt and Angelina Jolie were meant to be.

But Angelina Jolie sought love. And when love faded, the outcome was predictable.

Chapter 795: In One’s Lifetime

As Simon Kinberg’s screenplay from his university days, the script for Mr. & Mrs. Smith had circulated through Hollywood for years without ever being adapted into a film. It wasn’t until Relativity Entertainment acquired Artisan Entertainment that Ronan discovered the script in Artisan’s library, leading to the film’s eventual greenlight.

The film had bounced between multiple studios before finally securing production.

The sheer star power of Brad Pitt and Angelina Jolie completely overshadowed the film’s plot—whether that influence was positive or not, it undeniably drew massive audiences into theaters.

In its opening weekend in North America, Mr. & Mrs. Smith grossed $68.79 million across 3,925 theaters in just three days, dethroning War of the Worlds from its two-week reign and claiming the top spot on the North American box office charts.

Meanwhile, despite CinemaScore’s audience rating of just a B, the film was projected to earn $230 million domestically. The discrepancy between the rating and the box office forecast was entirely due to the superstar gossip surrounding Brad Pitt, Jennifer Aniston, and Angelina Jolie.

Thanks to the free publicity from the scandal, Embassy Pictures’ total investment in Mr. & Mrs. Smith’s marketing and distribution was a mere $50 million.

With a total budget of $150 million, Relativity Entertainment’s internal projections, based on market feedback, estimated global box office earnings of around $550 million.

Judging by the film’s quality alone, Mr. & Mrs. Smith hardly seemed deserving of such numbers, but the movie market had never been dictated by quality alone.

Not every film could be lucky enough to ride such a wave of superstar drama.

Sometimes, the cast’s influence could make or break a film.

From the beginning, Ronan had kept Relativity Entertainment out of the personal affairs surrounding the film. After rejecting Angelina Jolie, Embassy Pictures had largely halted its promotional efforts for Mr. & Mrs. Smith.

At this point, the film’s fate was sealed.

After its release, media outlets were flooded with reports and rumors about Jennifer Aniston and her children, clearly orchestrated by someone behind the scenes to shift public attention and clean up their own image.

Jennifer Aniston remained completely silent, as if the matter no longer concerned her.

According to the latest updates Ronan received, Jennifer Aniston had left North America for Africa to participate in charity work, temporarily distancing herself from the media storm in Los Angeles.

In many ways, Angelina Jolie had achieved her goal, securing victory in this battle of love with an unyielding stance.

Of course, the real winner was Mr. & Mrs. Smith.

This was Relativity Entertainment’s only film release in June, and Embassy Pictures had shifted all its focus to Pirates of the Caribbean: Dead Man’s Chest.

The massive success of the first film had laid a solid foundation for the sequel.

Since its 2003 release, Captain Jack Sparrow’s fanbase had grown exponentially, making him one of the most beloved Hollywood characters of the new era.

Johnny Depp seemed to be transforming into the real-life Captain Jack Sparrow.

To promote the film, Johnny Depp had been making frequent public appearances, with Captain Jack Sparrow popping up across America.

Today, the captain accepted an invitation from Ronan and Tom Cruise’s ALS charity foundation to visit a rehabilitation center for children with the disease.

Tomorrow, after receiving a plea for help, the captain would make a surprise appearance at a Los Angeles middle school to “punish” its tyrannical principal.

Ronan had previously discussed this with Johnny Depp’s agent. Under the strict constraints of his management contract, Depp had been relatively cooperative during promotional events, avoiding any major scandals.

However, his drinking problem was worsening.

Robert Zemeckis had already discussed directing Alice in Wonderland with Shai Entertainment. Given Depp’s issues, Ronan had no intention of inviting him to play the Mad Hatter.

The project was in its early planning stages under Zemeckis’ leadership, with production, filming, and promotion schedules modeled after Avatar.

Apart from the ongoing special effects preparations at Weta Workshop in Wellington, James Cameron’s assistants had been dispatched to various famous scenic locations worldwide to scout for potential filming sites.

No real-world scenery would exist in isolation—it would inevitably be integrated into the film’s special effects in some form.

In the future, countless tourist destinations would undoubtedly claim that certain scenes from Avatar were filmed there, eager to capitalize on the hype.

This kind of opportunistic marketing was a global phenomenon.

In mid-June, James Cameron returned to Los Angeles for a face-to-face meeting with Ronan. He brought a test reel of Jessica Alba’s motion capture performance, strongly recommending her for the role of the Na’vi female lead.

Since the female lead would appear entirely through motion capture with no live-action footage, and given Jessica Alba’s involvement in the motion capture experiments and production, Ronan saw no reason to object. He immediately instructed Shai Entertainment to send representatives to negotiate with her agent.

Although James Cameron insisted that Avatar would only be a standalone film with no plans for sequels, Ronan was already mentally preparing for the possibility.

One of his preparations involved signing long-term contracts with the actors.

Jessica Alba was barely a second-tier star, and her recent leading role in Fantastic Four had flopped. Her salary demands were low—by industry standards, her pay for Avatar wouldn’t exceed $500,000.

Without any surprises, Shai Entertainment could likely secure her for $300,000.

After probing James Cameron about his plans for a sequel, Ronan didn’t press the issue further. However, once Avatar proved successful, he intended to discuss the matter with Cameron in person.

He couldn’t allow the Avatar sequels to become a “in one’s lifetime” series.

The Avatar sequels had been delayed repeatedly, to the point where fans who grew up watching Terminator 2 and Titanic joked that their greatest regret in life might be never seeing Avatar 2.

Delays had become the norm for the Avatar sequels.

This wasn’t to say that James Cameron had earned enough money and lost motivation for new films. A significant factor was the advancement of film technology.

James Cameron had always been at the forefront of cinematic innovation, constantly seeking to incorporate new filming, production, and projection technologies into his work.

There were even rumors online that James Cameron was collaborating with Sony to develop new glasses-free 3D technology.

These claims were hard to verify, leaving fans in the dark.

As a pioneer of film technology, James Cameron’s dedication to innovation far exceeded ordinary expectations.

During the preparation of Avatar at Weta Workshop, many filming scenarios required specialized platforms and software developed by Cameron’s team—tools honed over years of experience.

It was no exaggeration to say that without years of technical accumulation, no director could achieve the technological triumph of Avatar.

Since directing Alien, James Cameron had been at the forefront of Hollywood’s technological advancements.

The special effects for Avatar couldn’t rely solely on Cameron’s team. Motion capture required Weta Workshop, while additional effects were handled by Industrial Light & Magic.

The production of this film was akin to a massive engineering project.

Meanwhile, Neil Blomkamp, the special effects associate director of James Cameron’s team, had also finalized a collaboration with Shai Entertainment.

Blomkamp sold the rights to his short film Aliens in Johannesburg to Shai Entertainment for the symbolic price of $1, securing the opportunity to direct a feature film.

After signing the contract, Blomkamp quickly completed the first draft of the script and sent it to Los Angeles for Ronan’s review.

The film was titled District 9.

The main plot aligned with Ronan’s expectations, and the accompanying alien creature designs were strikingly unique.

Since Neil Blomkamp was still deeply involved in Avatar’s special effects as a key associate director, he couldn’t leave the production team at this stage. Thus, District 9 was placed in Shai Entertainment’s future projects pipeline.

The earliest Blomkamp could begin work on the film would be after a significant phase of Avatar’s special effects production was completed.

In contrast, progress on the adaptation of the Indian novel Q & A was much slower.

This wouldn’t be a commercial project; it was destined to be an awards season contender.

Relativity Entertainment couldn’t release too many films in a single awards season. Not only would resources be spread thin, but Oscar voters rarely selected multiple films from the same studio in succession.

This year’s Brokeback Mountain and next year’s The Departed were Relativity’s key projects for the next two awards seasons.

Another film, Girl, directed by David Finch, was progressing slowly, making it uncertain which awards season it would target.

As a result, despite knowing the director would be the same one behind Trainspotting, Ronan hadn’t yet initiated contact.

The adaptation of Q & A into Slumdog Millionaire wouldn’t be suitable for release until at least three years later.

Chapter 796: Business Matters

Before July, Ronan made another trip to San Francisco. Netflix had passed a series of reviews and reached a final agreement with Nasdaq, planning to go public in mid-to-late July.

Currently, Robert Iger and Marc Randolph were focusing their efforts on these matters.

The expected stock price per share would not be lower than 120 dollars.

Based on the actual situation, Ronan also raised the bottom line for financing to no less than 5 billion dollars.

To support the listing and boost the stock price, Netflix would have a series of plans, including the launch of new streaming media dramas.

On the second day after Ronan arrived in Los Angeles, Tom Cruise also rushed over. The two would closely cooperate next month and needed to communicate directly.

“How likely is it that something unexpected will happen during the listing?” Ronan asked Robert Iger in the office. “This affects our future series of plans.”

Robert Iger said, “Our roadshow was very successful. Netflix is widely favored by the outside world, and many investment institutions have explicitly expressed their investment intentions. These include pension funds, life insurance funds, property insurance funds, mutual funds, trust funds, hedge funds, commercial bank trust departments, investment banks, university foundations, and some large companies’ securities investment departments and individual investors. With their support, even if someone wants to secretly suppress Netflix, we can withstand it.”

Ronan nodded slightly. Cooperating with Goldman Sachs, although it required a considerable cost, made the listing process much smoother.

Robert Iger continued, “These institutions and companies operate primarily in the securities market, with relatively standardized operations and familiarity with the securities market. They frequently participate in new stock issuances and have accurate judgments on the investment value of different issuing companies. Since institutional investors are of relatively high quality, using their quotations as the main basis for pricing is relatively reliable.”

Ronan said, “Our valuation is already high enough.”

“Yes,” Robert Iger said with a smile. “Investors recognize and are optimistic about Netflix’s development prospects, believing it is a sunrise industry, so they readily accepted Netflix’s valuation during the market survey phase.”

Ronan suddenly said, “A valuation of no less than 40 billion dollars is somewhat beyond my expectations.”

Robert Iger rarely disagreed, “My view is the opposite. This is precisely the true reflection of Netflix’s value, and I even think Netflix’s valuation is a bit low.”

As one of the direct responsible persons for Netflix’s listing from start to finish, he appeared particularly confident: “When Google went public, its business was relatively simple, yet its market value continued to rise. In contrast, Netflix has at least three major star businesses. Combined, a 40 billion dollar valuation is not excessive.”

Ronan slowly said, “We are about to formally join the capital game.”

Robert Iger responded, “Only by joining the capital game can we proceed with larger capital operations next.”

Ronan understood the meaning of these words and said, “Since you joined Relativity Entertainment, we have been planning. How much we can gain depends on the second half of this year.”

Robert Iger said, “I understand.” He reminded, “Disney’s shareholder meeting will be held at the end of this year. Michael Eisner and Roy Disney are very likely to have their final showdown at the shareholder meeting. They are both preparing.”

Ronan smiled, “It would be best if Disney remains in chaos.”

The more chaotic Walt Disney, or the internal chaos of the Big Six companies, the more it aligns with the interests of Relativity Entertainment.

After Robert Iger left, Tom Cruise came to find Ronan.

“How did the talk go?” Ronan asked.

Tom Cruise said, “Overall, it went very smoothly. Netflix and I share the same goals in charity.”

Ronan reminded, “This charity foundation, manage the funds well. Tom, we don’t want it to do anything else. The only purpose is charitable investment for the ALS community.”

“Don’t worry,” Tom Cruise knew the priorities. “I have the foundation hire PricewaterhouseCoopers as a third-party accounting supervisor.”

He shifted the topic to Netflix, “I have raised 45 million dollars and plan to invest it all in Netflix’s stock.”

Ronan smiled and said, “I won’t let you lose money.”

Tom Cruise laughed heartily, “I hope your Netflix becomes a company with a market value of hundreds of billions soon.”

“I hope so too,” Ronan spread his hands. “But this is not something I can decide.”

Many internet firms had reached this height before.

There had been internet companies with a market value of hundreds of billions. Just after the turn of the millennium, Yahoo’s market value soared to 128 billion dollars, becoming the first internet company in the world with a market value of over a hundred billion.

Then came the famous Nasdaq stock market crash, which severely impacted the entire internet industry.

But the companies that survived that stock market crash, including Yahoo and Amazon, all developed rapidly afterward.

Although many conservative investors still sing the decline of the internet industry, no one can stop the rapid development of this industry.

The internet may not represent the future, but it is a very important industry for the future.

Ronan had always been clear about this and knew that the internet industry needed to grow, urgently requiring funds and a broader promotion platform, so he chose the path of going public.

Due to trust in Ronan, not only Tom Cruise but also Will Smith had raised 30 million dollars, preparing to wait for Netflix’s listing next month.

These two had quickly achieved asset appreciation in their investment in Manchester United, and their confidence in Ronan was even stronger than Ronan’s confidence in himself.

Regarding Manchester United Football Club, Mansour had contacted Ronan again later. Half of the off-season had passed, and he wanted to know how Ronan was considering things.

Selling Manchester United now would indeed bring significant benefits, but Ronan believed that keeping Manchester United would continue to appreciate in the future.

Ronan had asked for the opinions of Tom Cruise and Will Smith, and both completely followed his lead.

Although he had not given Mansour a clear answer yet, Ronan’s inclination was already quite clear.

Ronan specifically called Ferguson to ask if he had heard related rumors that Ferguson was preparing to retire and to confirm the truth of the matter.

Ferguson’s importance to Manchester United was self-evident.

His role was far more than just coaching the team. Ferguson had considerable deterrence over referees and the FA.

These things were built up step by step over more than twenty years and could not be achieved immediately by inviting a famous coach.

Once, a coach had an n-game winning streak at the start of his first season in the Premier League and then said the Premier League was nothing special. Originally, many protective invisible judgments for beautiful football not only immediately disappeared, but later the referees also taught him a lesson minute by minute.

But in recent years, on the Premier League field, there had been very few unfavorable judgments against Manchester United.

It could even be described as rare.

This intangible, unseen, yet real thing was indeed part of today’s commercial football.

As long as Ferguson was there, Manchester United’s performance would be guaranteed, and performance was a very important component of commercial value.

Ferguson was no longer young. In the past, when he had conflicts with Manchester United’s two former Irish horse racing tycoons, he had also considered retirement.

But this season, Manchester United had shone brightly, and the club had returned to the right track. Even though Ronan, the new owner, had stricter supervision over the club’s operations, he had given the head coach great trust and brought in a group of new players with unlimited future potential.

The idea of retirement had long been thrown into the trash by Ferguson.

Ferguson clearly told Ronan that as long as his health did not deteriorate, he would not consider anything related to retirement in the next five or six years.

With Ferguson at Manchester United, stability was guaranteed, and it would continue to appreciate.

Ronan’s inclination in his choice was self-evident.

Additionally, another point had influenced Ronan’s considerations.

Manchester United’s contact with Barcelona and Leo Messi’s father had received initial feedback.

After Manchester United tentatively offered a price of 50 million euros to package Xabi, Iniesta, and Messi, Barcelona flatly rejected Manchester United’s offer and solemnly declared that these three players were non-negotiable items!

In football transfers, when a club states that someone is a non-negotiable item, it often does not mean they won’t sell, but that there are other considerations.

Barcelona’s current core was Deco, and the top star was Ronaldinho. The latter was at the peak of his fame, seemingly far from reaching his peak, with no signs of decline.

Xabi, Iniesta, and Messi were very important to Barcelona, but apart from Xabi, in Manchester United’s private contact with Barcelona, the other two were not as tightly held.

Manchester United had also privately contacted Messi’s father and Iniesta’s agent. The two players had some doubts about Manchester United, given the significant difference in style between the Premier League and La Liga.

But the price offered by Manchester United was very tempting.

Especially for Leo Messi’s father, Manchester United’s generous conditions had already moved him.

Money was not everything, but in most things, it was the master key.

Specific negotiations were still ongoing, and Ronan had expressed his attention, asking Manchester United Football Club to make Leo Messi the top target.

Imagine, with Cristiano Ronaldo on the left and Messi on the right, how beautiful that scene would be?

Of course, there might also be a situation where these two were incompatible, but that was fine. Dismantling the key points of the universe team in advance would also be beneficial for Manchester United to become a phenomenon-level team in European football in the coming years.

After all, Ronan was ultimately a businessman, and his primary consideration was still the club’s value.

Just as Relativity Entertainment never placed the commercial value of films solely on the quality of the films, matters of commercial football leagues were not resolved by on-field games alone.

“Pirates of the Caribbean 2” was about to be released during the Independence Day holiday, but before that, Ronan specifically found George Martin to talk.

Chapter 797: America’s Tolkien

Stepping into Relativity Tower, George Martin had been observing everything with curiosity, as if fascinated by the company that had acquired the film and television rights to his epic fantasy series.

He was a writer, but before that, he had always been a Hollywood screenwriter, possessing a familiarity with the industry that other writers lacked.

Few film companies in Hollywood owned independent buildings, and in this regard alone, Relativity Entertainment was already at the top of the industry.

George Martin was also aware that in terms of film and television business, Relativity Entertainment was undoubtedly one of the top companies in Hollywood.

What it lacked most was depth.

But depth had no direct relation to production ability. With A Song of Ice and Fire in the hands of Relativity Entertainment, George Martin was still quite at ease.

Moreover, the copyright contract between the two parties stipulated that Ronan Anderson must serve as the producer for the adaptation project.

This was the most reassuring and successful producer in Hollywood today.

In the reception room on the top floor of Relativity Tower, Ronan met George Martin.

This New Jersey native, who was both a writer and a screenwriter, exuded a strong artistic aura. He wore a beret, thick round glasses, and had an exceptionally dense beard that had turned completely white.

Ronan shook his hand, exchanged a few pleasantries, and then got to the point: “George, regarding the adaptation of your A Song of Ice and Fire: A Game of Thrones, Shai Entertainment is currently pushing forward with it.”

George Martin, being a part of Hollywood himself, was aware of the developments and said, “I know. I heard the script adaptation has already begun?”

“Yes,” Ronan said directly. “The reason I invited you here today is related to the script adaptation.”

George Martin was deeply invested in his epic series and said, “If there’s anything you need me to do, just say the word.”

The contract between them included a clause, so Ronan didn’t need to be polite: “No one knows this series better than you. The scriptwriting has just begun, and the writing team needs your guidance. We also need you to oversee the main plot direction.”

George Martin said, “No problem. Although I can’t come to Relativity Entertainment every year, I can set aside two days a week to discuss the adapted script with the writers.”

Ronan said, “There’s also a second aspect. While the first season’s story is relatively complete, the series as a whole exists as a unified entity. Currently, there are only three books, and the ending is clearly still far off. The script creation must consider the continuity of the series. As we initially discussed when negotiating the rights, Relativity Entertainment has never considered filming just one season, but the entire series.”

George Martin stroked his nearly snow-white beard and said, “You can rest assured about this. I will communicate with the writers about it.”

Ronan nodded slightly. George Martin had been in Hollywood for many years, and his professionalism was beyond doubt, but to say that he was completely at ease was impossible.

“I still hope that you, George, can complete the entire series of novels as soon as possible,” Ronan said, also worried that the later novels might become a “within our lifetime” series. “It will make the adaptation work clearer.”

Having the original work as a source for adaptation was entirely different from George Martin only vaguely revealing the plot direction.

The former could make the series richer and the character and plot development more reasonable, while the latter could directly lead to a bad ending.

People were different, let alone adaptation writers and original authors. Even if the adaptation writers knew the ending of the story, they might still end up with a rushed conclusion.

For example, there was once a plot where Jon Snow pushed down his aunt and then killed her, which was so sudden it caught everyone off guard.

In fact, ever since losing George Martin’s original work as a basis for adaptation, the plot of A Game of Thrones began to have all sorts of eccentricities. However, the first few seasons had such a good reputation that it brought a huge viewing inertia, and even a reputation inertia, keeping the series’ popularity from declining.

Until the last two seasons, especially the last few episodes of the final season, the long-accumulated negative effects completely exploded, and the reputation collapsed.

Apart from the Mother of Dragons, there was also the Night King.

Having taken eight whole seasons to finally leave the Great Wall, the Night King fully demonstrated what it meant to deliver one’s own head from afar.

At this point, George Martin said, “A Feast for Crows has been completed. The publisher’s proofreading is underway, and it will be published in the second half of the year. I’ve also started writing the fifth book, tentatively titled A Dance with Dragons. It should be published within two years at most.”

Ronan emphasized, “George, there’s one thing you need to prepare for in advance. Once the series is successful, you will inevitably become a figure with a certain level of fame across the United States and even the world. At that time, various interviews and activities will take up a lot of your time and energy. Will you still be able to continue writing novels quietly?”

George Martin thought for a moment and said, “We’ll see about that when the time comes.”

Ronan added, “As a partner, I very much hope to see the entire series of novels completed before the series starts filming.”

“That’s impossible,” George Martin said with a hint of helplessness. “The story has only progressed halfway so far…”

He slowly said, “When I first planned A Song of Ice and Fire, I just wanted to write a fantasy epic trilogy like Tolkien. But when I wrote 1,500 pages of manuscript and still hadn’t completed the first story, I realized I had oversimplified it. This series needs five books to form a complete long story.”

Ronan was full of doubt: “Are you sure five books can complete it?”

George Martin said confidently, “Trust me, it will definitely be completed.”

If Ronan believed him, that would be surprising.

Indeed, George Martin had once written five novels, but the last two, The Winds of Winter and A Dream of Spring, only existed in the series’ table of contents. Whether they would ever be published as novels written by George Martin himself was anyone’s guess.

At that time, George Martin was already successful and famous, and with his advanced age and not-so-good health, his motivation to create was severely lacking.

With this in mind, Ronan specifically said, “George, I still hope you can speed up the pace of your novel writing. We can’t have the series filming catching up to the novel’s publication, can we?”

“It won’t,” George Martin said firmly. “Absolutely not.”

A Feast for Crows was about to be published, and A Dance with Dragons had already begun. Strictly speaking, he was now five books ahead of the series adaptation. How could the series catch up to the novels?

Otherwise, he would be a very incompetent original author.

Ronan could only say so much. Before George Martin left, he added, “I will have Shai Entertainment’s script department contact you. Starting next month, you will officially join the adaptation team.”

For the original author George Martin, Ronan attached much more importance to him than to ordinary adaptations. Hollywood film adaptations often liked to push the original author aside because the original author, who didn’t understand film creation, shooting, and the market, often had ideas that differed greatly from the film company.

But George Martin was different. He was a part of Hollywood himself, with very rich experience in the film and television industry. Compared to becoming an obstacle in the adaptation creation of the crew, he might play a more positive role.

In Hollywood, insiders and outsiders were always two different concepts.

Just like Ronan to George Martin, Hollywood’s double standards and differential treatment couldn’t be more obvious.

The specific news was quickly confirmed. The fourth novel, A Feast for Crows, would be released simultaneously in the UK and the United States in September.

Ronan had already arranged for Relativity Entertainment to contact relevant media and book reviewers. Given the future needs of the series, they must hype George Martin as “America’s Tolkien.”

This wasn’t difficult. The United States had always liked to look to the UK in terms of so-called traditional culture, and George Martin and the A Song of Ice and Fire series indeed had the quality to back it up.

According to George Martin, the writing of this series was going smoothly, and A Dance with Dragons could be published as early as two years later.

It seemed that everything was on the right track.

But Ronan had an impression of George Martin’s repeated delays in novel publication. Because of the unexpected plot developments in the last few episodes of the eighth season, he had specifically looked up information about George Martin and the original novels.

So, he had a vague impression that George Martin had once taken six whole years, until 2011, to complete A Dance with Dragons.

By Shai Entertainment’s plan, by that time, the series would probably have been broadcast on Netflix Streaming Media for several seasons. It was likely that George Martin still wouldn’t have the time and energy to continue writing the subsequent novels.

But the novel writing of A Song of Ice and Fire wasn’t something that could be rushed, as quality had to be ensured.

Ronan specifically called Robert Lee, who was in charge of copyright matters, and asked him to communicate with George Martin and his agent to ensure that George Martin would have enough motivation to continue writing novels in the future until the series was completed.

The adaptation of A Song of Ice and Fire: A Game of Thrones would undoubtedly be broadcast on Netflix Streaming Media in the future.

Netflix was already in discussions with Shai Entertainment about the series’ production.

Apart from Intern Grey, which was already being broadcast on television, as long as no major unexpected situations arose, the future broadcasting channel for Shai Entertainment’s filmed series would only be Netflix Streaming Media.

With Netflix about to go public, two brand-new series would soon be launched on Netflix Streaming Media: Gossip Girl, produced by Lindsay Bill, and Chernobyl, directed by Maryann DeLeo.

Relativity Entertainment had already conducted internal screenings for these two series, and the responses were very positive, especially for the latter, which received consistently high praise.

From an American perspective, filming a disaster accident in the former Soviet Union, even if many Cold War ideologies were discarded, the content was still imaginable.

Entering July, the Independence Day holiday was approaching, and Pirates of the Caribbean: Dead Man’s Chest premiered.

Chapter 798: Drunk on Life and Dreams

The Independence Day holiday was one of the best periods for the North American film market. The weekend before Independence Day often saw a dense release of many films.

In previous years, during one such Independence Day period, there had been as many as four or five films with production costs exceeding eighty million dollars released simultaneously.

This year, however, was different. Apart from Bewitched, produced and distributed by Columbia Pictures, other high-budget commercial films had all avoided the Independence Day period.

Because Pirates of the Caribbean had set sail once again.

The first film had caused a massive sensation, and Captain Jack Sparrow’s charm was irresistible. The industry unanimously believed that Pirates of the Caribbean 2 would not only be a huge hit but would also be a super blockbuster.

During the same period, the only film that could be considered a competitor to Pirates of the Caribbean 2 was Bewitched, starring Nicole Kidman.

The two films were of completely different genres, and Sony Columbia Pictures had no intention of avoiding Pirates of the Caribbean 2.

But the momentum of the two was worlds apart.

From the moment the trailer was released, Bewitched had been constantly criticized, and the curse of the Oscar-winning actress seemed to linger over the film.

Pirates of the Caribbean 2, on the other hand, had sparked a wave of enthusiasm, and fans seemed eager to see it.

Countless fans shared their expectations for Pirates of the Caribbean 2 and Captain Jack Sparrow on Netflix sharing through various means.

“What kind of person is Captain Sparrow?”

Someone asked on Netflix sharing, and the question quickly spread across the internet.

More questions about Captain Jack Sparrow poured out from the fans.

“What should I do if I fall in love with Captain Jack Sparrow?”

“Who does Jack Sparrow truly love, Will Turner or Elizabeth Swann?”

Such questions were still relatively normal, and some fans even treated Captain Jack Sparrow as a real-life idol.

“What brand of cologne does Captain Jack Sparrow use?”

“What does the captain eat for his three meals a day? Will he go hungry at sea?”

“Will he get scurvy from malnutrition?”

“I heard that medieval sailors ate bread that didn’t spoil for years, but it was infested with weevils and maggots, which they called ‘eating with the maggots.’ Does Jack Sparrow eat these too?”

These questions seemed ridiculous, but they were not uncommon among fans.

When a fictional movie character was frequently brought into reality, it actually indicated that the character, and the movie about him, was achieving great success.

Before Jack Sparrow, no movie protagonist had ever become popular in such a roguish way—laughing, scolding, and tricking his teammates every day, yet still being so charming at critical moments.

This role had truly propelled Johnny Depp into the A-list.

But Hollywood was ultimately a highly interconnected circle, and some things couldn’t be covered up. During the promotion of Pirates of the Caribbean 2, media and online sources had already spread some unfavorable news about Johnny Depp.

Even someone had asked on Netflix sharing: If Jack Sparrow wasn’t played by Johnny Depp, would you still love Johnny Depp?

However, the impact was still minimal for now.

At the premiere, Johnny Depp faced the fans, fully displaying his charm.

It seemed that Johnny Depp was still the same Johnny Depp, unchanged by the massive success of Jack Sparrow. He still signed autographs, loved rock music, was cool yet approachable, and lived as freely as Jack Sparrow.

No matter what, Johnny Depp’s treatment of fans was absolutely impeccable.

He was an idol whose enthusiasm for signing autographs couldn’t be stopped even by a reinforced platoon.

Ronan watched Johnny Depp causing a sensation on the red carpet and could only say that the captain’s charm was truly too great.

This was just like before.

The difference was that Will Turner, who had once been overshadowed, was now extremely popular.

When Christian Bale walked the red carpet, the sensation he caused was no less than Johnny Depp’s.

First, this version of the blacksmith’s apprentice had a stronger presence, with a more prominent role and image. Second, Batman Begins had already been released, and Christian Bale had the prestige of being Bruce Wayne.

“Hello, Ronan.” Christian Bale took the initiative to greet Ronan. “Long time no see.”

Ronan shook his hand and said, “You look much more muscular.”

Christian Bale smiled and said, “The filming of The Prestige is done. Director Nolan is in post-production, and I’m preparing for The Dark Knight.”

Ronan nodded slightly. “That’s a very frustrated Batman.”

“It’s okay.” Christian Bale continued, “But reading the script feels a bit strange. Bruce Wayne seems to have become a supporting character, and the Joker is the protagonist with all kinds of main character aura…”

Ronan shrugged. “Regarding the role, you should still communicate with Director Nolan.”

It was clear that Christian Bale was somewhat dissatisfied with the script’s design.

This was, in a roundabout way, complaining to him as the producer.

But without giving the Joker the spotlight and limiting Batman, the so-called strongest Joker would have been beaten to death a thousand times over.

In fact, it was obvious that this film had given the main character aura to the Joker.

Among those attending the premiere, besides the stars of the film, there were also many friends and family of the actors.

For example, Tim Burton had also come.

Although they hadn’t reached an agreement on the collaboration for Alice in Wonderland, they weren’t enemies.

Moreover, given the relationship between Tim Burton and Johnny Depp, it was only natural for Tim Burton to want Johnny Depp as the male lead in his directed films.

Ronan also chatted with Tim Burton for a while.

The Pirates of the Caribbean trilogy had already been filmed, and Johnny Depp had ended his collaboration with Relativity Entertainment. Tim Burton planned to continue working with Johnny Depp to produce a film called Sweeney Todd: The Demon Barber of Fleet Street.

Their first collaboration was Edward Scissorhands. The 27-year-old Johnny Depp and the 32-year-old Tim Burton had become good friends ever since, with a relationship that could be described as “please guide me for the rest of my life.”

During the filming of the first movie, Ronan had heard the then more professional Johnny Depp talk about his relationship with Tim Burton.

Regarding their compatibility, Johnny Depp had said, “Even when we first met, we agreed on even the most absurd questions.”

Perhaps this was what was meant by love at first sight.

Suddenly, there was an argument in the VIP lounge. Jessica Felton immediately rushed over and suppressed the dispute between Christian Bale and Keira Knightley, who had been arguing with Johnny Depp.

Since the filming of the sequel began, the conflict between these two British actors and Johnny Depp had become increasingly sharp, reaching a point where it was difficult to mediate.

Fortunately, as the producer, Jessica Felton, along with the fact that it was a public occasion, was able to suppress these conflicts.

“What happened?” Ronan came to Jessica Felton’s side. “Bale may have mood swings during filming, but he’s usually a quiet person.”

Jessica Felton hadn’t walked the red carpet and wasn’t wearing an evening gown. She was dressed in a simple women’s business suit, her face tense, exuding the aura of a strong woman. “Keira smelled alcohol on Depp and complained to Bale, but Depp heard it, and then the argument started.”

She said softly, “It’s just a small trouble.”

Ronan sighed. “Too many people have been ruined by alcohol.”

Jessica Felton stood beside Ronan, looking towards Johnny Depp, and said, “How long can this drunken life be successful? Also, what will his fans think when they smell the alcohol?”

Ronan shook his head slightly. “As outsiders, it’s hard for us to judge whether he’s right or wrong. Maybe a person’s lifestyle has no right or wrong. He lives recklessly, and perhaps the fans love this drunken life and its uniqueness.”

“This doesn’t sound like something you’d say.” Jessica Felton was quite surprised.

Ronan asked, “What should I say?”

Jessica Felton thought for a moment and said seriously, “First, consider how much loss Depp’s behavior will bring. Second, how much value Depp can create for Relativity Entertainment in the future. Then, squeeze him dry…”

Ronan pointed at himself. “Am I like that?”

Jessica Felton deliberately said, “Absolutely.”

“Okay.” Ronan self-deprecatingly said, “This shows that I’ve become a very successful entrepreneur and capitalist.”

Jessica Felton joked, “So, how much value do I have in your eyes?”

Ronan shrugged. “Jesse, you’re different. You’re my partner.”

Jessica Felton had known Ronan for many years and naturally knew this was the truth. She said, “By the way, there’s something else. I plan to take out all my savings to buy Netflix shares when it goes public. I won’t go bankrupt, right?”

Ronan emphasized, “Netflix is as reliable as Ronan Anderson.”

“Someone’s coming.” Jessica Felton reminded, “Charlize Theron.”

Charlize Theron and Candice Swanepoel came over to greet Ronan.

Both of them had collaborations with Relativity Entertainment.

In the currently filming Wild Survival, Bear Grylls would invite guests to join him in wilderness adventures in several episodes of the second season, one of whom was Oscar-winning actress Charlize Theron.

Candice Swanepoel didn’t need to be mentioned; she had already passed the audition for Dead or Alive, even if it was just a small role.

“I’m preparing for the filming.” Charlize Theron said to Ronan, “I observed one of Bear’s filming sessions. Although there’s a script and a support team, it’s really amazing. To achieve the desired effect, I need excellent physical fitness and some professional knowledge.”

Ronan smiled and said, “Sally, I’m looking forward to seeing your performance.”

Chapter 799: The Living Captain

Increasing the interactivity of Wild Survival was also one of the future directions for the show’s development. Bear Grylls had also extended an invitation to Ronan, inviting him to join as a guest and venture into the wilderness together.

Ronan had not yet responded to Bear Grylls.

The main reason was that Ronan was accustomed to a life of luxury and indulgence and was unwilling to suffer in the wilderness.

Additionally, with Netflix’s IPO imminent, Ronan genuinely had no time in the short term.

Everything would have to wait until after Netflix went public and the situation stabilized.

Charlize Theron then said, “I’m also looking forward to this shoot. I’ve watched the first season on Netflix several times—it’s very distinctive. Besides, this is for charity in Africa.”

Ronan replied earnestly, “I’m very satisfied with Bear Grylls’ planning.” He then launched into his usual spiel: “An outstanding show must not only attract audiences but also possess social value.”

Regarding the planning for this episode, Ronan had seen it long ago. The relevant plot was set in a refugee area in Africa, where Bear Grylls would discuss how to survive in a human-made dangerous environment.

Moreover, the production team would call on the world to pay attention to these regions in Africa.

This was also an important reason why the production team was able to invite Charlize Theron.

As everyone knew, Hollywood’s top stars rarely appeared on variety shows outside of movie promotions and talk shows.

Participating in purely entertainment-based variety shows was often seen in Hollywood as lowering one’s status and prestige.

But when it came to charity, things were different.

Charity was a common tactic for Hollywood stars to boost their image.

Undeniably, Charlize Theron had an extraordinary affection for Africa.

The high salary paid by the production team was all donated by Charlize Theron to relevant African charitable foundations.

Charlize Theron then emphasized Africa: “Ronan, I heard you and Tom Cruise established a charity foundation for ALS? If possible, please pay more attention to Africa.”

Ronan politely replied, “I will.”

Candice Swanepoel then said, “Many regions in Africa are almost forgotten by the world.”

Ronan smiled: “The world is very concerned about the situation in Africa now.”

“Who knows when Africa will stabilize,” Candice Swanepoel murmured.

Jessica Felton added, “In this regard, we can only appeal; there’s nothing else we can do.”

Ronan nodded: “Jesse is right.”

Speaking of which, Africa’s current chaos was not only due to internal reasons; external forces were also key. The role played by the five permanent Security Council members was something only they knew best.

Despite recent external praise, with titles like “Hollywood’s richest man” being thrown at him, Ronan remained clear-headed. This was not something he could interfere with.

Making appeals and doing superficial charity work was enough.

Previously, Ronan had read many reports claiming that many seeds distributed by the United Nations in Africa were directly eaten…

As for whether this was true, he had never been to Africa and could not judge.

Candice Swanepoel then said, “Ronan, I haven’t thanked you yet. Thank you for giving me this opportunity.”

Ronan knew she was referring to Uwe Boll’s Dead or Alive and said, “You should thank Director Boll; he’s the one who chose you.”

Candice Swanepoel, of course, did not believe this. She knew Charlize Theron had personally called Ronan, but she followed Ronan’s words: “Director Boll is a good director; he has given me a lot of help and has been guiding me since the start of filming.”

Hearing this, Jessica Felton’s expression remained unchanged, but her heart was filled with excitement, and she couldn’t help but glance at Candice Swanepoel.

Was this actress completely misled? It seemed very possible.

Ronan, however, said very seriously, “Director Boll is truly remarkable; he has many shining qualities. Candice, observe him more; it will be good for your future.”

From his perspective, Uwe Boll’s directing skills were poor, but he was decent in other aspects.

Candice Swanepoel smiled and said, “I remember.” She suddenly changed the topic: “I heard from Director Boll that Transformers is recruiting actors. I really like Transformers toys; I still remember the Starscream and Arcee toys my dad bought me.”

Ronan casually said, “If you’re interested, you can sign up for the audition. This time, the production team’s role selection auditions are open.”

“I’ve already signed up,” Candice Swanepoel said.

Ronan lightly nodded and didn’t say much more. At Jessica Felton’s reminder, he headed toward the screening room.

From Candice Swanepoel, he could sense the rapid transformation of a girl after entering Hollywood—from a soft-spoken, naive girl to one who spoke with purpose.

The impact of the environment on a person was evident.

Entering the theater, Ronan sat with Jessica Felton. Jessica Felton said, “That girl has a lot of ideas about the roles in Transformers.”

Ronan shook his head with a smile: “It’s normal. Who doesn’t want to be a star after entering this circle as an actor?”

Jessica Felton said, “That’s true. If I were an actor, I wouldn’t be content with obscurity.”

Ronan indifferently said, “People like Daniel Day-Lewis are rare.”

Jessica Felton added, “More people want to be like Johnny Depp, living a life of indulgence and freedom.”

The movie began to play, and the charming Captain Jack Sparrow was back!

This time, Captain Jack Sparrow encountered an even more powerful enemy—the legendary undead Davy Jones, who commanded the terrifying Flying Dutchman, a ship unmatched in speed and equipment.

Captain Jack Sparrow owed Davy Jones a blood debt and had to find a way to break it before the deadline, or he would forever bear the blood debt and become Davy Jones’ slave for the rest of his life.

In this sequel, Captain Jack Sparrow was as roguish as ever, the blacksmith’s apprentice Will Turner continued to rely on his formidable strength as the main selling point, and Keira Knightley, who had always been dissatisfied with Johnny Depp, continued to play the role of a mere decorative presence.

Even though the main trio appeared as close as family in public and the media, the conflicts and contradictions between them continued to worsen.

Fortunately, for a long time to come, the three would not have to collaborate on filming again.

Frankly, as a sequel, very few second installments surpass the first, and Pirates of the Caribbean: Dead Man’s Chest was no exception.

The story was not as good as the first, but the excellent special effects made up for this shortcoming, making it one of the best popcorn movies of the year.

Most importantly, after the first film, both director Gore Verbinski and lead actor Johnny Depp accurately grasped the audience’s mindset, understanding what kind of pirate captain the audience loved.

Thus, based on the first film, the movie strengthened the portrayal of Captain Jack Sparrow.

The effect was evident.

The segment where Captain Jack Sparrow interacted with the natives had the entire audience laughing uncontrollably, with many pounding the armrests of their chairs—it could only be described as “laughing to death.”

How could such a Captain Jack Sparrow not be lovable?

Without exaggeration, Johnny Depp’s unconventional performance, Gore Verbinski’s imaginative cinematography, Jessica Felton’s post-production editing that controlled the pacing, and the couple pairing of Christian Bale and Keira Knightley all greatly enhanced the entertainment spirit that Hollywood films had promoted over the past decade.

Pirates of the Caribbean: Dead Man’s Chest undoubtedly played a strong transitional role, with its powerful visual impact and humorous wit complementing each other, making the adventurous journey so imaginative. At the end, it also left many clues for the development of the plot.

Of course, in this sequel, Johnny Depp, with his superb acting, made the unconventional Captain Jack Sparrow even more memorable.

Excellent special effects, comedic elements, and character development truly brought the audience into this magical and dangerous era of pirate voyages.

Although the actual life of pirates was extremely miserable and even boring, it did not prevent the pirates in the movies from becoming classics.

However, those who dreamed of living a free and unconstrained pirate life like Captain Jack Sparrow would ultimately end in super tragedy.

Movies were not reality.

But movies could reflect reality, captivate audiences, and make countless people go crazy over a fictional character.

Captain Jack Sparrow was such a fictional character.

When Pirates of the Caribbean: Dead Man’s Chest ended, the theater erupted in thunderous applause, with some people shouting Captain Jack Sparrow’s name.

“Jack Sparrow! Jack Sparrow!”

At first, the voices were chaotic, but as the audience spontaneously adjusted, the rhythm gradually became unified.

“Jack Sparrow! Jack Sparrow!”

The sound completely overpowered the applause, as if there was only one existence in the theater—Jack Sparrow!

Jessica Felton stopped clapping and reminded the entire crew: “Go up for the curtain call.”

Christian Bale and Keira Knightley were expressionless. As two of the three main characters, they were completely overshadowed by Johnny Depp.

This was the audience’s choice, leaving them speechless.

Led by Jessica Felton, the entire crew went on stage for the curtain call. The applause and shouts never stopped, and the crew had to bow repeatedly, expressing their gratitude for the audience’s support.

Johnny Depp had finally become the living Captain Jack Sparrow!

Chapter 800: A Brand New Record

Saturday morning, in the luxurious dressing room of ABC Television in Burbank, Los Angeles.

Nicole Kidman, already made up, sat in a chair, flipping through a newspaper, waiting for the live broadcast of Good Morning America to call her.

The live broadcast was still in preparation, so she didn’t need to go over yet.

This was the promotional period for Bewitched, and it was also Nicole Kidman’s first commercial film after winning the Oscar for Best Actress.

Nicole Kidman had never believed in the so-called “Oscar curse,” and since her divorce from Tom Cruise, she had leveraged the sympathy of the North American public to become extremely popular.

Every film she had made since the divorce—whether The Others, Moulin Rouge!, or The Hours—had been both commercially successful and critically acclaimed.

This had given Nicole Kidman an idea: perhaps she could become the new queen of Hollywood.

But to become the queen of Hollywood, an Oscar was far from enough. After all, the Academy awarded a Best Actress every year. What she needed was sufficient commercial appeal.

And what better proof of commercial appeal than box office numbers?

The door to the dressing room was knocked on from the outside. Nicole Kidman snapped back to reality, put down the newspaper, and said clearly, “Come in.”

Her agent, Pat Kingsley, pushed the door open.

Nicole Kidman turned to look at her agent and asked, “Pat, is it time?”

“Not yet,” Pat Kingsley said. “You’ll probably have to wait about fifteen more minutes. They’ll come to notify you then.”

Nicole Kidman wasn’t dissatisfied. After all, this was ABC Television, home to Good Morning America, the number one morning show in the country in terms of viewership.

Pat Kingsley glanced at Nicole Kidman, hesitated slightly, then said, “I just found out about the box office numbers for the first day of release.”

Bewitched was a pure commercial comedy, so of course Nicole Kidman cared about the box office. “How much?” she asked.

No matter how bad the numbers were, she had to be told. Pat Kingsley said softly, “Bewitched made… seven million five hundred eighty thousand dollars on its first day in North America!”

Nicole Kidman couldn’t believe the number. “Pat, I didn’t hear you clearly. How much did you say?”

She was an Oscar-winning actress, and ever since her divorce, her work had been consistently successful.

Pat Kingsley repeated, “Seven million five hundred eighty thousand dollars.”

Nicole Kidman’s already pale face turned even whiter. “This is a commercial tentpole with a production budget of ninety million dollars!”

Having worked in Hollywood for many years, Nicole Kidman knew all too well that this wasn’t just a bad box office—it was a disastrous one.

Pat Kingsley didn’t offer any words of comfort. After all, they were both adults, and she had to have some psychological resilience.

After a moment of stunned silence, Nicole Kidman suddenly asked, “What about Ronan Anderson’s Pirates of the Caribbean 2?”

She was well aware that even though Bewitched was adapted from a classic TV series, it couldn’t compare to Pirates of the Caribbean 2. She had always thought that her own star power would prevent the gap from being too large.

Pat Kingsley’s voice was quiet but piercing: “Pirates of the Caribbean 2 made fifty-eight million nine hundred seventy thousand dollars on its first day in North America.”

Nicole Kidman was astonished. “This… this is ridiculous.” She forced a bitter smile. “Bewitched’s box office isn’t even a fraction of Pirates of the Caribbean 2’s. Pat, if I remember correctly, fifty-eight million nine hundred seventy thousand dollars should be the highest opening day box office record in North America, right?”

Pat Kingsley nodded slightly. “Pirates of the Caribbean 2 has set a new record for single-day box office in North America.”

Nicole Kidman sighed. “Ronan Anderson’s films are getting better and better.”

It was a shame that Ronan Anderson had refused to work with her, even though she had been prepared to make some sacrifices.

“In terms of commercial success, Ronan Anderson is already at the top of Hollywood,” Pat Kingsley said, thinking of Relativity Entertainment’s growing influence. She was also relieved that she had known when to let go and hadn’t clung to Tom Cruise, otherwise the consequences would have been severe. “When it comes to profitability, Relativity Entertainment is terrifying.”

Since Relativity Entertainment wasn’t a publicly traded company and didn’t have multiple shareholders, it wasn’t required to disclose financial statements. The public could only make estimates.

Pat Kingsley had seen an analysis in Forbes magazine that suggested Relativity Entertainment’s profits from film and television, both online and offline, might have reached the billion-dollar mark last year.

At first, she thought this was an exaggeration, but looking at Relativity Entertainment’s box office numbers and the even higher profits from DVD sales, it seemed quite normal.

She remembered that CAA had discussed how, through Netflix’s rental and sales platform, the DVD rentals and sales of Relativity Entertainment’s films were nothing short of insane.

Nicole Kidman suddenly asked, “Pat, what about the audience reception for Bewitched?”

If the reception was good, the film could maintain a steady performance. It would be difficult to explode like Pirates of the Caribbean 2, but at least it could recoup its costs.

That would still count as a success.

Pat Kingsley couldn’t lie about this. She had to tell the truth. “The reception… is average.”

Nicole Kidman’s last bit of hope was shattered, but she still asked, “Be more specific.”

“Rotten Tomatoes gives it a freshness rating of twenty-five percent, IRE audience score is a C, and the predicted North American box office is around fifty million dollars.”

Nicole Kidman’s already fair skin turned even paler, almost glowing.

Pat Kingsley offered a word of comfort: “It’s okay. Bewitched still has overseas markets. If the promotion is done well, the North American box office might increase.”

Hearing this, Nicole Kidman suddenly thought of something. After a few seconds of silence, she said, “Pat, go talk to the program team and see if the planned questions can be changed at the last minute.”

She lowered her voice and said a few words to Pat Kingsley, who nodded slightly and left the dressing room to communicate with the program team.

Soon, Nicole Kidman entered the live broadcast studio. After waiting for a while, the news broadcast ended, and the camera switched to her.

The host chatted with Nicole Kidman briefly before getting straight to the point, asking the first question: “Nicole, you’ve been in the film industry for twenty years. What’s the most unforgettable thing during that time?”

Nicole Kidman answered openly and honestly: “Tom Cruise! He is someone I will never forget. Even though we had sharp conflicts and even though we divorced, when I look into my heart, I can only admit one thing: Tom Cruise is someone I will never forget. He is the person I have given the most to and the person I love the most.”

The host looked shocked and asked, “Will you get back together?”

“I don’t know,” Nicole Kidman said, looking hurt. “I’m afraid of being hurt again…”

The topic of the interview completely changed, and Nicole Kidman began to talk at length about Tom Cruise.

Compared to Brad Pitt and Angelina Jolie, Tom Cruise and Nicole Kidman were equally attention-grabbing.

This instantly attracted countless media reports, and many fans began discussing Tom Cruise and Nicole Kidman’s marriage again. Some fans and tabloids even compared Tom Cruise to Brad Pitt.

It had to be said that bringing up Tom Cruise to relentlessly dredge up the past was a very clever move, easily capturing a lot of attention.

On the other hand, Nicole Kidman used Tom Cruise to gain some sympathy points.

Although this sympathy would eventually run out, for now, it still had some effect.

Bewitched saw a rebound in box office on Saturday, earning eight million four hundred fifty thousand dollars.

To have a box office rebound with such terrible audience reception was a testament to the fact that Tom Cruise was still one of the most watched Hollywood stars.

But in the face of Pirates of the Caribbean 2, this was far from enough. The so-called appeal of an Oscar-winning actress couldn’t compare to a true commercial film.

Since it was a sequel, many fans rushed to see it on the first day, so Pirates of the Caribbean 2’s box office dropped slightly on the second day.

However, the single-day earnings were still as high as fifty-two million seven hundred fifty thousand dollars.

After two days of release in North America, Pirates of the Caribbean 2 had already surpassed the one hundred million dollar mark.

This was also the fastest single-film box office record in North American history to reach one hundred million dollars.

Even though it had only been in theaters for two days, everyone in the industry knew that Pirates of the Caribbean 2 would undoubtedly set a new record for weekend box office in North America.

Pirates of the Caribbean 2 also made the character of Captain Jack Sparrow even more vivid—unstable in life, wild in personality, doing whatever he wanted, contradictory and chaotic.

Some fans summarized: Captain Jack Sparrow represented a beautiful and lazy confidence. The heavy eyeliner, the strings of beads in his hair—all were symbols of “freedom.” The word “pirate” in the hearts of fans represented “absolute freedom,” like a rock star from the 18th century.

Other fans believed that Captain Jack Sparrow was a shrewd adventurer with a relaxed and cheerful, non-stop smooth-talking manner, speaking in a feminine and cunning way, walking with a swaying gait.

Johnny Depp was at the peak of his career. Thanks to the success of the two Pirates of the Caribbean films, he had become one of the most bankable stars in Hollywood.

A reporter specifically interviewed Ronan about Johnny Depp.

“There’s no doubt that Depp is at his peak,” Ronan naturally praised Johnny Depp. “Depp has created a great character that will go down in film and television history. He is one of the best actors of this era, and I am proud that Relativity Entertainment can work with such an actor.”

Some reporters also asked about Nicole Kidman’s recent comments about Tom Cruise, but Ronan maintained a wise silence.

The smartest thing to do in such matters was to keep your mouth shut and let Tom Cruise handle it himself.

Speaking of which, in that film Bewitched, the child born to Nicole Kidman’s witch and the male lead—would that child be considered a mudblood?

Chapter 801: The Weather Man

“Good news! Good news!”

The sound of hurried footsteps echoed as George Clint strode into Ronan’s office, waving a document in his hand with excitement. “Something worth celebrating.”

Ronan set down his pen and looked over, concerned. “The weekend box office numbers are in?”

George Clint was in high spirits. “Yes.” He teased, “Ronan, guess how much.”

Ronan stood up and walked over, equally excited. “One hundred and forty million dollars, at least.”

Pirates of the Caribbean 2 had already grossed one hundred and ten million dollars in its first two days in North America. Even though sequels often had the strongest opening momentum before gradually declining, Sunday should still bring in at least thirty million dollars, right?

“Sorry to disappoint, but you’re wrong.” George Clint said excitedly. “One hundred and fifty-one million and twenty-eight thousand dollars! Ronan, Relativity Entertainment has set a new record for weekend box office in North America!”

Ronan took the data from George Clint’s hands and glanced at it, feeling a surge of excitement. “Our investment has paid off!”

George Clint nodded vigorously. “Who would have thought, a few years ago, that we’d be where we are today?”

Ronan lightly tapped the desk. “Yes, who would have thought we’d stand at the peak of North American box office records?”

A knock sounded, and Jessica Felton, dressed in a sharp professional suit, entered.

George Clint went over and shook her hand firmly. “Jesse, you’ve done an excellent job.”

Jessica Felton clearly had also received the news. “You flatter me. I only took over a sequel to a very successful film.”

She smiled. “Though I didn’t expect the second one to be this successful.”

Compared to the highly acclaimed first film, the sequel’s opening box office had more than doubled.

Ronan went to a cabinet in the office and took out a bottle of red wine, along with three glasses. “We should drink to this.”

Jessica Felton smiled. “A celebration?”

George Clint said, “Of course, this is worth celebrating.”

With that, he took the bottle from Ronan, poured wine into the three glasses, and handed them out.

“To the massive success of Pirates of the Caribbean 2!”

“To our success.”

“To Relativity Entertainment!”

“Cheers!”

The three clinked glasses, each took a sip, and laughed together.

Robert Lee and Mary entered one after the other. Mary looked at the three of them and smiled. “Why didn’t you call us to celebrate?”

Ronan went to get more glasses. “You’re just in time. Let’s have a drink together.”

Robert Lee asked, “Should I call Bob?”

Ronan handed the glasses to Jessica Felton and had George Clint pour for the two of them. “Bob has been in San Francisco lately.”

“I forgot about that.” Robert Iger stopped in his tracks. “Bob is busy with Netflix’s IPO.”

Ronan took the glass Jessica Felton handed him, and once everyone had a glass, he clinked with each of them. “To our continued success.”

Mary smiled. “To our success.”

The others laughed and clinked glasses, the joyous atmosphere filling every corner of the office.

These were all veterans of Relativity Entertainment. Mary, Robert Lee, and George Clint were the only three employees who had followed Ronan from the start. Not only did they have stock options in Relativity Entertainment, but once Netflix went public, they would also receive corresponding stock rewards.

Though the shares were few, they would further motivate people.

Ronan couldn’t guarantee anything else, but once Netflix went public, Mary, Robert Lee, and George Clint would definitely become millionaires.

For Netflix to go public, it needed a certain number of shareholders, which was a necessary condition for listing.

It was common for management to hold a small portion of the shares in a listed company.

Just like Pixar back in the day, even after Netflix went public, Ronan would still hold an absolute controlling stake in Netflix through Relativity Entertainment.

Jessica Felton’s treatment was far less favorable than Mary, Robert Lee, and George Clint.

To become a shareholder of Netflix, she would have to wait until it was listed and then buy shares with money.

On this point, Ronan had always been very clear. Jessica Felton had a good relationship with him and had shown sufficient ability, but that didn’t mean Relativity Entertainment would just give her shares. That would be too trivial.

If word got out, wouldn’t Netflix’s shares be as common as cabbage?

After a simple celebratory drink, everyone had work to attend to and left one by one. Ronan kept Jessica Felton behind.

“You’ll also need to be involved in the merchandise sales for Dead Man’s Chest,” Ronan reminded her. “Shai Entertainment can’t spare anyone at the moment, so you’ll need to represent the production company.”

Shai Entertainment’s subsidiaries all had separate financial accounting, which had been established from the beginning.

Jessica Felton said, “Alright, I have time now. The post-production of Fast & Furious 3 is going smoothly. I just need to oversee the big picture and can step away.”

Ronan asked, “How is the preparation for Juno coming along?”

“I’ve already finalized the contract with Ellen Page for the female lead,” Jessica Felton said. “She has a very distinctive look and a natural advantage of looking five years younger, which makes her perfect for the role of a high school girl.”

She thought for a moment and added, “I’m looking for a suitable director. It’s not easy to find one for this type of film.”

Ronan suddenly remembered Sophia Coppola, the very independent female director he had met at the premiere of Revenge of the Sith. She was still on vacation and might be a good choice.

“What do you think of Sophia Coppola?” Ronan didn’t know who the original director was, and Jessica Felton knew more about the Juno project than he did, so he only offered a suggestion. “The director of Lost in Translation.”

Jessica Felton said, “Sophia Coppola? A female director for a female-themed film has a natural advantage. Oh, right, her directorial debut was The Virgin Suicides, which is also a film about teenage emotions and family ethics.”

Ronan nodded slightly. “Sophia Coppola handled that film very well. She should be good at this kind of female-themed storytelling.”

Jessica Felton said, “Do you have Sophia Coppola’s contact information? I’ll reach out to her first. You should know that with directors like Sophia Coppola, it’s not just about us choosing her; she also has the right to choose her collaborators.”

Ronan opened his phone contacts, found Sophia Coppola’s information, and handed it to Jessica Felton. “Contact Sophia first. If you need me to step in, let me know.”

“Alright.” Jessica Felton put away the contact information. “I’ll send the script over first and see what she thinks.”

She then said, “Gore Verbinski asked when the preview screening for The World’s End will be held.”

Ronan waved his hand. “No need for a preview screening. Tell Director Verbinski that if he wants to start a new project, he shouldn’t hesitate.”

Jessica Felton said, “He is preparing a new project. He asked me to look at the script a while ago. The script and project plan should be with you soon.”

Project approval at Relativity Entertainment had to go through Ronan.

Even projects from directors who had successfully collaborated with Relativity Entertainment were no exception.

Hollywood had seen too many directors whose successful films were followed by disastrous flops.

Ronan was curious and asked, “What project?”

Jessica Felton briefly explained, “A family drama about a weather man. The script is titled The Weather Man. Gore Verbinski has already personally bought the rights to the script and is looking for investors. His first choice is to continue working with us.”

Having directed the Pirates of the Caribbean trilogy, Gore Verbinski had also made a fortune, making it easy for him to buy the rights to a film script.

Ronan’s knowledge of Gore Verbinski was limited to The Grudge and the Pirates of the Caribbean series. He didn’t remember any other films the director had made.

In that regard, The Grudge and Pirates of the Caribbean might be Gore Verbinski’s most successful commercial films.

Jessica Felton continued, “Gore Verbinski has already confirmed the male lead—Sophia Coppola’s cousin, whom we just mentioned.”

Ronan knew who she was talking about. “Nicolas Cage?”

“That’s him.” Jessica Felton said, “Gore Verbinski has already signed a preliminary agreement with Nicolas Cage. He believes that having Nicolas Cage on board will help attract investment from production companies.”

Normally, that would be the case.

Nicolas Cage’s last film, National Treasure, was a huge success, instantly bringing the somewhat faded star back into the limelight.

The combination of a famous director and a big star was always one of the favorite models of studios.

But when Ronan heard Nicolas Cage’s name, he instantly lost interest in Gore Verbinski’s new project.

Nicolas Cage had once been a household name, partly due to his success in the nineties and partly due to his reputation as the king of bad movies in the new century.

For this old friend of Eastern cinema fans, Ronan was somewhat familiar with him. He remembered that after National Treasure, except for Ghost Rider, which was somewhat successful, most of his other films were box office flops.

Eventually, he even resorted to working for Eastern film production companies to make money.

It could be said that after National Treasure, Nicolas Cage officially entered a super vicious cycle.

Ronan considered for a moment and said, “Let’s wait until Shai Entertainment submits the project to me. I’ll look at the script and the plan before making a decision.”

Jessica Felton didn’t say more. She knew Ronan was always cautious in this regard.

Chapter 802: The British Gentleman

That afternoon, Gore Wibinski’s new project, The Weather Man, along with several other submitted projects, was transferred from Shai Entertainment to Ronan’s office.

As Shai Entertainment continued to succeed, more and more previously unknown directors and actors had risen to prominence through collaborations with the company. As a result, many now viewed Shai Entertainment as a viable investment option, much like the Big Six studios.

In fact, due to rumors that Shai Entertainment and Ronan placed great importance on nurturing new talent, many directors and producers now considered Shai Entertainment their first choice for investment.

Every month, Shai Entertainment received over a hundred scripts, and at least several dozen directors and producers approached them seeking funding for their projects.

Most of these submissions held little value. While not every script was rejected, the elimination rate was still as high as ninety-nine point nine percent.

Ronan began by reviewing Gore Wibinski’s The Weather Man. He first read the script, then examined the project proposal, along with the attached copy of the contract with Nicolas Cage.

For most people, the combination of Nicolas Cage as the lead and Gore Wibinski as the director would have been highly persuasive. But for Ronan, it was an immediate red flag.

He then turned his attention to the other scripts submitted to Shai Entertainment. As usual, most were worthless.

Next, he reviewed the projects brought in by various directors and producers.

Established directors and well-known producers had no shortage of investment channels, so they rarely resorted to such submissions. Thus, finding a truly valuable film among these projects required a great deal of luck.

Due to his unique experiences, Ronan reviewed the materials at an astonishing speed. By the seventh submission, he came across a familiar name: Hitman: Codename 47.

This was a film adaptation project based on a game, submitted by a female producer named Adrian Ascalia. Shai Entertainment’s staff had done their due diligence, attaching Adrian Ascalia’s personal resume and an introduction to the game alongside the project.

This so-called producer had no prior experience in film production—not even as an assistant producer. In fact, she had no background in the film industry at all.

As for the game, Hitman: Codename 47 was released in 2000. It was a game centered around the depiction of assassins and various methods of killing, where players had to find ways to eliminate their targets without being detected.

Ronan recalled having seen a film adaptation of this game, though he remembered little about its plot or content.

Next, he reviewed the project proposal, focusing on the budget.

The budget for this game adaptation was staggering—fifty million dollars.

Without further consideration, Ronan immediately rejected it.

Fifty million dollars for a film based on an obscure game? He would have to be insane to approve that.

Fifty million dollars was no small sum. If Brother Bao were to direct it, he could make ten game adaptation films with that budget.

Thinking of Brother Bao, Ronan made a special note on the project, instructing Connie to forward it to Uwe Boll later. If Uwe Boll was interested, he could negotiate with the female producer to acquire the game adaptation rights.

Of course, the price would have to be reasonable.

Ronan was confident that Uwe Boll could produce this so-called fifty-million-dollar game adaptation for just five million dollars.

Who knew? It might even turn out to be more entertaining that way.

Just before the end of the workday, Robert Li returned, holding a book in his hands.

“Marvel Entertainment just sent this over. It’s a preview copy of the Kingsman comic,” Robert Li said, placing the book on Ronan’s desk. “It’s set to be published in October.”

Ronan picked it up and flipped through it briefly. “Mark Millar and Marvel work fast,” he remarked.

To secure the film and television adaptation rights for Mark Millar’s Kick-Ass comic, Ronan had agreed to grant Mark Millar the adaptation rights for the Kingsman comic, with the condition that the comic be published by Marvel Entertainment.

The relevant negotiations had already been concluded, and the adaptation rights for Kick-Ass were now in Shai Entertainment’s hands.

What surprised Ronan was how quickly Mark Millar had produced the comic.

Robert Li had only brought the first issue, but the setting had been completely changed to a British theme. The secret agent organization had been reimagined as something akin to the Knights of the Round Table from the legend of King Arthur.

Kingsman seemed to have returned to its original intended path, with the agents once again embodying the archetype of the British gentleman.

Of course, only on the surface.

What truly defined the traditional British gentleman? Speaking of honor and virtue while plundering and pillaging across the globe.

That was the essence of British aristocratic style.

After briefly skimming through the comic, Ronan commented, “Not bad. The setting makes a lot more sense than the film we made.”

Robert Li added, “Our film was made to attract Arab investors, so many aspects of the setting weren’t very logical.”

In his eyes, making Arabs the protagonists and the heroic figures was the most illogical part of all.

Chapter 803: Disney’s Collaboration

“Hello, Mr. Anderson.”

In the reception room of Relativity Tower, a bald man wearing gold-rimmed glasses enthusiastically shook Ronan’s hand. “It’s a great honor to meet you.”

Ronan smiled and said, “Hello, Verratti. Bob has mentioned you.”

This man named Verratti was a colleague of Robert Iger during his time at Disney and currently served as the president of Disney Parks.

According to Robert Iger, Verratti was a staunch supporter of Michael Eisner’s faction.

Sure enough, Verratti continued, “Mr. Anderson, I bring greetings from Mr. Michael Eisner.”

Ronan maintained his polite smile without showing any reaction. “I’ve had several dealings with Mr. Eisner. He left a deep impression on me—a true management expert with a hands-on spirit.”

Verratti politely replied, “Mr. Eisner also greatly admires Mr. Anderson.”

Ronan didn’t believe a word of it. He had indeed dealt with Michael Eisner before, but none of those interactions had been particularly pleasant.

For instance, Michael Eisner had once criticized Johnny Depp’s portrayal of Captain Jack Sparrow.

Of course, there hadn’t been any sharp conflicts between them.

Over the past two years, Walt Disney had been unstable internally, with Michael Eisner’s energy primarily focused on Roy Disney.

Ronan was somewhat curious about Verratti’s purpose but didn’t rush him. “Mr. Eisner single-handedly transformed Disney from a simple film studio into the entertainment media conglomerate it is today. It’s truly remarkable. Without him, Disney would likely have been swallowed up by others long ago.”

Verratti said, “Mr. Eisner believes that for Disney to continue its rapid development at this stage, it must collaborate with dynamic companies like Relativity Entertainment.”

“It would be an honor for Relativity Entertainment to work with Disney,” Ronan deliberately lowered his stance slightly. He did have plans for Disney, and Verratti’s visit could be seen as both an internal drive within Disney and an external factor. Robert Iger had already done a lot of work between Michael Eisner and Roy Disney. Ronan added, “Strong alliances and win-win development have always been the principles Relativity Entertainment upholds.”

Robert Iger had been at Disney for many years and had certain advantages that Ronan lacked. Now that Verratti had come to him, it was clear that Robert Iger’s efforts were paying off. Ronan naturally couldn’t lag behind.

Verratti also understood that these words sounded nice, but ultimately, the relationship between companies was determined by interests.

“By the way,” Verratti smiled and said, “Mr. Anderson, I haven’t congratulated you yet on the massive box office success of Pirates of the Caribbean: Dead Man’s Chest. This film has repeatedly broken North American box office records, and the overseas box office has been equally impressive.”

Ronan modestly replied, “Thank you. It’s all thanks to the audience’s love.”

Pirates of the Caribbean 2 was released globally simultaneously. The first film, The Curse of the Black Pearl, had already been a huge success worldwide, and Johnny Depp had created the beloved character of Captain Jack Sparrow. When the second film was released, the overseas markets responded with equal enthusiasm.

Embassy Pictures had made ample preparations in terms of promotion and distribution. The total budget for production and marketing for the second film reached three hundred million dollars.

The substantial investment also brought high returns.

Apart from North America, Pirates of the Caribbean 2 was simultaneously released in nearly fifty countries and regions. Captain Jack Sparrow’s charm was irresistible, and the overseas box office for the opening weekend alone exceeded two hundred and fifty million dollars.

This also set a new record for the highest global weekend box office for a single film.

Verratti then said, “Yes, the audience loves this movie so much. Mr. Eisner specifically asked me to convey his apologies. His previous remarks were too rash.”

Ronan appeared very magnanimous, waving his hand. “It’s fine. To be honest, when Johnny Depp’s look first came out, it startled me too.”

At this, he couldn’t help but laugh, and Verratti laughed along.

It seemed that all previous unpleasantness had dissipated in the laughter.

Verratti flattered, “Pirates of the Caribbean series has all the elements of a successful Hollywood commercial film—beautiful women, handsome men, explosive scenes, a tight story, and dazzling special effects. No matter how you look at it, making a pirate movie like this is already the greatest success.”

Ronan first nodded, then added, “Actually, the movie’s greatest success isn’t the box office but the global influence it has brought, laying a solid foundation for market operations beyond the theaters.”

Hearing Ronan’s deliberate words, Verratti’s heart stirred, and he tentatively asked, “Mr. Anderson, how much has the first Pirates of the Caribbean film earned in ancillary revenue?”

“Sorry, that’s a company trade secret,” Ronan immediately put on a candid demeanor. “But since Disney and I are old friends, I can roughly disclose that in the two years since its release, the offline profits are about six times the online profits.”

He shrugged. “It’s a bit of a shame. Relativity Entertainment’s merchandise channels are still not perfect; otherwise, the profits would be even higher.”

Verratti felt the timing was right and took the opportunity to say, “Mr. Anderson, have you considered collaborating with Disney on the Pirates of the Caribbean series?”

Ronan immediately showed a guarded expression. “Collaborate with Disney? How?”

Seeing the obvious wariness on Ronan’s face, Verratti knew that Relativity Entertainment would never easily collaborate with others, allowing them to share the profits of the Pirates of the Caribbean series.

Any film company would do the same.

Verratti didn’t want to create a preconceived notion due to his words, so he patiently said, “Please don’t misunderstand. Disney’s proposal won’t harm any of Relativity Entertainment’s profits. Instead, it will help Relativity Entertainment further expand the Pirates of the Caribbean series’ offline channels and increase merchandise profits.”

There was no such thing as a free lunch in this world. Ronan directly and bluntly asked, “How does Disney want to collaborate?”

Walt Disney also operated film projects and was well aware of the taboos among peers. Verratti had come prepared: “The Pirates of the Caribbean series’ current investment, filming, production, and online and offline merchandise operations—Disney won’t touch or interfere with any of these.”

Ronan looked at Verratti, waiting for him to continue.

Verratti brought out his trump card: “Disney is very sincere about this collaboration. Mr. Anderson, are you familiar with Disney Town?”

Ronan slightly nodded. “Yes, the shopping area adjacent to Disneyland.”

“Disney can allow Pirates of the Caribbean series merchandise to enter Disney Town,” Verratti believed this would surely move Ronan and Relativity Entertainment. “Similarly, Disney can also allow Pirates of the Caribbean series merchandise to enter Disney’s self-operated stores worldwide.”

He added, “Your products will receive the same treatment as Disney’s products, and Disney will only charge a small management fee.”

This sincerity seemed truly impressive, and Ronan found it hard to fault.

Disney Town and Disney’s self-operated stores were among the hottest channels for selling movie and animation merchandise.

Especially Disney Town, which was adjacent to Disneyland.

Apart from the United States, Disneyland was not self-operated but managed through outsourcing. Among the overseas Disneylands, only Japan’s Disneyland was truly profitable; the others were in the red on paper.

But Walt Disney itself was not losing money. The various products in Disney Town had incredibly high profits.

In addition, there were themed hotels.

Like the Toy Story hotel, for example.

At this thought, Ronan couldn’t help but shake his head inwardly. Even someone as shrewd as Steve Jobs had to sign a contract that was extremely unfavorable for long-term development just to secure the company’s survival.

Ronan seemed tempted, but in all of Hollywood, who wouldn’t be tempted by Disney’s merchandise sales channels?

But with such favorable conditions, Disney was offering them so easily to Relativity Entertainment?

Although Disney had sent someone to their door, it was the result of the Disney plan that Ronan and Robert Iger had been working on. This sincerity was unexpected.

The greater the sincerity, the bigger the potential pitfall.

Ronan didn’t beat around the bush. Looking at Verratti, he directly asked, “What are the conditions? Disney won’t give Relativity Entertainment such good conditions for free, will they?”

“Collaboration must be win-win. That’s also Disney’s principle,” Verratti knew that this sincerity was very appealing. “Mr. Anderson, Disney plans to expand its global Disneyland parks, adding some new entertainment projects. If Pirates of the Caribbean series merchandise enters Disney’s sales channels, and there are related Disneyland entertainment projects to complement it, sales will surely be explosive.”

The words sounded too good, pleasant to the ear.

Ronan didn’t get carried away and calmly said, “As far as I know, Disneyland already has a Pirates of the Caribbean entertainment project.”

Verratti said, “But that’s not Captain Jack Sparrow’s Pirates of the Caribbean.”

The reality was that when the first Pirates of the Caribbean film was released, it did boost the related entertainment project in the park in the short term, but visitors quickly lost interest because many people played this project precisely because of Captain Jack Sparrow’s Pirates of the Caribbean.

Disneyland could work on the Pirates of the Caribbean project but couldn’t involve the movie. Once it involved copyright infringement, it would be equally troublesome, especially when the copyright holder was a major company in the industry.

Over time, visitors became very dissatisfied with the park’s “Pirates of the Caribbean.”

Walt Disney had two internal choices: phase out the related entertainment project from the park or obtain authorization.

Roy Disney chose the former, while Michael Eisner naturally chose the latter.

Chapter 804: Like a Fish in Water

Ronan didn’t need Verratti to say much to guess that Disneyland’s desire to collaborate with Relativity Entertainment on developing a Pirates of the Caribbean entertainment project was undoubtedly driven by Michael Eisner.

Walt Disney was neither the Disney of the Disney family nor Michael Eisner’s Disney. The company’s shares were far more dispersed than most people imagined.

Whether it was Michael Eisner or Roy Disney, to win the Disney civil war, they ultimately needed the support of the majority of shareholders. Most shareholders cared about one thing—who could bring them greater returns on their investments.

Roy Disney had been working on internal potential, with Disney’s classic animated films continuously releasing new DVD versions—his doing. But in business operations, Michael Eisner was undoubtedly more skilled. Over the past twenty years at Disney, he had focused on increasing revenue through new content.

Strictly speaking, Michael Eisner’s successor, Robert Iger, whom Roy Disney had brought in, followed the same path. During that time, Walt Disney successively acquired Pixar, Marvel Comics, Lucasfilm, and reclaimed Hulu’s shares, continuously stacking new content to make Walt Disney the top giant in Hollywood.

Ronan understood Disney’s current dynamics and, combined with his past memories, could easily discern Michael Eisner’s intentions. Frankly, such a collaboration was more beneficial than harmful for Relativity Entertainment.

Verratti added, “Of course, Disneyland will pay the relevant licensing fees. We can proceed with an upfront buyout or a backend revenue share.”

Ronan nodded slightly. “I can sense Disney’s sincerity.”

Verratti looked at him and said, “I hope we can reach an agreement soon.”

After a moment’s thought, Ronan said, “I’d like to speak with Michael personally.” He paused briefly before continuing, “Next week, Tom Cruise and I are hosting a charity gala to support ALS research. Please convey to him that if he has time, Tom and I would welcome his attendance.”

Verratti replied, “I will.”

Ronan pressed the intercom beside him and instructed Connie, “Prepare two invitations for the charity gala.”

“Regarding the Disney and Relativity Entertainment collaboration?” Verratti asked.

Ronan smiled. “You’ll have to give me some time to consider, won’t you?”

Verratti quickly responded, “No problem.” He then took the opportunity to excuse himself, “Mr. Anderson, you’re welcome to visit Disney anytime.”

Ronan, however, said, “If our collaboration succeeds, Disney might not welcome me.”

“It certainly will,” Verratti assured. “Disney won’t change in that regard.”

Ronan didn’t say more. When Connie brought the invitations, he shook hands with Verratti and personally saw him out of the reception room. Ronan had always been impeccable in basic etiquette.

Back in his office, Ronan called Robert Iger, who was in San Francisco, and they exchanged opinions. Over the past two years, Michael Eisner had become more conservative compared to his earlier reforms and aggressive strategies.

But now, actively seeking collaboration was partly due to the long-term efforts of Robert Iger’s team and partly due to the immense pressure they felt. This pressure came from Roy Disney and, more precisely, from Disney’s shareholders.

Within Disney, many shareholders were dissatisfied with the current state and began to lean toward supporting Roy Disney. At the end of last year, during Walt Disney’s shareholder meeting, Roy Disney chose to remain patient, likely aiming to secure more shareholder support for a decisive battle.

According to Robert Iger’s understanding and speculation, this year’s Disney shareholder meeting might become the decisive battleground between Roy Disney and Michael Eisner. Based on personal impressions, the kind and stable Roy Disney and the arrogant and volatile Michael Eisner would generally receive support for the former.

But corporate matters were far more complex. For Relativity Entertainment, the primary consideration for Ronan and Robert Iger was how to maximize profits from Disney’s internal strife. This had nothing to do with justice or personal temperament but was determined by the nature of capital.

After the Independence Day holiday, The Bourne Ultimatum had been screening for ten weeks, and its North American box office had surpassed the $350 million mark, reaching a total of $362.57 million, making it the highest-grossing film in the series.

The film’s global box office also exceeded $600 million. While the box office alone didn’t seem to match the film’s reputation and acclaim, The Bourne Identity had higher offline playback revenue.

For the first two Bourne films, Relativity Entertainment’s income from DVD rentals and sales far exceeded the box office share. These two films had already secured three annual rental championships in the North American film market.

Another film released by Relativity Entertainment in May, the animated feature previously translated in the East as Despicable Me, had been screening for seven weeks, with a North American box office of $235.89 million and a global box office exceeding $400 million.

Shai Entertainment Animation Studio had made a name for itself worldwide with its first animated feature. Previously, more audiences knew Peppa Pig but had no idea about the production company behind it.

Compared to regular animated films, animated features provided stronger promotion for animation studios. Ronan was considering whether, at an appropriate time in the future, he should spin off the animation studio from Shai Entertainment to become an independent company.

This would require further discussion with Robert Iger and George Clint. Compared to the steady performance of these two films, Mr. & Mrs. Smith was like a tornado—coming in with a roar and leaving without a trace.

The momentum came fast and went fast. The film itself wasn’t bad, but it wasn’t particularly good either. The reason for such attention and sensation was obvious to everyone.

The film broke the $100 million mark in North America in just one week, and after the Independence Day holiday, the North American box office exceeded $200 million. However, as Jennifer Aniston fell completely silent, the film’s popularity quickly waned, and its screening rate in theaters began to plummet.

Based on market feedback, Relativity Entertainment internally estimated that Mr. & Mrs. Smith would struggle to surpass $250 million in North America, with a global box office of around $500 million.

Even so, the film was still a commercial success. As the male and female leads, Brad Pitt and Angelina Jolie were incredibly popular. Despite the scandal, film crews and producers still flocked to them, eager to work with them.

Hollywood was a relatively pure business circle, and the standard for measuring an actor’s value had little to do with morality. As long as they could make producers a lot of money, even if they cheated, they could still be the leads in major productions.

Not to mention others, but Clint Eastwood, a typical hardline right-wing figure in Hollywood, a Texan redneck in California, still thrived in Hollywood, the largest left-wing stronghold in the U.S. The reason was simple—Clint Eastwood’s films always made investors, producers, and distributors a fortune.

A new weekend arrived, and Pirates of the Caribbean: Dead Man’s Chest had also passed its second weekend in North American theaters. Before the weekend, the film’s North American box office had easily surpassed $200 million.

This weekend, no film in North America could rival Pirates of the Caribbean 2, allowing the film to maintain a stable trend and continue raking in money at the box office.

The second weekend box office for Pirates of the Caribbean 2 dropped by just over fifty percent from the first weekend, earning $75.21 million over the three-day weekend in North America. Including the previous four weekdays, the North American box office totaled $281.2 million.

After just ten days of release, the film’s North American box office was approaching the $300 million total cost line. Meanwhile, Pirates of the Caribbean 2 continued to dominate overseas theaters, from Europe to Latin America, from Asia to Australia. Over eighty countries and regions worldwide had begun screening this annual blockbuster.

The first Pirates of the Caribbean had cultivated many fans, which became the foundation for the second film’s success. Even with the first film’s success, Embassy Pictures still spent over $100 million on global promotion and marketing. The massive success of Pirates of the Caribbean 2 was also a typical example of successful promotional marketing.

The overseas total box office for Pirates of the Caribbean 2 currently stood at $351.27 million. Conservative estimates suggested the North American box office would reach around $480 million, with the global box office potentially hitting $1.1 billion.

More popular than the film itself was Captain Jack Sparrow. During the film’s overseas promotional tour, at the Tokyo stop, Johnny Depp was surrounded by frenzied Japanese fans in Ginza, with tens of thousands of people packed so tightly that he was trapped for three hours before escaping.

Rumors had it that Johnny Depp was in a sorry state, with some private parts swollen from being pinched by the frenzied Japanese girls. But the next day, Johnny Depp, disregarding his bodyguards’ objections, continued to sign autographs for his frenzied Japanese fans.

Without exaggeration, Johnny Depp was always the best captain in front of his fans.

Chapter 805: Messi

Celebrities always prefer to show their best side to the public, which means they need to be packaged. There are many ways to do this, and charity is one of the most common and effective methods.

On an ordinary afternoon, a large number of entertainment and social news reporters began to gather in front of the Ritz-Carlton Hotel in Beverly Hills. By the time the sky darkened slightly, the number of reporters and cameramen on the red carpet had exceeded three hundred.

Tom Cruise, as the host of tonight’s charity gala and the founding ceremony of the ALS Charity Foundation, was the first to walk the red carpet and enter the hotel.

The dashing Tom Cruise caused a flurry of camera flashes, almost creating a perpetual spotlight in the media area.

When Tom Cruise entered the media area, he was surrounded by reporters.

Some reporters even asked very sharp questions, such as about Nicole Kidman and questioning his charitable actions.

Even though Tom Cruise had already contributed a lot materially to ALS patients, there would always be media outlets filled with infinite malice.

In the eyes of these media outlets, no matter what you do or how many people you help, your initial intentions are always wrong.

Facing such media, no one can convince them. The best way is to ignore them.

Ronan did not walk the red carpet at all. When the sky darkened, he entered the hotel through the side door.

The founding ceremony of the ALS Charity Foundation was simple. According to Tom Cruise, all the funds raised by the foundation would be used to help ALS patients.

Ronan donated two million dollars in his personal name and another two million dollars in the name of Relativity Entertainment.

“Thank you.” Tom Cruise walked around the room, occasionally raising a glass with someone: “Thank you for your support of charity.”

Will Smith found Ronan and said, “Guess who I just saw?”

Ronan curiously asked, “Who? Could it be the big shot from Scientology?”

Will Smith shrugged and said, “I saw Nicole Kidman. She donated five hundred thousand dollars.”

“Indeed.” Ronan sighed lightly: “Tom will probably never escape the fate of being relentlessly dredged up.”

Will Smith said, “Unless one day Nicole Kidman’s career completely surpasses Tom’s.”

Ronan directly asked, “Do you think that’s possible?”

Will Smith shook his head: “Originally there was hope, but ‘Bewitched’ failed, and Nicole Kidman did not escape the Oscar curse.”

At this moment, someone approached. Connie, who had been standing behind Ronan, whispered, “Paul Allen from Microsoft is coming over.”

Ronan looked ahead and saw Paul Allen wearing glasses, his hair graying, accompanied by a very beautiful woman. Judging by her figure and the way she walked, she was probably a female model or had received model training.

“Good evening, Mr. Anderson.” Paul Allen took the initiative to shake hands with Ronan.

Ronan politely responded, “Good evening. It’s nice to see you again.”

The two had met once before at Spielberg’s party. Paul Allen was a major shareholder of DreamWorks.

Paul Allen also greeted Will Smith and introduced, “This is my girlfriend, Laura Harring.”

Ronan smiled and nodded, “Good evening.”

Although both were major shareholders of Microsoft, Paul Allen’s low-key private life was completely different from Bill Gates’. Paul Allen was a playboy, and the speed at which he changed girlfriends was no less than Leonardo’s.

After Laura Harring politely responded, she half-jokingly said, “Strictly speaking, Mr. Anderson is my boss.”

Ronan was surprised: “You work at Relativity Entertainment?”

Laura Harring smiled and said, “I participated in the filming of ‘Gossip Girl’ and signed a long-term contract with Shai Entertainment.”

Ronan nodded slightly: “This drama will soon be available on Netflix Streaming Media. I’m looking forward to your performance.”

“Thank you.” Laura Harring said.

Paul Allen took over the conversation: “Mr. Anderson…”

“Ronan.” Ronan emphasized: “Call me Ronan.”

Paul Allen nodded slightly and said, “Ronan, Netflix Streaming Media is about to be released next week. The shares you put out for fundraising are too few.”

Ronan asked, “Allen, are you also interested in investing in Netflix?”

“Very interested. I have high hopes for Netflix’s future.” Paul Allen did not hide it and was very direct: “I contacted Goldman Sachs a bit late, so it’s hard to get a satisfactory amount of shares. Ronan, how about we make a deal?”

Ronan said, “Netflix is about to go public. Private transactions are very sensitive.”

Paul Allen obviously had some considerations: “After Netflix is listed, no matter what the market price is, I will buy ten percent of your shares at a price ten percent higher than the market price.”

Ronan smiled and said, “Paul, thank you very much for your appreciation.” He tactfully declined: “But the current situation is very delicate, and I cannot make any promises.”

Paul Allen was a smart man and understood Ronan’s meaning. Although he was very interested in Netflix, it was not a must for him. After all, at his level, there were many investment channels.

“If Netflix Streaming Media needs to continue fundraising, remember to notify me.” Paul Allen said, “Within three years, what I just said is valid.”

Ronan said, “If Netflix fundraises again, I will definitely notify you.”

The two men, one a current billionaire and the other a recognized future billionaire, discussed things that Will Smith and Laura Harring could not interfere with.

Paul Allen said goodbye and left to find Spielberg.

Will Smith saw Charlize Theron and said, “I’m going to catch up with the South African beauty.”

Ronan turned his head and whispered, “Michael Eisner isn’t coming?”

Connie whispered through the earpiece, “He probably won’t come. His wife is representing him.” She listened for a few more sentences: “Michael Eisner went to New York a few days ago and hasn’t returned yet.”

Ronan was not surprised. Such things could not go smoothly.

Then, Ronan went to chat with Tom Hanks. The project ‘The Da Vinci Code’, in which Shai Entertainment held a forty-nine percent investment, had been progressing slowly.

“It has already started post-production.” Tom Hanks said seriously: “We encountered many problems during filming. Many religious groups protested, and some municipal institutions refused to provide venues, so it took a bit longer.”

Ronan understood the sensitivity of the film’s subject matter and said, “Being able to complete the filming is a victory. You and Director Howard have worked very hard.”

Tom Hanks showed a simple smile: “If post-production goes smoothly, ‘The Da Vinci Code’ can still make it to this year’s Christmas schedule. If there are difficulties, it will have to wait until next year to be released.”

Both Tom Hanks’ company and Relativity Entertainment had invested heavily in this project, so Ronan said, “Don’t rush. Give Director Howard enough time for post-production.”

Tom Hanks was not embarrassed and said, “The time cost pressure is very high. Ronan, I’m not like you, with a huge amount of funds. My investment comes from loans, and every extra day means an extra portion of interest.”

Ronan smiled and said, “You can let Shai Entertainment bear more pressure.”

Tom Hanks just smiled. His smile was simple, yet innocent, as pure as Forrest Gump.

Ronan did not say much more. After all, according to the cooperation agreements for ‘The Da Vinci Code’ and ‘Mamma Mia!’, Shai Entertainment had taken a big advantage.

However, the filming and production speed of ‘Mamma Mia!’ was faster, and it could be released in a few months.

After chatting with Tom Hanks for a few more sentences, Connie suddenly came over.

Ronan knew there was an urgent matter and said, “Tom, let’s talk later.”

Tom Hanks also saw Connie and said, “You go ahead.”

Seeing Ronan coming over, Connie stepped forward and whispered, “Manchester United’s official website just released a transfer announcement.” She detailed, “Manchester United has officially reached an agreement with Barcelona. Iniesta and Leo Messi have officially transferred to Manchester United.”

Ronan instantly became interested: “Great! Finally done!”

Connie whispered, “Because the cost is high enough, Iniesta’s transfer fee is forty million euros, and Leo Messi’s transfer fee is also thirty-five million euros.”

Ronan was not surprised. To secure these two, they had to satisfy Barcelona’s appetite.

Connie added, “Additionally, to impress Leo Messi’s family, Manchester United also paid his father an eight million euro bonus.”

Will Smith also came over and said, “The entire European football world thinks we’re crazy, spending such a huge amount on a young player who hasn’t proven himself yet.”

Ronan smiled and said, “Our Manchester United is just that crazy!”

Will Smith asked concernedly, “Are you sure these two can adapt to the Premier League and Manchester United?”

Ronan slightly shrugged: “I’m not sure.”

Will Smith was instantly speechless. These two were not the choices of head coach Ferguson but were transfer targets personally chosen by Ronan. Due to the success of last year’s transfers, Ferguson did not say anything.

Ronan indeed could not guarantee. Iniesta was fine; he had been a core member of the Spanish dynasty outside of Barcelona.

Leo Messi’s glory had almost all been in Barcelona. No one knew what would happen if he changed teams.

But Ronan believed that a player of Messi’s caliber, even if he changed to another team and another league, would still achieve great success.

Perhaps it might not be as good as in Barcelona, but he would still be a great player.

Even if he really couldn’t perform, it would still be beneficial for Manchester United’s future competition in European tournaments.

Ronan chatted with Will Smith for a few sentences and asked, “Where is Charlize Theron?”

Will Smith said, “That little actress named Candice seems to have something to find her. They went somewhere else.”

Ronan asked, “Candice Swanepoel is also here?”

Chapter 806: The Master

“Hello, Candice, do you remember me?”

In a corner of the banquet hall, Alison Mack, with her ear-length short hair, gently shook hands with Candice Swanepoel. “We met at the Dead or Alive audition.”

Candice Swanepoel said, “I remember. You were in Superman Returns.”

Alison Mack smiled. “I had to leave in a hurry after the audition, so I didn’t get a chance to congratulate you on landing the role.”

In truth, she had taken notice of Candice Swanepoel back then. Young actresses with outstanding looks and ambitions always had potential to exploit.

As soon as she entered the banquet hall tonight, Alison Mack spotted Candice Swanepoel among the crowd of beautiful men and women.

First, she was tall, especially in heels. Second, her figure was stunning—slender and model-like, yet far from the typical gauntness of models, with curves in all the right places.

Alison Mack was certain her master would be pleased and would reward her for this.

Of course, all of this hinged on first luring the girl to the organization’s venue and then gradually brainwashing her.

With her master’s charm, it would only be a matter of time before she was won over.

Candice Swanepoel had matured quickly over the past few months, but she was still just a girl under eighteen. Alison Mack’s warmth and friendliness made her feel welcomed, as if she had found someone like Charlize Theron.

“Thank you,” Candice Swanepoel said sweetly. “It was just a small role.”

Alison Mack was warm. “Don’t worry. Everyone starts with small roles. Candice, your starting point is already high. You’re working with a company like Relativity Entertainment, which guarantees success.”

Candice Swanepoel smiled. “It’s mostly thanks to Charlize Theron’s help. Otherwise, I wouldn’t have gotten the role.”

At the mention of Charlize Theron, Alison Mack hesitated for a moment but then dismissed it—she was just a South African actress, nothing to worry about.

Such actresses were far from the level of someone like Tom Cruise and posed no threat to her master.

Alison Mack had also climbed the ladder from small roles, so she understood the struggles of newcomers. She deliberately said, “It’s tough for newcomers. There are always many difficulties.”

“Yes,” Candice Swanepoel agreed. “Only after joining the crew did I realize how fierce the competition is, how much pressure there is. It’s like everyone is an enemy.”

Alison Mack played along. “To make it in Hollywood, you need more than just acting skills. Mental strength is just as important. Many newcomers crumble under the pressure when their big break comes.”

Candice Swanepoel admitted shyly, “The pressure is really getting to me. I’ve had trouble sleeping a few nights.”

“That serious?” Alison Mack asked with concern. “Candice, you need to take it seriously.”

Candice Swanepoel smiled. “I’m working on adjusting myself.”

Alison Mack said, “Self-adjustment isn’t enough. You also need external guidance. I know a master of human psychological dynamics who has coached many Hollywood actors and stars. If you don’t mind, I can introduce you.”

Candice Swanepoel quickly replied, “That would be too much trouble for you.”

Alison Mack smiled. “It’s no trouble at all. Just a phone call.”

She continued, “This master is a super genius with achievements in multiple fields. He taught himself high school math in just nineteen hours and holds three Ivy League doctorates. He’s a recognized expert in the industry.”

To someone like Candice Swanepoel, who had been training in acting and modeling since her early teens, this person was undoubtedly a true prodigy.

Candice Swanepoel said, “He sounds impressive.”

Alison Mack’s face was warm with a smile, but inside, she sneered. These young girls dreaming of stardom were always so easy to deceive.

Her master only took in a few exceptional people each year. Just look at San Fernando Valley—how many beautiful, struggling actresses had they lured in?

Of course, following her master was a privilege, not a deception.

To receive her master’s grace, to bear his mark in private—these were honors most people couldn’t even dream of.

Alison Mack continued, “This master is dedicated to women’s rights, helping them overcome psychological and emotional barriers to achieve self-realization.”

Candice Swanepoel was tempted. “I wonder when he has time?”

Alison Mack probed, “Anytime. If you’re free tonight, I can call and ask.”

Every slave’s training took time. The first meeting wouldn’t involve anything extreme—just psychological counseling.

Alison Mack took out her phone. “I’ll call now. If he’s not available, we can find a more private place to talk.”

“I…” Candice Swanepoel hesitated but, seeing Alison Mack’s warm and kind smile, finally said, “I need to say goodbye to my companion first.”

Alison Mack said, “No problem.” She pointed toward the entrance of the banquet hall. “I’ll wait for you there.”

Candice Swanepoel left to find Charlize Theron.

In the young girl’s eyes, Charlize Theron was more like a Hollywood mentor than a friend. Their relationship was destined to remain professional.

Candice Swanepoel needed friends, and Alison Mack, whom she had just met, fit the bill perfectly—a friend for a girl far from home.

“I recently went to Germany for an event,” Charlize Theron said near the banquet hall’s terrace, chatting with Ronan. “Promoting the South African World Cup—I’m the ambassador for it.”

Ronan smiled. “It seems we share a passion for sports. Football is full of charm.”

Charlize Theron was honest. “I’m just helping South Africa with promotions. I don’t really understand football itself. I’ve watched fewer football matches than NFL games.”

Ronan invited, “You’re welcome to watch a game at Old Trafford anytime.”

“The Theater of Dreams,” Charlize Theron said, feeling sentimental about her homeland. “Ronan, could you arrange for the South African Football Association to hold a few events at the Theater of Dreams?”

Before Ronan could answer, Candice Swanepoel approached.

“Hi, Ronan,” Candice Swanepoel greeted him first.

Ronan smiled and nodded. “Good evening, Candice. You look stunning tonight.”

Candice Swanepoel politely replied, “Thank you. You look very handsome too.” After exchanging pleasantries with Ronan, she turned to Charlize Theron. “A friend invited me out to chat.”

Charlize Theron nodded. “Go ahead, but don’t stay out too late.”

“Okay,” Candice Swanepoel smiled. “I’ll be back soon.”

Just as she was about to leave, Charlize Theron casually asked, “A male friend?”

“No,” Candice Swanepoel saw no need to lie to Charlize Theron. “A woman. Alison Mack, who was in Superman Returns.”

Charlize Theron said, “Go ahead.”

When Ronan heard Alison Mack’s name, he instantly recalled what Tom Cruise had told him. At the highest levels of the industry, Hollywood’s secrets weren’t really secrets.

“Candice,” Ronan suddenly interjected. “Is Alison Mack trying to recommend some kind of psychological or other master to you?”

Charlize Theron was taken aback, not understanding why Ronan would ask such a thing.

Candice Swanepoel laughed. “You guessed right. Alison wants to introduce me to a master of human psychological dynamics.” Her voice wasn’t loud, but her American accent was clearer than before. “Ever since I joined the crew, the pressure has been getting to me. I’ve been having trouble sleeping lately. Alison says this master—”

From the moment she heard the word “master,” Charlize Theron was on high alert. With over a decade of experience in Hollywood, she knew that any “master” outside the film industry was rarely legitimate—most were anything but good.

She knew Ronan wouldn’t ask such a question without reason. She asked directly, “Ronan, is there something special about Alison Mack and this master?”

Candice Swanepoel looked at Ronan, then at Charlize Theron, not quite understanding their meaning.

Ronan glanced at Candice Swanepoel. It would be a shame for such a girl to be tricked into that world.

With her near-perfect figure—full chest, slender waist, and long legs—Candice Swanepoel surpassed Charlize Theron in looks alone.

Ronan felt he had to do the right thing and stop Candice Swanepoel from walking into a trap.

“Well,” Ronan said carefully, “I’ve heard of Alison Mack and the master she mentioned. They’re probably in a master-slave relationship.”

Charlize Theron had heard of all kinds of bizarre things in Hollywood and immediately understood what Ronan meant.

Candice Swanepoel was too shocked to speak. “Master and slave?”

Ronan nodded slightly. “Not just that. The slave also helps the master find and train new slaves.”

Candice Swanepoel’s mouth fell open. “That… that’s ridiculous.”

She didn’t doubt Ronan was lying. Given his status, there was no reason for him to deceive her—she had nothing worth lying about.

Chapter 807: The Difference Between Good and Evil

Meanwhile, Alison Mack did not wait for Candice Swanepoel. Instead, at the entrance of the banquet hall, she encountered a security guard in a black suit.

“Ms. Mack?” The man in the black suit was polite and courteous.

Alison Mack was surprised and nodded. “I am. May I ask—”

The security guard cut her off. “Please leave the banquet hall. Ms. Swanepoel is a friend of Relativity Entertainment. Don’t play with fire.”

Hearing this, Alison Mack was taken aback. She first glanced at the security guard, then quickly searched for Candice Swanepoel.

Due to her height and proximity, Alison Mack soon spotted Candice Swanepoel.

The tall, beautiful girl from South Africa was glaring at her with fury.

Candice Swanepoel was just a girl from South Africa chasing her dream of stardom. Alison Mack didn’t care about her opinions, or she wouldn’t have approached her in the first place.

Even Charlize Theron, standing beside Candice Swanepoel, was of no consequence when facing Alison Mack’s master.

But the man who maintained a polite smile throughout made Alison Mack’s heart grow cold, even instilling a sense of fear in her.

It was Ronan Anderson, a man worth billions even without Netflix going public, one of the top figures in the industry.

Such a person was not someone she or her backers could afford to provoke.

Alison Mack’s master had been active for years without causing any major trouble, precisely because he never provoked those he couldn’t afford to offend.

This principle was also reflected in Alison Mack’s actions.

In this country, money represented too much.

Alison Mack quickly said, “Please convey my apologies to Mr. Anderson. I didn’t know Ms. Swanepoel was his friend.”

Recalling the rumors about Anne Hathaway and Scarlett Johansson in the industry, Alison Mack had a hunch. Forget about herself—even if her master came personally, he wouldn’t dare to compete with Ronan Anderson.

Alison Mack didn’t dare to stay any longer. She left the banquet hall in a slight panic.

Originally, Candice Swanepoel had believed nine out of ten words Ronan and Charlize Theron said. Seeing Alison Mack’s demeanor as she left, she immediately realized she had indeed been treated as prey.

Sadly, she had almost fallen into this not-so-clever trap.

The security guard found Finch and whispered a few words to him. Finch relayed Alison Mack’s message to Ronan, then discreetly retreated to an inconspicuous corner.

Candice Swanepoel felt a pang of fear. If she had left with Alison Mack tonight, would she have been…

She didn’t dare to think further.

“I…” Candice Swanepoel said with some embarrassment, “I was so stupid.”

Charlize Theron reminded her, “Dear, this is a lesson learned.”

This made Candice Swanepoel even more embarrassed.

Ronan then said, “It’s because Ms. Swanepoel has a pure heart and treats people with sincerity.”

These words matched Candice’s name, making her feel a little better. She forced a smile. “Ronan, call me Candice. That’s what my friends call me.”

Ronan nodded slightly and glanced at Charlize Theron. “Sally is right. No one can guarantee that everyone in Hollywood is as good as us.”

Charlize Theron sighed inwardly. Given Ronan’s status and the way he treated people, even those who knew many rumors about him found it hard to feel any dislike.

In comparison, the person in her own family—let alone ability—couldn’t even handle the psychological imbalance caused by an Oscar statuette for Best Actress.

The difference between people was truly vast.

Candice Swanepoel’s goodwill toward Ronan surged. She quickly said, “I will take this as a lesson.”

Perhaps Ronan’s words had dispelled the awkwardness. The forced smile on Candice Swanepoel’s face finally turned into a sweet one. “Thank you, Ronan.”

“You’re welcome.” Ronan wasn’t just being polite; he was sincere. “This gala is organized by Tom and me. We have the responsibility and duty to ensure the safety of every guest.”

As for Alison Mack and the flies behind her, Ronan couldn’t be bothered. He had already warned them. If they caused trouble in front of him again, he would expose them to the light.

The Department of Justice was always interested in such cases, and the media even more so.

Candice Swanepoel seemed to have more to say. “Ronan, I…”

But for a moment, she didn’t know what to say.

Ronan waved his hand. “No need to thank me. Sally, Candice, let’s talk another time.”

Charlize Theron smiled and said, “You go ahead and attend to your business.”

Candice Swanepoel smiled and said goodbye to Ronan, her gaze following his retreating figure.

Charlize Theron checked her wristwatch and said, “It’s getting late. Let’s go back.”

Candice Swanepoel withdrew her gaze and said, “Okay.”

The two left the banquet hall and arrived at the hotel entrance. Just as they were about to get into Charlize Theron’s car, Alison Mack suddenly appeared from the side.

Charlize Theron instinctively shielded Candice Swanepoel behind her, watching Alison Mack warily.

The driver got out of the car and stood in front of them.

“I mean no harm.” Alison Mack quickly stopped, to avoid further misunderstanding. “Ms. Theron, I just want to personally apologize to Ms. Swanepoel.”

Charlize Theron said sternly, “Stay away from Candice in the future.”

Candice Swanepoel looked at Alison Mack. Originally, she had harbored good intentions to befriend a new acquaintance, but now she felt nothing but hatred.

Alison Mack sensed Candice Swanepoel’s hostile gaze and said, “Ms. Swanepoel, I am truly sorry. I… I…”

She hesitated for a moment and said, “I had no intention of targeting you or Mr. Anderson.”

Candice Swanepoel, though lacking in social experience, immediately understood that Alison Mack waiting here to apologize in person was not out of remorse for her but because of Ronan.

“In the future, I don’t want to see you again.” Candice Swanepoel said softly.

Alison Mack gave a slight bow and turned to leave quickly.

Charlize Theron pulled Candice Swanepoel into the car. After the driver started the car, she asked, “Are you okay?”

Candice Swanepoel sat quietly in the car, appearing unusually serene, as if she had realized something, as if she had suddenly grown up a lot.

Charlize Theron didn’t say anything more. To develop in Hollywood, she might face even more complex situations in the future. Candice Swanepoel had to learn to face and handle them.

After a long while, Candice Swanepoel suddenly said, “Is this something one must experience while growing up?”

Charlize Theron nodded slightly. “Yes.” She gently stroked Candice Swanepoel’s golden-brown hair. “Dear, this industry is very complicated. You must learn to protect yourself.”

Candice Swanepoel asked, “Why? Why me?”

Charlize Theron understood what she was asking and slowly said, “Beauty is both a capital and an original sin. It can attract many wolves, especially in a place like Hollywood.”

Today’s Hollywood, though still messy, was much better than in the nineties. Charlize Theron had faced many more complex situations back then.

Candice Swanepoel touched her face and said, “There are bad people here, but also good people.”

“Good people?” Charlize Theron unconsciously shook her head.

Candice Swanepoel said, “Like you, like Ronan.”

Charlize Theron smiled but didn’t say more. If it weren’t for the fact that they were both from South Africa and had some connections, would she have bothered with Candice Swanepoel’s affairs?

Candice Swanepoel looked at Charlize Theron, puzzled. “Isn’t Ronan a good person?”

Charlize Theron patted her hand and said, “Dear, in the adult world, there is no simple distinction between good and evil.” She thought for a moment and seriously said, “In the context of Hollywood, Ronan Anderson’s character is indeed reliable. He can be considered a good person, but he is very complex, not as simple as you think.”

Candice Swanepoel nodded slightly. Charlize Theron was the person she trusted most in America. If she said Ronan was a good person, then he must be.

The ALS charity gala was a huge success. Thanks to Tom Cruise’s immense influence, over thirty million dollars were raised that night, and the cause of ALS and caring for ALS patients received widespread media attention.

It even became a topic of discussion for many people.

With the promotion of Relativity Entertainment and Netflix, more reports about ALS were published.

Most people had sympathy, and the real situation of ALS patients was indeed easy to attract attention.

Moreover, among ALS patients, there was a renowned figure—Stephen Hawking!

Ronan’s people contacted Stephen Hawking, who understood better than those media outlets that always questioned the motives of charity—practical help was more important than anything else.

Stephen Hawking also voiced his support for the ALS charity activities.

For a time, ALS seemed to become the theme of global charity in July.

This garnered a lot of goodwill and laid a good foundation for the subsequent plans.

For a long time to come, ALS charity would remain in the public eye.

The following weekend, Ronan, along with Robert Iger and Marc Randolph, went to New York to meet with the direct representatives of Goldman Sachs. They prepared to go to Nasdaq to ring the bell at the start of the next workweek.

Chapter 808: Ringing the Bell

It was an ordinary Monday in mid-July. The morning sun had yet to rise above the skyscrapers of Manhattan, but the New York Stock Exchange at the corner of Wall Street and Broadway was already swarming with people.

Among them were ordinary investors waiting for the exchange to open, as well as media reporters armed with long and short lenses.

They were all waiting for one thing—a major event in the securities market: the listing of Netflix!

“A new stock listing with such fanfare…” Mario, a professional reporter from The Wall Street Journal, said to his colleague, “It’s been a long time.”

The female reporter from The New York Times, looking at the hundreds of colleagues gathered nearby, remarked, “Even Google’s listing last year didn’t draw this kind of crowd.”

Mario smiled and said, “Did The New York Times send anyone to cover Google’s listing?”

“No,” the female reporter confirmed. “No one came to report on it.”

Mario added, “In Wall Street terms, this is the most sensational new stock listing since 2000.”

Since she was from a financial media outlet, the female reporter specifically asked, “What’s Wall Street’s attitude?”

“They can smell blood,” Mario said. “They’re eager to get a piece of the action, so Netflix’s stock won’t have any trouble selling.”

The female reporter sighed in admiration, “A new super-rich tycoon is about to be born.”

Mario deliberately corrected her, “Ronan Anderson has been a super-rich tycoon for a long time.”

The female reporter nodded slightly, “The richest young man in America.” She noticed a commotion in the crowd and quickly looked over, saying, “They’re here!”

A black Rolls-Royce Phantom drove through Broadway and stopped in front of the New York Stock Exchange. The door was opened by a bodyguard who had rushed over, and three people stepped out—Ronan Anderson, Robert Iger, and Marc Randolph, the very figures currently under intense scrutiny in the financial and securities markets.

The executives from Goldman Sachs and Nasdaq, who had been waiting at the entrance of the New York Stock Exchange, immediately went to greet them.

The media reporters raised their cameras, almost frantically taking photos. If it weren’t for the numerous security personnel holding them back, the wave of reporters would have overwhelmed the group.

The female reporter was also taking photos and said, “I didn’t expect Ronan Anderson to look so young in person.”

Mario said, “This is a wealth legend!”

“So rich and so handsome!” the female reporter lamented, “God is so unfair!”

Mario agreed, “God is always so unfair!”

At the entrance of the New York Stock Exchange, the group was shaking hands.

Lloyd Blankfein, President and Chief Operating Officer of Goldman Sachs, said to Ronan, “We’ve been looking forward to this day for a long time.”

Ronan politely replied, “Thank you for Goldman Sachs’ efforts.”

The media cameras were mostly focused on Ronan, with flashes going off so rapidly that it was hard to blink.

There was no helping it—almost all of Netflix’s shares were controlled by Relativity Entertainment, and the shares of Relativity Entertainment were essentially owned by Ronan.

Everyone understood the implications.

In the eyes of the reporters, it seemed as if there were golden words flashing above Ronan’s head—Super-Rich Tycoon!

“Please, come inside,” a Nasdaq executive said to Ronan.

Ronan nodded slightly and led the way toward the main entrance of the New York Stock Exchange. He could feel that almost everyone’s gaze was focused on him.

At that moment, he was the superstar of the financial and securities markets.

“Mr. Anderson, look this way!”

“Ronan, smile!”

The reporters’ shouts rose one after another.

Ronan was unaffected, smiling and nodding in greeting to both sides as he walked into the New York Stock Exchange.

Inside the main hall, representatives of investors and the media had been waiting for a long time. Especially the investors—when they saw Ronan, their eyes seemed to see walking dollar bills.

Someone started clapping, and soon the applause spread.

Ronan and his two companions shook hands with the investors. No matter what, Netflix’s listing under the spotlight was not unrelated to the investors’ support.

“Thank you,” Ronan said, always proper in public. “Thank you for your support!”

He shook hands with each investor representative, “Your support is an honor for Netflix and Relativity Entertainment.”

A media reporter who had entered the exchange asked, “Mr. Anderson, can I ask a few questions?”

Connie, behind Ronan, stepped forward and said, “After the listing, we will set aside some time for media interviews.”

The media reporter did not press further, knowing what everyone was waiting for.

The Nasdaq executive then said, “Please come this way.”

Lloyd Blankfein also gestured for them to proceed, leading Ronan, Robert Iger, and Marc Randolph toward the bell-ringing area.

“Don’t worry,” Lloyd Blankfein said to Ronan in a low voice. “Everything is going smoothly. There will be no surprises.”

The bell-ringing ceremony was more symbolic than anything else. The actual stock sales had already been completed beforehand, and the distribution agreements had long been finalized.

Ronan said in a low voice, “Thank you very much for Goldman Sachs’ support.”

“We’re in a win-win situation,” Lloyd Blankfein smiled. “I hope we can have more cooperation in the future.”

Ronan smiled and said, “There will be. I also hope to continue our cooperation.”

Wall Street’s position in the capital market was undeniable. Although it was full of vampires, it was also full of opportunities.

Both sides were driven by profit. As long as both could see the benefits, there was a basis for cooperation.

Lloyd Blankfein suddenly thought of something and reminded Ronan in a low voice, “Someone on Wall Street is raising and collecting funds, preparing to enter Hollywood and the film industry.”

Ronan, thinking of the origin of his company’s name, Relativity Entertainment, asked with interest, “Have they established a film company? Do they have an official name yet?”

“Not yet,” Lloyd Blankfein said. “I will keep an eye on this and notify you as soon as there’s new information.”

They arrived at the bell-ringing area, where a large number of cameramen had already set up their equipment.

The internet era had arrived, and internet companies were different from traditional ones. Netflix’s listing, from the operational period to the bell-ringing ceremony, had been very high-profile.

The eye-catching effect had a significant impact on internet companies.

In the trading hall, countless traders, media reporters, and investors looked at the large screens scattered around, waiting for the moment Netflix would be listed.

Compared to large companies and institutional investors, retail investors found it difficult to obtain Netflix shares. Everything had to wait until the listing.

But Netflix’s stock had already been hyped up.

A bespectacled client instructed his trader, “As soon as the market opens, place a buy order. No matter what Netflix’s stock price is, offer a 20% premium!”

“Quantity?” the trader asked.

“No limit!” the client’s eyes were red. “Use all the funds in my account. The more shares we can buy, the better!”

The hype around Netflix’s listing far exceeded that of Google last year. This client believed he saw things very clearly. Google’s stock had soared with nearly a single business, so what about Netflix, which had multiple hot internet businesses?

The future would only see even crazier growth!

If they didn’t get in now, they would regret it later!

Due to the precedent of Google’s stock price surge after its listing, combined with Netflix’s massive business and its leading position in the industry, countless individual investors were eager to get in.

In the VIP client area of the trading hall, Richard Fuld of Lehman Brothers paced back and forth anxiously, checking his wristwatch every few seconds.

“Stay patient,” his companion reminded him.

Richard Fuld said, “This was a perfect investment opportunity, but Ronan Anderson refused to cooperate with us! Damn it! With the hype around Netflix, if the investment had gone through, how much profit could we have made?”

He was so agitated he was almost pacing in circles. “First, it was Ronan Anderson and Relativity Entertainment, then Goldman Sachs and Morgan Stanley. These bastards are targeting Lehman Brothers. We actually have to come to the exchange to buy Netflix shares!”

His companion said, “The competition on Wall Street is even more intense and brutal than in Hollywood.”

Richard Fuld said, “Today’s purchase is just the beginning. If one day, Lehman Brothers becomes a major shareholder, I will find a way to drive Ronan Anderson out, to kick him out of Relativity Entertainment and Netflix!”

His companion pressed his hands down. “Calm down. Don’t let your anger affect your judgment.”

Richard Fuld took a deep breath and gradually calmed down, saying, “Today won’t be easy!”

Those words were just talk. Even with Lehman Brothers’ deep pockets, it wasn’t easy to buy as many Netflix shares as possible in a market where everyone was optimistic.

Richard Fuld shook his head and checked his watch again, waiting for this financing feast to begin.

“Mr. Anderson,” the Nasdaq executive invited, “please come this way.”

Ronan did not immediately step forward but said to Robert Iger and Marc Randolph, “Bob, Marc, let’s go together.”

Robert Iger and Marc Randolph’s importance to the company was self-evident.

The two did not decline and followed Ronan onto the stage.

The three stood in a triangular formation and posed.

The reporters and cameramen opposite them took photos, capturing the moment!

For Netflix, this would be a historic moment.

Internet companies needed not only hype but also massive financial support. Listing and financing were the most suitable paths.

Lloyd Blankfein stepped forward to remind Ronan, “It’s time.”

Ronan nodded slightly to Robert Iger and Marc Randolph, and the three of them struck the bell of the New York Stock Exchange together.

The clear sound echoed throughout the New York Stock Exchange. Ronan and his two partners embraced each other.

Inside the trading hall, applause and cheers erupted. As the market officially opened, the applause and cheers quickly subsided, leaving only a flurry of activity.

Chapter 809: Successful Financing

The ringing of the bell and the listing of Netflix’s stock marked its official entry into the trading market. The New York Stock Exchange was immediately flooded with countless buy orders. The newly listed Netflix, like a tender sprout breaking through the soil in spring, saw its stock price soar.

From the moment the market opened, Netflix was awash in green, with its stock price steadily climbing.

As an internet company, Netflix, under the guidance of Ronan, Robert Iger, and Marc Randolph, followed Goldman Sachs’ advice and adopted the typical IPO fundraising ratio used by internet firms.

In this public offering, Netflix released fifteen percent of its shares to the market, with each share priced at one hundred and thirty dollars, aiming to raise six billion dollars in funding.

Compared to Google’s IPO last year, Netflix, with its multiple industry-leading businesses, had an initial stock price that was fifty percent higher.

Yet, despite this, investors remained extremely enthusiastic.

To put it bluntly, it was sheer madness.

As the bell rang, Netflix was listed on the Nasdaq with a market value of forty-one billion dollars.

Netflix had always taken a direct-to-consumer approach, never adopting a highbrow strategy. Its roadshows and interactive promotions were exceptionally well-executed, and the public unanimously held high hopes for Netflix’s future.

Amidst countless buy orders, Netflix’s stock price quickly rose to one hundred and thirty-two dollars.

With its four major businesses—online DVD rentals, personal video interaction, social networking, and online streaming media—Netflix had a strong starting point in the capital market.

This was the internet, an industry that created wealth legends.

After Netflix went public, aside from the small portion of shares already held by Netflix’s management, the shares awarded to the group company due to the listing and the employee stock ownership plan as incentives, Relativity Entertainment still directly controlled seventy-seven percent of Netflix’s shares.

Ronan still held absolute control and decision-making power over Netflix.

This also aligned with the investors’ requirements.

One of the conditions for the major investors to invest in Netflix was that Ronan had to serve as the chairman of Netflix’s board of directors.

To go public, one had to comply with all relevant regulations, and the dispersion of shares was inevitable.

Going public also meant that Netflix had to establish a board of directors.

Ronan was naturally the undisputed choice for chairman of the board. Marc Randolph would continue as the Chief Executive Officer, while Robert Iger, despite becoming a minor shareholder through stock options, completely withdrew from Netflix’s business.

After Netflix went public, Robert Iger’s energy would be fully directed toward the expansion of Relativity Entertainment.

Amidst applause, Ronan, Robert Iger, and Marc Randolph approached the numerous media reporters. The reporters, as if by tacit agreement, quickly divided into three groups, surrounding the three men.

Among them, the group of reporters surrounding Ronan was the largest.

Many had seen Netflix’s stock price and market value, and they all understood one thing—the young man standing before them was now a genuine billionaire.

The questions began quickly. With the maintenance of security personnel on-site and the fact that those who could enter the NYSE were all seasoned journalists in current affairs or finance, the order remained excellent.

A reporter from the Los Angeles Times was the first to ask, “Mr. Anderson, did you know that the moment you rang the bell at the New York Stock Exchange, you became a billionaire, one of the top ten richest people in America?”

Ronan deliberately said, “I’ve known this for a long time. You’ve hyped it up for so long that I’ve had ample mental preparation, so I don’t feel any surprise at all.”

After he finished, the people nearby laughed, and the atmosphere became particularly harmonious.

An older reporter asked, “Can you talk about your feelings on becoming a billionaire?”

Ronan responded with the same relaxed demeanor, “The next time I see Steve Jobs, I don’t think Steve Jobs will hide in India anymore.”

This remark elicited another round of good-natured laughter from the crowd.

A middle-aged reporter from The Wall Street Journal then asked, “Mr. Anderson, Netflix’s successful listing was easy, but we all know that Netflix has faced many difficulties along the way. Now, under your leadership, Netflix has overcome numerous challenges and achieved success. Can you share your feelings on this?”

Ronan’s smile faded, replaced by a serious expression. A certain magnate’s words suddenly flashed through his mind, and he said, “Netflix has been working hard, and achieving this stage of success was not easy. Tomorrow will bring more challenges, but I believe, just like today’s success, Netflix’s future is limitless!”

At this moment, Ronan stood there not just as himself but as the representative of Netflix and even the entire Relativity Entertainment.

Some words needed to be said, and he had to say them.

Ronan continued, “Today is a milestone for Netflix. I believe that this day and everything that happens today will be remembered by everyone at Netflix. Netflix is a very lucky company. This luck comes from our customers, the internet, and the efforts of every Netflix employee.”

Everyone remained silent, listening intently to every word Ronan spoke.

The same words, if spoken by an ordinary person, would be dismissed, but coming from the mouth of a billionaire, they were words of wisdom.

“Today, Netflix is raising funds from investors worldwide, and the fundraising has already achieved initial success. Netflix will maintain this success,” Ronan said with great poise. “What Netflix has raised is not just funds but countless trusts—the trust of everyone in Netflix! The trust of our customers! The trust of the market! The trust of our investors! Netflix will live up to every trust and ensure that everyone who trusts Netflix gets a return!”

As he finished, the room erupted in applause again.

In this era, inspirational speeches were still very popular. At such a significant moment, Ronan decisively used the motivational words of a certain great figure to nurture Netflix’s market.

From the audience’s response, the effect was quite good.

Of course, the impact of such words depended on who said them. Coming from an ordinary person, it would be called empty talk. From the mouth of a billionaire, it was called inspiration, called the secret to success!

After the applause subsided, another reporter asked, “Mr. Anderson, you already have a net worth of billions. Do you have any goals or plans for the future?”

Ronan thought for a moment and said, “Of course. Roughly divided into two parts: first, to continue my career; second, to help those in urgent need.”

With Netflix now listed, Ronan had to think about the next steps. He said, “For example, like Tom Cruise, to help people with ALS and participate in more charitable activities.”

This was also one of the biggest labels and personas for billionaires.

The greatest benefit wasn’t earning a good reputation but being able to legally avoid taxes without worrying about the IRS causing trouble.

When the topic shifted to charity and ALS, a collaborator who had been planted among the reporters took the opportunity to ask, “Mr. Anderson, I heard you’ve already donated millions of dollars to the ALS community?”

Ronan solemnly replied, “There will be more charitable donations and activities in the future. I hope everyone can pay attention and participate to help those in urgent need as much as possible.”

“Can you reveal any specifics?” the same reporter asked.

Ronan said, “Please follow the Netflix sharing of the Tom Cruise and ALS Charity Foundation. I heard Tom Cruise is preparing to launch a new charity program aimed at helping the ALS community.”

All these words were recorded by the reporters.

Netflix sharing was already the world’s largest social network media. After the Los Angeles Times, most medium to large media outlets with some fame in the U.S. had also opened official verified accounts on Netflix sharing.

The internet era had arrived. Those who did not actively adapt were doomed to gradually fall behind.

After the brief media interview, Ronan met up with Robert Iger and Marc Randolph and left the New York Stock Exchange, heading to Goldman Sachs headquarters. There, they had a brief meeting with the Goldman Sachs team led by Lloyd Blankfein.

Netflix’s successful listing and the raising of billions of dollars made it the biggest winner of this IPO.

As the actual intermediary, Goldman Sachs also earned hundreds of millions of dollars in compensation.

“This has been a successful collaboration,” Lloyd Blankfein said as he shook hands with Ronan at the end of the meeting. “Goldman Sachs is witnessing the rise of a great company.”

Ronan politely replied, “Goldman Sachs helped Netflix take a very crucial step.”

Lloyd Blankfein smiled and said, “I hope we will always be partners in the future.”

Ronan also smiled, “We will.”

Lloyd Blankfein continued, “I’ve heard that the famous investor and billionaire Ryan Kavanaugh has persuaded several Wall Street investment firms to raise nearly one billion dollars to fully enter Hollywood and expand into the film and television production industry.”

Ronan said, “This is preparing to compete with traditional Hollywood companies for a piece of the pie.”

Lloyd Blankfein slowly nodded, “Any great ambition requires massive funding. Ryan Kavanaugh has financing channels and may fully enter Hollywood as early as this year.”

Ronan smiled, “As far as Relativity Entertainment is concerned, we welcome new peers to Hollywood.”

Currently, Hollywood’s distribution channels were becoming increasingly rigid. New companies trying to develop new distribution channels had to invest far more time and effort than imagined. Even if Ryan Kavanaugh had previously worked as a producer in Hollywood, he still couldn’t secure his own distribution channels in the short term.

Without their own distribution channels, new companies would inevitably be suppressed by the established powers.

On the way back to the hotel from Goldman Sachs headquarters, Ronan and Robert Iger exchanged opinions on this news. Even with one billion dollars entering Hollywood, new forces would find it difficult to threaten Hollywood’s established structure within a few years.

In the afternoon, the Nasdaq closed, and Netflix’s stock price continued to rise, ending the day at one hundred and forty-one dollars per share.

Netflix’s successful fundraising provided the key capital needed for further expansion and development, as well as the broader platform that investors could bring.

However, for Netflix’s stock price to rise steadily, the market needed stimulation.

Chapter 810: Disruptive Innovation

On the same day, two new series produced by Shai Entertainment premiered on Netflix Streaming Media.

The two new series were Gossip Girl and Chernobyl.

Just like the first exclusive series launch, both new shows adopted the “binge-watch” model, releasing all episodes of the season at once.

The former was the first season, while the latter had only one season.

This instantly attracted the attention of a large number of Netflix users.

When Netflix’s streaming media business first launched, aside from its vast library of classic films, the two exclusive new series, Prison Break and Wild Survival, were highly praised and recognized as conscientious productions, with both reputation and viewership soaring.

According to Netflix’s statistics, the cumulative viewership of both series exceeded fifteen million, bringing nearly five million new paying users to Netflix worldwide.

High-quality new series brought significant growth in paying users and revenue for Netflix.

At the same time, it also introduced a new model for television series broadcasting.

Many traditional media outlets were closely watching Netflix Streaming Media because if Netflix’s model continued to succeed, it could impact their television business.

Many viewers had already taken to the internet to complain that the weekly episode model was far from satisfying.

Traditional television networks even labeled Netflix Streaming Media with terms like “disruptive innovation.”

But Netflix had always operated with a “disruptive innovation” business model.

For example, Netflix’s initial business targeted the videotape rental and sales market.

As is well known, Netflix started with an online DVD rental and sales business. Even now, with multiple business lines developing simultaneously, online DVD rental remains Netflix’s most reliable source of income.

When Netflix was first established, consumers renting videotapes from physical stores and watching them at home via VCRs was the mainstream mode of offline film consumption.

At that time, the industry giant Blockbuster had nearly ten thousand stores across the United States.

Netflix’s model, built on the rapidly developing internet, won user support and thus challenged traditional companies like Blockbuster from the ground up.

Today, Blockbuster, although it has also launched an online rental business, is lagging behind Netflix by a critical step.

Across the United States, Blockbuster’s physical rental stores continued to close, plummeting from nearly ten thousand to fewer than four thousand.

Blockbuster was barely holding on.

The rise of a new industry giant always comes with the decline of countless old forces.

After the launch of Netflix Streaming Media, the novel broadcasting model had already attracted a large number of viewers.

Additionally, Netflix sharing had an even larger user base, and these user data were shared with the streaming media, ready to be converted into paying users for the streaming business at any time.

Netflix’s leapfrog development model also drew attention, and several companies that launched social business emerged in the market.

But they started too late and had already been left far behind by Netflix, making it difficult to develop in the short term.

Hollywood, however, took Netflix’s model very seriously.

Netflix’s online DVD rental had become an important offline channel for Hollywood studios, and its streaming media business also showed sufficient vitality and a promising future.

Hollywood was a circle that loved to follow trends, which was fully reflected in film production.

The Big Six companies also put the streaming media business on their agenda. For example, Universal and 20th Century Fox were planning to establish an online video company called Hulu.

Warner Bros also proposed building Warner Online, but it faced strong opposition from subsidiaries including Warner Television and HBO.

In the streaming media business, Netflix was leading the way, but competitors would only increase.

To ensure that the streaming media business continued to lead, it was necessary to continuously absorb old works into the copyright libraries and pay more attention to exclusive series.

Netflix Streaming Media and online rental business had more work copyrights than any offline rental company.

In the first half of this year, Netflix secured all medium and large companies in Hollywood, and the number of rental and online playback work copyrights on the website broke through one hundred thousand.

It was worth noting that at Blockbuster’s peak, it only had copyrights for over twenty thousand film and television works.

In Ronan’s memory, the former Netflix did not reach the figure of one hundred thousand works in its copyright library until around 2010.

But under Relativity Entertainment, Netflix received greater resource support, more thorough preparation work, and a clearer development direction.

Apart from the copyrights of old works, the pulling effect of exclusive new series was the most obvious.

The launch of Gossip Girl and Chernobyl once again caused a sensation.

Moreover, both series were highly targeted, strengthening the appeal to two groups that had relatively low attention to Netflix Streaming Media.

The former’s audience was undoubtedly girls and younger women, while the latter was those who had lived through the Cold War era.

One could never ignore the influence of “nuclear threat” on the group that had experienced the Cold War.

In that era, it seemed that a nuclear war between the United States and the Soviet Union could break out at any time, and America lived under the shadow of “Big Ivan” at all times.

As soon as the two works went online, they immediately triggered a wave of enthusiastic viewing.

This model, where one could watch multiple episodes at once, was far more satisfying than the toothpaste-squeezing style of television broadcasting.

The “binge-watch” model was deeply ingrained in the internet.

From the moment they went online, Gossip Girl and Chernobyl were highly praised.

The former was mainly concentrated among young women.

This television series was the first to use now trendy and popular social sharing, “text messages,” and online videos as core themes without making them seem contrived, stiff, false, or pretentious.

Moreover, with the “S Queen” as the core group of protagonists, the so-called upper-class life they presented was what many young women dreamed of.

During promotion, Lydia Hearst, a socialite from a wealthy family and Lindsay Bill’s close friend, appeared at the press conference several times to endorse the creative background of Gossip Girl.

This also made the upper-class background and socialite protagonists of Gossip Girl more convincing.

Additionally, this television series indeed reflected many realities of American high schools.

Drinking, promiscuity, mutual scheming, and even smoking marijuana had become as common as drinking water and eating for high school students.

Similarly, for promotional purposes, Netflix sharing and video interaction became an indispensable part of the girls’ lives in the series.

The “S Queen” spoke from experience, telling all girls that if they didn’t use these, they were truly out of touch!

In Hollywood and major television networks, youth-themed television series had never been scarce.

What Gossip Girl did best was to repackage this subject with fashion and popular elements.

Some things in the series the audience had seen thousands of times—an unremarkable boy falling in love with a popular but troubled girl, and his perspective on the girl being different from others, ultimately winning her heart.

Then there was the handsome boy who seemed to have it all but was inwardly tormented and disillusioned with life, all due to parental pressure, and so on.

But Gossip Girl made the audience feel fresh and interested after watching.

As The Hollywood Reporter commented: Gossip Girl was not just a time-consuming series but had become an object of worship for American teenage fashion life.

Even the famous supermodel Tyra Banks, after watching the series, actively posted on Netflix sharing, declaring herself a fan of Gossip Girl.

The famous fashion devil Anna Wintour also mentioned this series in an interview, giving the “S Queen’s” fashion taste an eighty out of one hundred!

Vanity Fair hit the nail on the head, calling this series the teenage version of Sex and the City.

There were also online comments that the theme of this series was quite interesting—discussing the role of appearance in male-female relationships!

As the saying went, deep feelings were no match for a pair of breasts…

The audience for this series was mainly teenagers, especially young women.

From market feedback and Netflix’s big data statistics, Gossip Girl completely achieved its purpose.

In comparison, Chernobyl had an even better reputation and was even considered a universally acknowledged masterpiece.

The reputation of Chernobyl exploded from the moment it went online.

From the media to the audience to film critics, it was all praise.

Entertainment Weekly directly published an article stating: Chernobyl outshines all disaster dramas!

From the first click after going online to exceeding two million views, Chernobyl not only had an explosive reputation but was also exceptionally stable.

Rotten Tomatoes gave it a freshness rating of ninety-eight percent, with film critics and reviewers averaging a score of 9.7.

On IMDb, the audience average score was 9.6.

The popularity of this series once again brought up the disaster from decades ago, sparking widespread discussion from North America to Europe to Russia.

In the Kremlin’s routine press conferences and public speeches by Russia’s iron-fisted leaders, this series was mentioned.

Although this series appeared to be fair and just, it was ultimately filmed and produced from a Western perspective, still containing many defamatory elements.

However, the Russians surprisingly did not refute or conceal anything.

Russian media evaluated this series, stating: No matter which country produced it, it achieved the goal of letting the world truly understand a piece of history, to be alert, to think, and to pay attention.

Among all the comments from ordinary Russian viewers, two sentences appeared most frequently: one was “The details were shot too well,” and the other was “What a pity, this wasn’t made by us.”

In terms of viewership, Chernobyl was not much higher than Gossip Girl, as the latter was more entertaining.

But its social influence far exceeded that of Gossip Girl.

Netflix’s efforts in high-quality original content not only brought rapid growth in user scale and network traffic but also made its stock price show a trend that pleased investors.

Meanwhile, Tom Cruise was also taking action.

Chapter 811: The Ice Bucket Challenge

California, Los Angeles, Beverly Hills.

Tom Cruise stepped out of his mansion with a solemn expression, making his way into the garden.

His sister, Lee DeWitt, who served as both his agent and spokesperson, approached him.

“Are you ready?” Tom Cruise adjusted the white t-shirt emblazoned with a charity slogan supporting ALS patients and asked, “I’m all set here.”

Lee DeWitt replied, “The recording equipment is ready.”

Tom Cruise walked along the garden path to a flat stretch of grass, where a photographer who frequently collaborated with Shai Entertainment was already waiting, adjusting an ordinary camera.

“Thanks for your help, Clement,” Tom Cruise said warmly, patting the photographer’s arm.

The photographer smiled. “It’s my pleasure. You’re too kind.”

Across from the camera, a bucket of ice water sat on the grass, with wisps of white mist rising in the sweltering July heat.

“Good thing it’s not winter,” Tom Cruise joked.

Lee DeWitt laughed. “Ronan thought this through carefully. He probably didn’t want to make things too difficult for you, so he specifically chose this time for Netflix’s launch.”

Tom Cruise said, “Ronan has helped me so much. Even if it were in Antarctica, I’d still pour it over myself.”

Lee DeWitt, being Tom Cruise’s sister, knew all about the troubles he had faced. If it weren’t for Ronan using his influence and Relativity’s partnership with CAA to suppress the negative news about Tom Cruise, he would have been in serious trouble.

Pat Kingsley had spent decades cultivating her network in Hollywood. When a woman like her went on the offensive…

It was fortunate that Ronan was there.

Even if it was just to return the favor, Tom should cooperate with Relativity Entertainment and Netflix.

Moreover, this would greatly enhance Tom’s reputation and influence.

Clement checked the sunlight and said, “Just a few more minutes.”

Tom Cruise nodded slightly and continued his conversation with Lee DeWitt. “What about the media?”

“Don’t worry,” Lee DeWitt said simply. “It’s all arranged. Once the video is uploaded, the internet will start buzzing this afternoon. Traditional media will pick it up from there, and tomorrow morning, you’ll appear on ABC’s Good Morning America to issue the challenge to the predetermined targets again.”

She smiled. “With Relativity pushing it, there won’t be any issues.”

Tom Cruise said, “The three candidates have already been chosen, covering entertainment, sports, and business…”

As he spoke, the butler led a couple over.

“Hey, Tom,” David Beckham greeted Tom Cruise with a hug. “Ready?”

Tom Cruise pointed toward the camera and said, “Everything’s set.”

Victoria exchanged greetings with Tom Cruise before joining his sister in conversation.

David Beckham was the figure Ronan and Tom Cruise had chosen to extend the challenge into the sports world.

This football star’s influence had long since transcended the sport itself. When it came to commercial promotion, he was undoubtedly the top figure in the football world today.

Perhaps David Beckham simply wanted to help or participate in charity, but Victoria, with her keen instincts, had already sensed the potential public opinion and strongly encouraged David Beckham to get involved.

It could be said that without Victoria, there would be no David Beckham as he was today.

After a brief chat, the photographer, Clement, reminded Tom Cruise that the lighting was now perfect for filming.

Tom Cruise ended his conversation with Beckham and stepped in front of the camera.

For the series of events that would follow, Tom Cruise had done extensive preparation.

Standing before the camera, Tom Cruise first gave a brief introduction to the rules of the activity.

Naturally, he named it the “Ice Bucket Challenge”!

Participants would post videos of themselves being drenched in ice water online, then challenge three or more others to do the same.

The rules stated that those challenged had to either accept within 24 hours or donate one hundred dollars to fight “amyotrophic lateral sclerosis” (ALS).

The activity aimed to raise awareness of the rare disease known as ALS and to fund treatment efforts.

Tom Cruise lifted the ice bucket and poured the freezing water over himself, completing the challenge.

Then, facing the camera, he challenged Ronan, Will Smith, and David Beckham to participate.

The filming went smoothly. Tom Cruise took the towel Lee DeWitt handed him, draped it over himself, and went behind the digital camera to review the footage.

David Beckham and Victoria also came over to take a look.

“Not bad,” Clement said.

Tom Cruise gave a thumbs-up. “Very good.”

Clement turned off the camera, removed the storage disk, and handed it to Tom Cruise. “My work here is done. I’ll take my leave.”

There was still much to do, so Tom Cruise didn’t hold him back. “Let’s catch up another time.”

Tom Cruise instructed someone to see Clement out, then handed the storage disk to Lee DeWitt. “Upload it.”

Lee DeWitt secured the disk and said, “Go take a shower first. Don’t catch a cold.”

Tom Cruise nodded. “I will.”

Lee DeWitt didn’t say more. She quickly walked toward a nearby annex where an experienced online promotion team from Embassy Pictures was already waiting.

“David, make yourselves at home,” Tom Cruise said, gesturing to his wet clothes. “I need to take a shower and change.”

“Go ahead. Don’t worry about us,” David Beckham said with a smile.

Victoria watched Tom Cruise walk away before lowering her voice. “David, this is a good opportunity. Take it seriously. The people supporting Tom Cruise are Ronan Anderson and Will Smith. Together, they’re Hollywood’s famous iron triangle.”

David Beckham said, “You always overthink things.”

Victoria let out a small, displeased humph. “If I didn’t overthink, would we be where we are now?”

David Beckham fell silent instantly. Despite his numerous affairs, he had never considered divorcing Victoria because he was well aware of her importance.

Victoria continued, “Don’t forget, you’re already thirty. How many more years can your professional career last? What will you do after retirement?”

“I… I can still play for at least five more years,” David Beckham said.

Victoria emphasized, “Planning. Long-term planning! It’s a must, even for our children! Our reputation is our greatest asset, and we must maintain it. David, after you retire, Hollywood is the best choice. It will ensure continued exposure.”

David Beckham didn’t respond, but he instantly understood some things—why Victoria had spent a fortune buying a house in Beverly Hills to be neighbors with Tom Cruise, and why she had been urging him to come to the United States to play, especially for a Los Angeles team.

This was a football wasteland!

David Beckham raised his hand to stop Victoria from continuing. “I need time to think.”

Tom Cruise, now changed into dry clothes, returned, and the three of them began chatting.

Inside the annex, Lee DeWitt personally logged into Tom Cruise’s Netflix sharing account and the ALS charity foundation account, uploading the “Ice Bucket Challenge” video. She also posted the challenge rules below and tagged Ronan, Will Smith, and David Beckham.

The team from Embassy Pictures quickly spread the video across the internet, aiming to reach the widest audience as fast as possible.

This team had been formed during the promotion of The Blair Witch Project and had since handled online marketing for numerous films, gaining extensive experience and a variety of methods.

Promoting the “Ice Bucket Challenge” video was a piece of cake for them.

Meanwhile, inside Relativity Tower, a team of over twenty people had also begun their efforts. Some were contacting newspapers and magazines, others were reaching out to television stations, and some were engaging with other traditional media outlets.

Over the years, Relativity Entertainment had launched or collaborated with many stars, a significant number of whom wanted to continue working with Relativity.

Most stars were smart. For example, someone of Matt Damon’s caliber would personally call media reporters to apply pressure just to maintain his relationship with Harvey Weinstein.

Facing the ever-growing and increasingly successful Relativity Entertainment, those with any sense would actively align themselves.

After Relativity’s PR department made contact, many people immediately reposted Tom Cruise’s latest Netflix sharing update.

Additionally, to expand Netflix sharing’s influence, Ronan and Tom Cruise had laid a lot of groundwork beforehand, especially with charity events supporting ALS patients, which had been held more than once.

All of this made the related content spread faster and made it easier for the audience to accept.

By the afternoon, the “Ice Bucket Challenge” had already gained significant traction online.

In just over six hours, Tom Cruise’s Netflix sharing post had been reposted over three hundred thousand times, with nearly three million two hundred thousand views.

And as time passed, the number of views per unit of time continued to surge, creating a snowball effect in internet dissemination.

Before the end of the workday, Ronan, Will Smith, and David Beckham had all responded via Netflix sharing, accepting Tom Cruise’s “Ice Bucket Challenge” invitation.

This further increased the event’s attention.

However, the influence of traditional media was not to be underestimated, so Tom Cruise appeared on Good Morning America the next day.

Chapter 812: Fame and Fortune

Burbank, inside the ABC Television studio, Good Morning America was broadcasting live.

“You’ve been focusing on charity lately?” the host asked Tom Cruise.

“Yes,” Tom Cruise replied. “I want to help as many people in need as possible.”

The host followed up, “But many media outlets question your motives for these activities, suggesting it’s all for show.”

Tom Cruise flashed his charming smile and said, “Regarding that, Ronan once told me that some things, as long as you do them, will make a difference—far better than doing nothing at all. So, after Ronan and I saw the situation, we felt an urgent need to do something. I don’t know how to comfort them, but I can provide as much material support as possible to improve their medical conditions and care environments.”

The host asked, “Was the Ice Bucket Challenge also started for this reason?”

Tom Cruise replied, “I wanted more people to learn about this group in desperate need of help and to help them. One person’s strength is limited, but if the whole society participates, the effect will be entirely different.”

The host nodded slightly. “You called on Ronan Anderson, Will Smith, and David Beckham to participate in the Ice Bucket Challenge on Netflix sharing?”

Tom Cruise stated directly, “Actually, they responded yesterday and agreed to participate.”

“I know,” the host said. “Because we’ve invited Will Smith.”

Will Smith then took the stage, exchanging hugs with Tom Cruise and the host before briefly chatting. The topic soon turned to the Ice Bucket Challenge.

At the host’s suggestion, Will Smith completed the Ice Bucket Challenge live on the show. He then invited the host, Michael Bay, and Charlize Theron to participate.

From a single point, the Ice Bucket Challenge rapidly spread.

In 1939, the famous baseball player Lou Gehrig retired due to illness—hence, amyotrophic lateral sclerosis (ALS) is often referred to as Lou Gehrig’s disease in the United States—bringing it to public attention for the first time. Just two years later, Gehrig passed away from the disease.

More than twenty years later, Stephen Hawking once again drew public attention to ALS.

However, since the disease was first described in 1824, nearly two hundred years had passed with little progress in research and clinical practice due to the small number of patients and other factors. ALS and its sufferers had long been overlooked by the public.

The series of activities initiated by Ronan and Tom Cruise finally brought ALS into the public eye and mainstream discourse.

Tom Cruise and Will Smith’s challenge on the flagship show Good Morning America, combined with online promotion, quickly made the Ice Bucket Challenge a nationwide phenomenon.

With the spread of the internet, even the smallest actions can be amplified thousands of times. Actions dismantle all preconceived notions, reshaping discourse and, under the tide of history, are often overshadowed by public enthusiasm and movement, ultimately influencing and changing society.

After accepting Tom Cruise’s challenge, Ronan completed the Ice Bucket Challenge in New York and extended invitations to Black Carbon, Bill Gates, and William Windsor, with whom he had already initiated preliminary discussions.

Bill Gates, known for his philanthropy, needed no further persuasion.

Black Carbon, now planning his bid for the White House, needed exposure and public support, making his participation in the Ice Bucket Challenge a natural choice.

William Windsor was another carefully selected invitee by Ronan. His involvement would help spread the Ice Bucket Challenge beyond North America, reaching Europe and the rest of the world.

That same afternoon, videos of these three completing the challenge were uploaded to their respective Netflix sharing accounts, each inviting new participants from their circles.

Initially, the Ice Bucket Challenge was dominated by celebrities from entertainment, sports, culture, and political and business elites, whose every move attracted attention.

Since Tom Cruise’s campaign originated on Netflix sharing, it became the most suitable and nearly exclusive platform for the challenge. Later participants uploaded their Ice Bucket Challenge videos to Netflix sharing.

Those who weren’t Netflix members registered as users. The attention drawn naturally led people to Netflix’s services, with most choosing to become registered users.

For the first time, ALS entered the mainstream social consciousness, and the Ice Bucket Challenge began its explosive growth.

For example, Black Carbon, after completing the challenge, invited Little Man from the White House, who then invited former President Linton and others.

In the UK, Prince Charles and Prime Minister Blair also completed the challenge.

In contrast, Hollywood’s involvement spread from stars to fans, with the Ice Bucket Challenge beginning to circulate among ordinary people. After completing the challenge, they naturally shared their videos online.

Currently, Netflix sharing was the most suitable platform, and its massive inertia made it the default platform for Ice Bucket Challenge videos.

Like the Ice Bucket Challenge itself, Netflix’s registered users also experienced explosive growth.

With the participation of numerous celebrities and ordinary people, the Ice Bucket Challenge became a boundaryless mass movement.

By July, the Ice Bucket Challenge had naturally become the most popular phenomenon on the internet.

Other charitable organizations also joined in. Major charities like the National Fallen Firefighters Foundation, the American Cancer Society, and the United Way successively participated in the Ice Bucket Challenge, further promoting its spread.

In just over a week, Netflix sharing had over eight million posts related to the Ice Bucket Challenge, with five million of those posted in the last five days alone.

Correspondingly, during this period, Netflix’s new registered users skyrocketed, with 6.77 million new users in North America and nearly four million overseas.

In less than ten days, Netflix gained over ten million new users.

Simultaneously, the charitable impact was equally significant.

Tom Cruise’s ALS charity foundation received over fourteen million dollars in donations.

Another ALS charity in Los Angeles received over one million dollars in donations in less than two weeks—ten times the total donations from the previous year.

Before this, they had only raised one hundred and thirty thousand dollars in an entire year.

Through this unprecedented viral campaign, major ALS associations raised tens of millions of dollars in donations.

More significantly, ALS garnered societal attention.

Undoubtedly, the Ice Bucket Challenge achieved enormous success this summer, far exceeding everyone’s initial expectations.

Behind this success, two people benefited the most.

The biggest beneficiary was Ronan.

The exclusive streaming of new dramas and the Ice Bucket Challenge directly led to a surge in Netflix users.

This was reflected in the stock market.

Netflix was already a hot stock, and under a series of positive influences, its stock price rapidly increased. In just ten days after listing on Nasdaq, the stock price soared to one hundred and seventy dollars per share.

The impact was long-term. Over time, Netflix’s new users and paying users would continue to grow rapidly, and the stock price would keep rising.

Netflix’s soaring stock price attracted more attention and importance.

The second biggest beneficiary was Tom Cruise.

Tom Cruise had raised funds from multiple sources and purchased fifty million dollars’ worth of Netflix shares during its financing and listing process. The rise in Netflix’s stock price significantly increased his net worth.

Additionally, everyone and the media acknowledged that Tom Cruise was the “first initiator” of the Ice Bucket Challenge!

This brought Tom Cruise immense prestige.

In internet history, no one had ever gained so much attention and achieved such significant social and economic results with such a simple action.

However, as the Ice Bucket Challenge spread and gained attention, skeptical voices also emerged.

For example, some media criticized that most people chose to pour ice water over themselves rather than donate to ALS associations. These drenched participants still looked like heroes because they were making themselves miserable for a charitable cause.

But this was precisely the key to the Ice Bucket Challenge’s rapid spread.

Like photo and short video shows on social media, if you quietly donate to relevant associations without promoting it on social media, will your friends know you’re a good person? Of course not—they’ll just think you’re selfish.

This was a “phenomenon-level” event. The tech, sports, and entertainment industries had never been so united in enthusiasm, and this fire spread from North America to the world.

Netflix’s registered users truly began their global journey.

In Los Angeles, after returning from New York, Ronan kept a low profile. With Netflix’s listing, he, as a newly minted billionaire, undoubtedly became the focus of media reporters.

But after the listing bell-ringing ceremony, Ronan declined all media interviews.

In a way, Ronan was making a big impact while keeping a low personal profile.

“This is truly a genius idea and plan,” Tom Cruise admired.

“I thought this activity might cause a strong response, but I didn’t expect it to become a nationwide movement,” he said.

Ronan replied, “I didn’t expect it either.”

Will Smith added, “The low barrier to entry and high participation make it easy to succeed.” He analyzed, “Charity marathons require participants to be in good shape, and charity galas are only for the upper class. Compared to these, the Ice Bucket Challenge has a very low barrier—anyone can participate, and anyone can upload videos online.”

Tom Cruise said, “We’ve all gained both fame and fortune.”

Chapter 813: Open Handheld Device Alliance

The benefits of fame and fortune were not limited to Ronan, Will Smith, and Tom Cruise. The management and core employees of Netflix also reaped rewards as Netflix’s stock price soared after its IPO, creating a new wave of millionaires and multi-millionaires within the company.

The IPO brought Netflix not only ample development funds but also a significant internal boost. With sufficient capital, Netflix continued to steadily expand its business in North America while rapidly growing its overseas operations. In markets where it had previously had no presence, Netflix established overseas subsidiaries and promoted all its services. With key financial support, Netflix completed its layout across the entire European Union market by July.

Additionally, an Arab subsidiary was established, though it faced numerous restrictions. For example, all streaming media content had to undergo review before appearing on the Arab version of the website. For a company to enter overseas markets, it must first adapt to those markets, not the other way around.

Netflix’s PR efforts in Russia had also reached the final stage. With substantial investment, the Russian market had essentially opened its doors to Netflix. In markets like South Korea, Japan, and Southeast Asia, Netflix subsidiaries had long been established, and related businesses were already underway. With no significant competitors, Netflix enjoyed a dominant position.

Correspondingly, many websites imitating Netflix sharing had sprung up like mushrooms after the rain. This was inevitable. In Ronan’s view, Netflix also needed competitors. A company without competitors often marked the beginning of its decline. Of course, Netflix had already secured an absolute leading position in the industry and would not allow any threatening competitors to emerge.

The management team at Netflix, led by Marc Randolph, also coveted the vast market potential. They attempted to enter it using the network that Embassy Pictures had cultivated over the years, initiating preliminary contact with relevant departments. Ronan did not interfere, believing that some things needed to be experienced firsthand for the Netflix team to understand.

This attempt ended in complete failure. As Marc Randolph put it, the possibility of Netflix entering that market was virtually zero. Even if Netflix’s market value exceeded fifty billion dollars, or even a hundred billion, that market remained impenetrable. Moreover, similar services had already emerged there and were receiving strong support.

Ronan was well aware that under normal circumstances, Netflix’s services could not enter that market. This experience would help Netflix’s management team fully grasp this reality. For certain considerations, Ronan chose to turn a blind eye and deaf ear to many things related to that market, lest he attract unwanted attention.

Additionally, Ronan emphasized in meetings with high-level executives from Relativity Entertainment and its subsidiaries the importance of respecting every overseas market, especially avoiding any public political statements related to those markets. If unsure, it was best to remain silent to avoid causing trouble for the group. Otherwise, he would not hesitate to dismiss employees without sentiment.

The so-called American freedom was well understood by discerning individuals—double standards were all too apparent! On this point, Ronan required every company’s management to formally communicate this to every employee within the Relativity Entertainment Group.

Of course, Relativity Entertainment had never collaborated with the NBA and would never do so in the future. The same applied to Netflix. Later this month, Netflix reached an agreement with the NFL to become the exclusive online streaming platform for the NFL in North America. Combined with the previously secured Premier League, Netflix Video now held the internet broadcasting rights for two major sporting events.

Simultaneously, Netflix Video was in negotiations with UEFA for the online streaming rights to the European Champions League. While acquiring more content, Netflix also reached an agreement with Comcast to expand its streaming media business to on-demand services via set-top boxes for limited television channels. This meant that Netflix’s programs could be viewed on computers, televisions, and smartphones, among other devices.

Rich content, ample funding, and a good user experience all contributed to Netflix’s rapid business growth. Beyond traditional channels like computers and televisions, Netflix invested more resources in promoting its services on smartphone terminals. Nowadays, most smartphones on the market came pre-installed with the Netflix app. Netflix had also entered Apple’s software platform.

Also this month, influenced by Netflix’s hot performance post-IPO and its near-monopoly market position, another long-running negotiation finally bore fruit. Initiated by Netflix, including companies like Samsung, Sony, Nokia, Motorola, and many other phone manufacturers, software service providers, telecom operators, and hardware suppliers represented by Qualcomm, after carefully discussing the market and the new generation of open-source smart operating systems designed by Netflix’s subsidiary Android Inc., they formally decided to establish the Open Handheld Device Alliance. This alliance would adopt Android’s operating system as one of the standards for the new generation of smart terminals.

Subsequently, the Open Handheld Device Alliance would engage in cooperation negotiations with nearly a hundred hardware manufacturers, software developers, and telecom operators worldwide. Netflix’s leadership in establishing this alliance came at a significant cost. For example, it involved opening the source code and jointly developing and improving the Android system with the Open Handheld Device Alliance and numerous partners.

Of course, to use the Android system, authorization from Netflix was required, and this authorization was free. However, all Android systems would include Netflix’s service framework. With the joint efforts of many partners, Android quickly received approval from the Federal Communications Commission.

Ronan was not satisfied with just this. Android would help Netflix gain a broader market in handheld terminals. Beyond the smartphone operating system, Android would gradually expand into other areas such as tablets, televisions, digital cameras, gaming consoles, and smartwatches. Additionally, Ronan had someone contact Steve Jobs to see if it was possible to bring Apple into this alliance.

Ronan once again invited Steve Jobs for a face-to-face meeting. Previously, Steve Jobs had avoided meeting Ronan by citing poor health, preventing a direct confrontation between the two. In reality, their representatives, Robert Iger and John Lasseter, frequently met. Ronan also understood that not meeting for now had its benefits. After all, the situations involving both parties were complex, and if lower-level negotiations failed, they could simply be replaced. If he and Steve Jobs had a falling out, it would truly be irreparable.

Once the relationship between the two collapsed, there would be no room for reconciliation. Therefore, both were waiting for the most opportune moment. It seemed that Steve Jobs had taken to heart what Ronan said during the bell-ringing interview. Through John Lasseter, Steve Jobs conveyed that he was willing to meet with Ronan next month at an appropriate time. The specific time and place would be determined based on the situation.

Ronan knew that this meeting would set the tone for many issues that Robert Iger and John Lasseter had discussed over a long period. The establishment of the Open Handheld Device Alliance was also good news. In late July, Ronan convened the first board meeting after Netflix’s IPO, revealing more plans for Netflix’s future development, such as Netflix Maps and Navigation, and Netflix Video Live Streaming. These were long-term plans.

Today’s Netflix was no longer just a streaming media service provider but a industry giant infiltrating the internet. By early August, Netflix released its first operational data post-IPO. As of the end of July 2005, Netflix had a total of 40.65 million registered users in North America and 19.65 million overseas, with a paying user ratio as high as 79%, and monthly users accounting for over 62% of the total user base.

While Netflix continued to rapidly attract new users, it also demonstrated sufficient customer stickiness. Compared to Netflix’s rapid rise in the financial capital market, the Relativity Entertainment Group, as the absolute controlling company, appeared somewhat silent, continuing its rapid and stable development.

Since acquiring the copyright libraries of Artisan Entertainment, Relativity Entertainment had not made any major moves in expansion or large investments. Despite the success of numerous films, including projects like Peppa Pig, which could generate hundreds of millions of dollars in annual revenue, Relativity Entertainment only accumulated without spending. The massive cash flow entering the company became silent.

Only Ronan, Robert Iger, and Mary knew that the group’s accumulated reserve funds could be deployed at any time. With the long-term cooperation of Bank of America providing large loans, Relativity Entertainment could now relatively easily raise and allocate billions of dollars.

The Pirates of the Caribbean series was also an important source of cash flow. The first Pirates of the Caribbean film had generated a net profit of just over ninety million dollars at the box office since its release. However, with offline operations over the past two years, the total profit had already exceeded two hundred million dollars.

Many Hollywood companies annually published the profits of their blockbuster films, with profit margins so low they were shocking. In reality, the data for many films only reflected the box office profits for that year. Offline operations were long-term and not fully accounted for in each annual report.

Pirates of the Caribbean: Dead Man’s Chest had spent its fifth weekend in North American theaters, with the North American box office exceeding four hundred million dollars, totaling four hundred and twelve million dollars. Overseas, the film’s box office had also surpassed five hundred million dollars. The global box office was about to break one billion dollars.

The third film, The World’s End, had also announced its release date, set to premiere globally on Independence Day next year. Unlike Netflix, which relied on financial capital market support, the film and television business remained the largest and most stable source of income for Relativity Entertainment. Therefore, Ronan would not relax in this area.

Marvel Entertainment was an important part of the future film and television business.

Chapter 814: Something Feels Off

Burbank, inside the filming studio of Hughes Aircraft Factory, auditions for the future “Avengers Initiative” were underway.

Young Chris Evans, dressed in a slightly worn American military uniform, stood before the camera, striking various poses as directed by Jon Favreau.

Ronan and Kevin Feige sat together, both maintaining silence throughout.

Since the project’s director had yet to be confirmed, the auditions for the Avengers members were proceeding ahead of the actor selections. Jon Favreau presided over the auditions, while Ronan and Kevin Feige made the final decisions.

Ronan observed Chris Evans quietly. The actor, known for playing the Human Torch, seemed more like Captain America in appearance.

Unfortunately, while the face resembled the character, the essence did not.

It was a feeling difficult to describe—young Chris Evans seemed to lack something.

If Ronan had to put it into words, it was the absence of Steve Rogers’ ability to stand as an equal with anyone, his unwavering spirit.

Captain America was a comic book superhero, but due to the era of his creation and the responsibilities he bore, he was more than just a comic book superhero.

As the audition ended, Jon Favreau glanced at Ronan and Kevin Feige. Seeing no reaction from them, he simply said, “That’s all for today.”

Chris Evans also looked their way, but the expressions of the two producers revealed nothing.

“Thank you,” Chris Evans said with a slight bow.

Jon Favreau added, “We will notify you of the audition results within a week.”

Chris Evans nodded slightly and left the audition room.

Once outside, he wiped away a bead of sweat. His agent approached and asked, “How did it go?”

Chris Evans shook his head. “I don’t know, but I felt good about it.”

The agent asked, “Did Ronan Anderson and Kevin Feige say anything?”

“No,” Chris Evans replied. “They didn’t say a word the entire time.”

The agent thought for a moment and said, “That’s a good thing. No immediate rejection means we still have a chance.”

Chris Evans asked, “Should I do something?”

The agent understood the implication and quickly stopped him. “Absolutely not! Chris, you do have a great look, but you’re not a woman. Relativity Entertainment’s auditions are relatively fair in Hollywood. No matter what Ronan Anderson decides, the audition performance will be the primary reference.”

Chris Evans walked toward the makeup room. “True. No one would joke around with a hundred-million-dollar investment, even if he is a billionaire.”

Inside the audition room, a young actress stood before the camera.

Like Chris Evans, she was one of the actors Ronan had personally invited to audition.

“I’m Hayley Atwell, a graduate of the London Academy of Music and Dramatic Art,” she introduced herself. Dressed in a military uniform, the British actress with her typical Anglo-American brown hair and sharp features continued, “I’ve recently starred in the TV series The Line of Beauty and am currently playing a supporting role in the Paramount Pictures’ The Duchess…”

Perhaps due to the military uniform, the British actress appeared spirited and formidable.

Ronan had two immediate impressions of her: first, she was fiercely imposing, her grandeur rivaling that of Jessica Felton; second, she was quite robust, appearing even more muscular than the average man.

A muscular Captain America and a fierce Carter—now that was a perfect match.

Ronan couldn’t help but recall the casting for Thor, which had been a complete failure.

Could anyone imagine the awkwardness of a female lead whose chest was smaller than the male lead’s?

As for her robustness, wasn’t that a necessary trait for a female soldier?

Who could picture a thin-armed, thin-legged female soldier who was exceptionally skilled in combat? Peggy Carter was more than just a decorative presence; she was a soldier, a highly capable agent.

Following Jon Favreau’s instructions, Hayley Atwell performed her audition step by step. Her acting wasn’t particularly outstanding, but it wasn’t bad either. As a typical graduate of a British drama academy, her performance was far better than Chris Evans’.

The audition lasted less than forty minutes before concluding.

After Hayley Atwell left, Ronan was the first to speak. “Let’s share our thoughts on these two.”

Jon Favreau spoke first. “Hayley Atwell is good. Her acting is above average, and her physique and demeanor suit the role of a female soldier.”

Kevin Feige agreed. “She’s a good fit.”

Ronan readily accepted their opinions and made a decision. “Peggy Carter is tentatively cast as Hayley Atwell. Kevin, notify her as soon as possible and begin contract negotiations.” He asked, “Is she willing to sign a long-term contract?”

Kevin Feige replied, “The nondisclosure agreement before the audition included terms about a long-term contract. Their willingness to participate in the audition is based on the premise of signing a long-term contract.”

Ronan nodded slightly and then asked, “What about Chris Evans?”

Jon Favreau spoke again. “Well, his image is great, and his appearance fully meets the requirements. But there’s something off. Even in the star-spangled uniform, holding the shield, he doesn’t feel like Captain America.”

Clearly, Ronan wasn’t the only one with this impression.

Kevin Feige added, “It’s probably because he’s too young. His previous roles have been too frivolous, and it’s affected him. He lacks the composure and strength that Steve Rogers must have.”

Ronan crossed his arms. “Indeed, Chris Evans comes off more like a reckless youth.”

Perhaps “hotheaded youngster” was a better description.

Jon Favreau, being responsible, asked, “Should we consider other candidates? We have many more auditions lined up.”

“Yes,” Ronan said. “Continue the auditions for Captain America and consider other candidates.”

Kevin Feige interjected, “I recommend someone—Josh Hartnett.”

Ronan frowned slightly. “Josh Hartnett?”

“He’s a good candidate, steady in real life,” Kevin Feige explained. “In recent years, Josh Hartnett has starred in two military-themed films, Pearl Harbor and Black Hawk Down, playing tough, resilient military roles in both. He has considerable acting experience.”

Ronan agreed, “His resume is impressive. Let’s have Josh Hartnett audition.”

For others with such military role experience, Ronan might have given serious consideration, but Josh Hartnett…

How to put it? He was an actor with a very peculiar career trajectory—good looks and acting skills, but his films always seemed to underperform.

Take Josh Hartnett’s two major productions, Pearl Harbor and Black Hawk Down, for example. In both, he played crucial roles, and the films did decently at the box office, but they fell far short of the studios’ and distributors’ expectations.

After that, Josh Hartnett starred in a series of films, few of which performed well commercially. He remained obscure despite his talent.

Hollywood had two particularly odd male stars: Josh Hartnett and Colin Farrell.

Both had ample resources and talent, yet their films consistently underperformed.

Of course, the notion of “handsome and talented but not famous” was a fallacy.

Before playing Steve Rogers, Chris Evans hadn’t fared much better, yet his portrayal of Captain America was highly successful.

If they were to cast someone as peculiar as Josh Hartnett, Ronan would be lying if he said he had no reservations.

Jon Favreau knew Chris Evans was Ronan’s preferred choice and asked, “What about Chris Evans? Should we cut him?”

Kevin Feige said, “Unless he can change his mindset and demeanor.”

Ronan thought for a moment and said, “Here’s what we’ll do. All the main actors for this project will undergo military training. Kevin, talk to Chris Evans’ agent and arrange for him to experience two months of military life. If he develops in a way that suits the role, we’ll reconsider. Otherwise, he’s out.”

He added, “Don’t stop the auditions. We need multiple options.”

Kevin Feige knew who the real decision-maker was and immediately said, “Understood. I’ll personally discuss this with Chris Evans’ team tomorrow.”

Ronan emphasized, “Due to copyright issues, the two core members of the Avengers can only be Iron Man and Captain America. Captain America is the spiritual pillar of this team—extremely important.”

In the previous film series, the Avengers team was entirely structured around these two giants.

“That’s all for the morning,” Jon Favreau said. “The auditions for Thor will begin in the afternoon.”

As the three discussed and left the audition room, Ronan specifically mentioned the Howling Commandos.

This special forces unit, directly commanded by Captain America, had a complex cast of actors reflecting the diversity of American society, including British, Asian, Latino, Slavic, and African-American members.

Due to copyright issues, Wolverine, who fought alongside Captain America in the comics, could not appear in this film.

After discussing the Howling Commandos, Ronan asked, “Did Hong Kong definitively refuse?”

“Yes,” Kevin Feige replied. “The Mr. Xu you mentioned is currently preparing for a personal art exhibition and has no availability.”

Ronan nodded without further comment. He recalled that the man was quite talented, not only delivering many brilliant performances on screen but also achieving some success in painting.

Too bad. He was an actor who could play Thor so convincingly that even the real Thor wouldn’t know which was which—a Santa Claus in disguise.

Hollywood never lacked actors, and Ronan was only slightly regretful. The actors auditioning for Thor in the afternoon were also excellent.

Jason Momoa from Hawaii had already accepted Marvel Entertainment’s invitation.

Chapter 815: Diversity

From eight in the morning, Jason Momoa had arrived at the Hughes Aircraft Factory’s soundstage to prepare for his afternoon audition.

For the entire morning, he had been sitting in front of the makeup mirror, allowing the makeup artist to work on him.

At noon, to avoid disturbing his makeup, Jason Momoa only ate a few small cakes and drank a little water through a straw.

Then, the makeup artist continued sticking the fake beard onto his face.

Yes, from the moment Jason Momoa sat in front of the makeup mirror, one makeup artist had been doing one thing—applying the fake beard.

Making the beard look real was an extremely complex makeup task.

Jason Momoa knew John Davis, who played Gimli in The Lord of the Rings. The actor who portrayed the dwarf had to spend more than three hours on makeup before each shoot, with the fake beard being the most time-consuming part.

By around one-thirty in the afternoon, the fake beard was finally complete.

The makeup artist then helped Jason Momoa into an armor-like costume and brought over a hammer.

It was a short-handled, square-headed hammer with an ancient design.

Jason Momoa took the hammer, weighed it in his hand, and judged it to be made of resin.

“How is it?” His agent came over and asked, “Ready?”

Jason Momoa looked at his reflection in the mirror and said, “Isn’t this a little strange?”

The agent asked, “What’s strange about it?”

Jason Momoa, completely serious, said, “How did I, young and handsome, turn into a rough and wild man?” He asked, “Which superhero is this?”

The agent glanced at the hammer in his hand and made a guess: “It should be Thor, the Norse god of thunder.”

Jason Momoa knew little about Marvel Comics. Though he had crammed for the audition after receiving Marvel Entertainment’s invitation, he had only focused on the top-tier superheroes. A lesser-known character like Thor hadn’t been on his radar.

“Thor is in Marvel now?” Jason Momoa asked curiously.

The agent reminded him, “We signed a nondisclosure agreement. Don’t talk about it outside.”

“Don’t worry,” Jason Momoa said. “I don’t want to go bankrupt over a breach of contract.”

A staff member came over to remind them that the audition time was approaching.

The agent urged, “Let’s go. Don’t keep the director and producer waiting. Jason, whether you soar to new heights or remain a small-time actor depends on this audition.”

Jason Momoa quickly adjusted to the beard on his face and kept a good attitude: “This kind of thing ultimately depends on others’ decisions.”

In the audition room, Ronan had just finished discussing Joss Whedon with Kevin Feige when the actors participating in the Thor audition arrived.

As with previous auditions, Marvel Entertainment had not disclosed to the actors which roles they were trying out for.

This wasn’t uncommon in Hollywood.

Many actors who auditioned for film studios didn’t know what the film was about, let alone their roles. They were willing to audition either because of the director and producer or because opportunities for big-budget films from major studios were rare.

Gadot’s casting as Wonder Woman was a typical example. When Warner Bros invited her to audition, she had no idea who the character was—she could only make guesses based on the makeup and requirements.

The moment Jason Momoa walked into the audition room, Ronan’s eyes lit up. Though the Mjolnir and armor were hastily made and somewhat rough, Jason Momoa’s appearance gave off an unmistakable vibe—it was as if Chow Yun-fat had arrived.

When the acting skills weren’t vastly different, the judgment of an actor’s suitability often came down to subjective feelings. The key factors in deciding an audition were the underlying elements and the decision-maker’s intuition.

Seeing Jason Momoa walk in with Mjolnir, Ronan silently nodded—this was exactly the feeling Thor needed.

He had reviewed Jason Momoa’s background. Currently, Jason Momoa was still a handsome, young actor who had appeared in several films without gaining much attention. It seemed he had chosen the wrong path.

But Chow Yun-fat’s style was what he needed!

The invincible Wind and Fire Wheel—truly earth-shaking and ghost-weeping!

After a brief self-introduction, under Jon Favreau’s guidance, Jason Momoa first read a few lines and then performed some hammer-swinging actions. Thanks to his natural physique and suitable makeup, he truly embodied the essence of a Norse deity.

Ronan remained composed but silently approved—Jason Momoa was perfect for the role of Thor.

The wild hair, the fierce beard, the menacing eyes—all were distinctive features.

The disheveled-haired, bushy-browed brute in front of the camera seemed destined to play such a role.

Just like Chow Yun-fat.

Speaking of which, a Thor who didn’t resemble Chow Yun-fat wasn’t a good Thor.

There was once a saying in another major film production center at its peak: For gunfight films, think of Chow Yun-fat; for comedies, think of Stephen Chow; for kung fu films, think of Jackie Chan. And for adult films? That would be Chow Yun-fat.

Some even said they could be considered the Four Heavenly Kings of Hong Kong cinema in the 1990s…

What was that classic line again?

“You can scream your throat raw, but even Thor and Aquaman won’t save you.”

The audition went exceptionally well. From the actor to Jon Favreau, Ronan, and Kevin Feige, there seemed to be an unspoken understanding.

After Jason Momoa left the audition room, Jon Favreau was the first to speak: “I think there’s no need for further auditions for Thor.”

Kevin Feige agreed completely: “Jason Momoa is perfect.”

After all, the character was essentially a brawny, not-so-bright warrior. Other considerations aside, his appearance and demeanor were a perfect fit.

Ronan directly stated, “Thor’s actor is decided—it’s Jason Momoa.”

The three were in complete agreement, but Ronan added, “Kevin, Thor won’t start filming for a while. When negotiating with Jason Momoa, make sure to include fitness and growing a beard in the contract.”

Sticking on a fake beard every time was too much trouble—time-consuming, labor-intensive, and costly.

Kevin Feige said, “I understand.”

Jon Favreau asked, “Should we start preparing for the female lead’s audition tomorrow?”

Ronan waved his hand: “I won’t be attending the female lead’s audition. You can decide.”

Marvel Entertainment had selected nearly thirty actresses from numerous applicants for the audition.

Among them were some recommended by Kevin Feige.

Some things were unavoidable in Hollywood, and Ronan wasn’t unrealistic enough to demand otherwise from his subordinates. As long as the actress was suitable, he would turn a blind eye.

That was just the environment in Hollywood.

After the audition, Ronan met with Joss Whedon and Joaquin Phoenix.

The new Hulk film would officially enter pre-production in September. Both had already signed contracts with Marvel Entertainment, serving as director and lead actor, respectively.

Joaquin Phoenix had signed a ten-film contract with Marvel, while Joss Whedon had only signed a three-film directing agreement.

Ronan ultimately decided to collaborate with Joss Whedon.

However, compared to Iron Man, the starting point of the series, The Hulk would have a lower budget—one hundred thirty million dollars.

Ang Lee’s Hulk would not be part of the Marvel Cinematic Universe. The new Hulk film would retell the origin of the Hulk.

As the first heavy hitter of the Avengers, the Hulk was an extremely important human weapon.

General Ross would also be a significant character in the entire film series.

In the film’s design, General Ross would later transition from military to politics, becoming Secretary of State and orchestrating a series of policies and regulations related to superheroes.

Movies, after all, weren’t comics. They couldn’t endlessly add characters, especially those with significant screen time.

Thus, many characters had to be utilized comprehensively.

During the meeting with Joss Whedon, Ronan emphasized one point: The Hulk must be a popcorn movie, with entertainment as the top priority.

Pursuits like exploring the meaning of life or delving deep into a character’s psychology had no place in this film—or in any of the Avengers films.

That was the domain of art films. Don’t impose such expectations on commercial entertainment films.

Just as Relativity Entertainment had pure commercial films, low-budget horror films, and art films aimed at award season, the film industry, after over a hundred years of development, was inherently diverse, with various forms of expression.

This was also what made films most appealing to audiences. Because of this diversity, audiences could always find something they liked among the many films.

No one could completely dismiss somber art films, just as no one could dismiss lighthearted entertainment films.

It wasn’t as if all films in the world had to be gangster films to be considered true cinema.

At the end of the day, those who denigrated entertainment films were either trapped in the so-called depths of art or trying to ride the wave of entertainment’s popularity.

After all, the buzz generated by entertainment films often surpassed that of art films.

Throughout Hollywood and the global film industry and market, such people and incidents had never ceased.

Ronan believed that if the Marvel Avengers Initiative succeeded, it would inevitably spark a great deal of controversy in the future.

But no matter how much controversy arose, it wouldn’t stop Relativity Entertainment from continuing to produce and promote films, because what film companies ultimately pursued was profit.

This new Hulk film would be released in 2007.

Starting in 2006, Marvel Entertainment would release at least one superhero film each year. Over time, this number would increase to two.

Any more than that would be excessive, as market acceptance had to be considered. Too frequent releases might lead to negative reactions.

Additionally, if the character Natasha Romanoff proved popular enough, Marvel Entertainment would release a standalone Black Widow film in the first or second phase.

Frankly, Scarlett Johansson’s prime wouldn’t last long, so an early release would be beneficial.

Chapter 816: Ed

As August began, Marvel Entertainment had finalized the casting for the Avengers after a series of auditions.

Joaquin Phoenix was preparing for his role as The Hulk.

Chris Evans had agreed to undergo military training to transform his demeanor, and Ronan would still choose him to play Captain America.

Hayley Atwell had signed a long-term contract with Marvel Entertainment.

For Thor, although no official announcement had been made about the end of auditions, Kevin Feige had begun formal contract negotiations with Jason Momoa.

For Hawkeye Clint Barton, Charlize Theron had recommended Stuart Townsend, the man behind the Oscar-winning actress. But Ronan rejected the recommendation outright.

This actor was mediocre at best, with a terrible temper and a reputation for being difficult. He had none of Johnny Depp’s charisma but all of his bad habits.

In the end, Ronan invited Jeremy Renner for an audition, and he passed with flying colors, signing a long-term contract with Marvel Entertainment without hesitation.

Born in the 1970s, Renner had entered Hollywood in 1995. Though not a household name, he was a seasoned actor with decades of experience. In recent years, he had starred in films like The SWAT Team and Twelve-Year-Old Boy, often playing police officers—roles that would serve him well as Hawkeye Barton.

With Robert Downey Jr. and Scarlett Johansson already signed, the original six Avengers were now fully assembled.

Of course, all these collaborations hinged on signing long-term contracts with Marvel Entertainment. Even Scarlett Johansson, despite her close relationship with Ronan, was no exception.

Beyond films, Marvel’s superhero comics could also be adapted into animations and TV series. However, Marvel would not release any related series before the first Avengers assembly.

But animation was a different story.

While browsing Marvel’s comic works, Ronan came across a teenage comic called Big Hero 6, featuring a robot character named “Baymax.”

This reminded Ronan that the comic had been adapted into an animated film, and a successful one at that.

He had long forgotten the specifics of the movie, but Baymax left a deep impression. The character had been wildly popular since its debut, with strong merchandise sales.

Ronan remembered seeing countless Baymax-related products around him. The merchants on the other side of the Pacific had sharp instincts—if something wasn’t popular, they wouldn’t bother pirating it. The fact that Baymax merchandise was everywhere could only mean one thing: it was a hit.

Ronan singled out the Big Hero 6 comic and forwarded it to Shai Entertainment Animation Studio, tasking Chris Renaud with organizing a team to discuss the project.

This wasn’t an immediate project but a future one, to be developed only after the Marvel Avengers film series succeeded.

Shai Entertainment continued to expand steadily. In film production, it could now handle three to four major commercial productions with budgets exceeding one hundred million dollars annually, along with around ten smaller projects.

In terms of production capacity, Relativity Entertainment was undoubtedly among Hollywood’s top-tier studios, with strong distribution capabilities. However, its diversification was still lacking.

Ultimately, due to its limited establishment time and weaker foundation, Relativity Entertainment was at a disadvantage in media operations.

The most glaring example was its lack of a major television network under its banner.

This wasn’t something that could be rushed. The major TV networks in the United States were few and far between, and even if Relativity wanted to acquire one, it wouldn’t be possible. Starting from scratch was impractical, so the best approach was to wait for the right opportunity.

Since its inception, Relativity Entertainment had been aggressively expanding through acquisitions—whether in film production, distribution channels, or film library copyrights. This was undoubtedly the most effective expansion strategy.

In the realm of internet and new media, thanks to Netflix, Relativity Entertainment was far ahead of other Hollywood companies.

Netflix’s four exclusive series had all been major successes, and with strong backing, Netflix’s originals were gradually being dubbed “Netflix Premium Series.”

Some media outlets even hyped: “If it’s from Netflix, it’s bound to be premium!”

The massive success of these exclusive series had also given Netflix confidence in Shai Entertainment’s productions, and new orders had already been placed.

Gossip Girl naturally received a renewal, but Chernobyl would only have one season.

The second and final season of Prison Break was currently in production and would premiere on Netflix next year.

The second season of Wild Survival, led by Bear Grylls, was venturing into the world’s most desolate regions, continuing to ramp up the show’s intensity and authenticity.

Thanks to Bear Grylls, this genre of programming was gaining traction.

For instance, Netflix had submitted a report to Ronan, stating that users had uploaded two survival videos inspired by Wild Survival under the title “Modern Robinson.” The response had been overwhelming, attracting many viewers and even cracking the top five on Netflix’s trending charts.

Netflix’s management believed there might be a market for this and sought Ronan’s opinion. After contacting the video creators, they forwarded the relevant materials to Ronan.

The creator was Ed Stafford, a former British Army captain.

Seeing the bald man in the video, combined with the name Ed Stafford, Ronan felt an inexplicable familiarity—it reminded him of “Depp,” who had once been as famous as Bear Grylls.

Ronan instructed Netflix to continue reaching out to Ed Stafford. If he was willing, he could come to Los Angeles from the UK for a face-to-face meeting with Shai Entertainment.

If things worked out, Shai Entertainment could produce another Wild Survival-style show, but with a different approach than Bear Grylls’.

Shai Entertainment had been increasing its investment in TV series production. Apart from sequels like Prison Break, Wild Survival, Gossip Girl, and Intern Grey, many new series were either in production or about to begin.

Jeffrey Abrams’ Lost project had already started filming its first season in Hawaii.

Breaking Bad had also finalized its main cast, and the first season’s production would begin soon. Since the first season was more of a trial run, it wouldn’t be very long, with filming and production expected to wrap up by year’s end.

Other adaptation projects like The Walking Dead and A Game of Thrones were progressing smoothly in scriptwriting.

Two series conceptualized by Ronan had completed their preliminary planning and research, officially named American Horror Story and The Big Bang Theory.

The writing teams for both would soon begin script development.

Then there was Netflix’s former flagship series, House of Cards. The original novel and script had been delivered to David Finch by Lindsay Bill, but David Finch was currently focused on filming Girl and hadn’t given a definitive response yet.

Recently, Vince Gilligan, the director, writer, and producer of Breaking Bad, had been frequently visiting Relativity Tower, eager to confirm the first season’s release date.

But Ronan advised him not to rush, assuring him to focus on completing production first.

On the film front, Christopher Nolan’s The Prestige was set for release next year, along with other new films like Fast & Furious 3, 300, The Hangover, and Juno.

Sequel films were a guaranteed source of sustainable profit, and Relativity Entertainment wasn’t about to abandon them. Numerous horror sequels were released either annually or biennially.

As Relativity Entertainment’s key project for the next Oscar push, The Departed had wrapped up pre-production in July. Martin Scorsese, along with Tom Cruise and Will Smith, had led the crew to the East Coast.

The film’s primary locations were New York and Boston.

Since Ronan had promised Tom Cruise and Will Smith, he would also make a cameo appearance.

Of course, it wouldn’t be a major role—there was still a difference between a businessman’s acting and that of a professional in front of the camera.

Originally, Tom Cruise and Will Smith had suggested Ronan play the role Mark Wahlberg had once played, but that character had too much screen time for someone without any acting training to handle.

Martin Scorsese, determined to win an Oscar for Best Director, also advised Ronan to stick to a cameo.

Compared to his old friends, Scorsese’s Oscar ambitions were more apparent. Even without The Departed, he would have directed other films tailored for the Academy.

Films were always diverse, and filmmakers’ intentions were never purely artistic.

Ronan had seen this clearly over the years in the industry.

Hollywood wasn’t defined by a single genre—its diversity was what made it a global film industry hub.

Relativity Entertainment was also on the path of diversification, starting from horror films, then expanding into medium and large-scale productions, and later venturing into comedy, art-house, romance, youth, musicals, game adaptations, and animated features.

Of course, adaptations and sequel films were currently Relativity Entertainment’s primary focus.

In contrast, original content had a lower presence.

In August, Embassy Pictures would release two films: DreamWorks Animation’s new film Madagascar and Uwe Boll’s game adaptation BloodRayne.

Madagascar would premiere in North America first.

Chapter 817: Discussing the Termination

With the rapid decline of Disney Animation Studio, Hollywood’s animated feature landscape had shifted, leaving Pixar as the dominant force.

Since the release of Shrek, DreamWorks Animation had soared to success, with Shark Tale also proving to be a hit, making it the second-largest animation producer in Hollywood after Pixar.

Madagascar was the latest masterpiece from DreamWorks Animation.

According to the agreement between Relativity Entertainment and DreamWorks, Embassy Pictures continued to handle the promotion and distribution of this animated feature.

As the second weekend of August approached, Madagascar held its global premiere at Hollywood’s grand theater.

The Hollywood Walk of Fame outside the theater had transformed into an animal paradise.

Posters and giant plush toys of various African animals were everywhere.

Ronan had already seen a preview of Madagascar and confirmed its quality, ensuring that Embassy Pictures’ investment in promotion and distribution was well justified.

With Embassy Pictures’ distribution capabilities, securing over four thousand theaters for screenings after the film’s trial and approval from theater chains was not difficult.

Moreover, high-quality animated films often guaranteed profits.

Madagascar opened in North America with a massive release in four thousand two hundred and eighty-eight theaters.

This was also a positive response following the consecutive successes of the two Shrek films.

On the day of the premiere, Jeffrey Katzenberg was undoubtedly the center of attention.

In contrast, both Ronan and Garcia-Rodriguez, representing Relativity Entertainment and the distributor respectively, maintained a low profile.

For a distribution company, the best approach was to quietly earn the money.

“With the two Shrek films, how much profit did Embassy Pictures make as the distributor?” Ron Meyer, the former Chief Executive Officer of Universal, asked Garcia inside the theater. “You must have taken at least half the profits, right?”

Garcia remained modest: “It’s not that exaggerated. Embassy Pictures also invested heavily in promotion and distribution.”

Although Ron Meyer was no longer working in Hollywood, he still kept up with industry news: “With the two Shrek films and Shark Tale, Embassy Pictures, as both online and offline distributor, is the biggest winner.”

Garcia smiled and said, “The first Shrek was distributed in North America by DreamWorks themselves.”

“Speaking of which, I truly admire your Ronan Anderson,” Ron Meyer said, looking at Ronan, who was conversing with Spielberg. “Relativity Entertainment’s acquisition of Artisan Entertainment not only bundled and sold off the distribution department, which was highly redundant and useless for Relativity Entertainment, to DreamWorks, recovering most of the funds invested in Artisan Entertainment, but also secured the North American distribution rights for DreamWorks Animation’s animated features from DreamWorks…”

Garcia said, “Relativity Entertainment and DreamWorks are strategic partners. We solved DreamWorks’ urgent need for distribution channels.”

Ron Meyer had nothing to say because the facts were indeed as such. The cooperation between Relativity Entertainment and DreamWorks was entirely a willing seller and an eager buyer.

Garcia continued, “Artisan was practically DreamWorks’ last chance. Ron, you’re an industry veteran and understand the situation well. Even if you invest heavily in acquiring distribution channels now, can you still buy them?”

As the former Chief Executive Officer of Universal, Ron Meyer naturally understood this.

Why were the Big Six in Hollywood the Big Six? Not because of their strong production capabilities, but because they controlled the discourse power of the MPAA and had complete distribution channels.

Ron Meyer did not dwell on this topic further and returned to the previous one: “For the three animated features from DreamWorks Animation that have been released, your online and offline distribution profits must not be lower than this figure, right?”

He held up two fingers.

Garcia smiled and said, “The specific statistics haven’t come out yet.”

Ron Meyer shook his head: “Your Relativity Entertainment should be financially transparent.”

Garcia directly replied, “Relativity Entertainment is not a listed company.”

On the other side, Spielberg was having a serious private and informal discussion with Ronan.

“How did you consider my proposal last time?” Spielberg, speaking as the head of DreamWorks, said, “Ronan, DreamWorks’ distribution channels are becoming more complete. Isn’t it time for DreamWorks Animation to return to DreamWorks?”

Watching the distribution company take nearly half of the online and offline profits from three animated features was heartbreaking for the entire DreamWorks team.

Ronan pondered for a moment and said, “Steven, the contract hasn’t expired yet.”

Spielberg smiled and said, “I know, but DreamWorks’ shareholders have put a lot of pressure on DreamWorks.”

Ronan had been considering this. Now, Kung Fu Panda, How to Train Your Dragon, and The Croods were all in the hands of Shai Entertainment Animation Studio.

DreamWorks Animation’s next three projects, Bee Movie, Megamind, and Monsters vs. Aliens, were, in Ronan’s impression, all very average animated features.

Moreover, the consecutive successes of the Shrek series and Shark Tale had boosted the confidence of DreamWorks Animation, most notably reflected in the dramatic increase in the production budgets of their animated features.

For example, Monsters vs. Aliens had a production budget of one hundred and seventy-five million dollars!

Even Megamind and Bee Movie were planned to have budgets of one hundred and fifty million dollars each!

What did this mean?

In Hollywood, apart from the team at Pixar, no other company played like this.

The problem was, DreamWorks Animation was not Pixar.

DreamWorks Animation had always followed a low-cost, high-output route.

It could only be said that the massive success of Shrek had made the entire DreamWorks Animation, including industry veterans like Jeffrey Katzenberg, extremely confident.

Today’s DreamWorks was no longer the DreamWorks of the past. With complete distribution channels, Spielberg had also rekindled the goals he had when he founded DreamWorks.

“DreamWorks only has live-action and animated films left,” Spielberg said. “Ronan, a complete DreamWorks can better share the pressure with Relativity Entertainment.”

No one was a fool. Spielberg had seen clearly that Relativity Entertainment’s alliance with DreamWorks was to have DreamWorks share some of the pressure from the Big Six.

Similarly, DreamWorks also needed Relativity Entertainment to share the pressure.

Thinking of Shai Entertainment Animation Studio and the next three top animated feature projects from DreamWorks Animation, Ronan made a decision: “Relativity and DreamWorks are allies. Steven, you, Jeffrey, and I are friends. Since you’ve brought it up, I can’t oppose it.”

Spielberg’s smile grew wider, but he knew Ronan’s character well and immediately said, “Ronan, if there’s anything you need from DreamWorks, just say it…”

Ronan raised his hand to stop Spielberg from continuing: “Steven, don’t rush. Let me finish, okay?”

Spielberg nodded: “Please go on.”

Ronan continued: “After the release of Shrek the Third next year, I will have someone discuss the termination of the contract with Jeffrey.”

Hearing that it was next year, Spielberg subtly furrowed his brows but quickly returned to normal. This was expected, as Relativity Entertainment couldn’t give up the Shrek series.

Terminating the distribution contract next year was already quite good, considering the contract between the two parties was signed until 2008.

Spielberg directly said, “Okay.”

Ronan added, “The cooperation between DreamWorks Animation and Embassy Pictures for film distribution will continue until the contract expires in 2008, but Embassy Pictures will withdraw from new animated features.”

This request was reasonable, and Spielberg couldn’t oppose it in good conscience. He quickly said, “No problem.”

Ronan wasn’t finished: “To end the contract early, I also need to give an account to Embassy Pictures and the group company. Steven, I have two more conditions.”

Spielberg understood that to regain the distribution rights for DreamWorks Animation, he would have to give something up.

“Go ahead,” Spielberg decided to listen to the conditions first.

Ronan didn’t beat around the bush: “You sign a contract with Shai Entertainment for two films as a director at a reasonable price.”

Spielberg frowned slightly, thought for a moment, and said, “One contract.” He knew he had to make concessions: “I only want twenty million dollars in salary and guarantee the completion of the film.”

This was, of course, measured from the perspective of commercial films. Spielberg’s director salary for commercial tentpoles wouldn’t be less than the twenty-plus-twenty model.

As early as 1994, with the Jurassic Park project, Spielberg’s personal total compensation reached two hundred million dollars.

Originally, Ronan wanted to have his subordinates discuss the salary with Spielberg’s agent, but since Spielberg had brought it up, he naturally wouldn’t oppose it.

“Okay,” Ronan said, moving on to the second condition: “As far as I know, you, Jeffrey, and DreamWorks all hold some shares in Walt Disney?”

Spielberg said, “Yes, very little, less than one percent combined.”

He held very few shares, purchased during Disney’s financing expansion in the late eighties.

Jeffrey Katzenberg, however, held quite a few. He was the head of Disney Animation Studio back then, and although he sold some when he founded DreamWorks, he still held about five-thousandths.

Ronan said, “You and Jeffrey sell your shares to me at the market price at the time of the agreement.”

Spielberg thought for a moment: “I’ll discuss it with Jeffrey.”

Ronan nodded: “Okay.”

It was inevitable that Relativity Entertainment would end its cooperation with DreamWorks Animation. Those three high-investment animated feature projects also made Ronan doubtful about DreamWorks Animation.

Ronan then entered the screening room and sat in the third row of the guest seats, giving Connie a few instructions about DreamWorks Animation and Embassy Pictures.

Someone walked over and sat directly next to Ronan.

“Hi, Ronan,” Sophia Coppola greeted Ronan. “I didn’t expect we’d be working together again so soon.”

Chapter 818: The Capital of Confidence

Ronan, of course, understood the meaning behind these words and said, “Jesse believes you are the most suitable director for this project.”

Sofia Coppola replied, “I really love the script for Juno. So when Jesse found me, I immediately ended my vacation.”

Ronan smiled and said, “I hope you can bring us a masterpiece like Lost in Translation.”

Sofia Coppola also smiled and said, “I have confidence in myself and in the Juno script.”

A female director helming a female-centric film naturally had an advantage, and Sofia Coppola had already directed something similar with The Virgin Suicides.

Ronan directly stated, “The goal for this film is still the awards season and the Oscars.”

“Unfortunately, I’m a woman,” Sofia Coppola sighed. “Those stubborn old men will find it hard to give me that coveted Oscar statuette.”

Ronan nodded. “It is indeed difficult, but there is always hope.” He deliberately added, “Don’t forget, you are Sofia Coppola.”

Sofia Coppola self-deprecatingly replied, “Yes, if I weren’t Sofia Coppola, I wouldn’t have any hope at all.”

Ronan couldn’t help but think of James Cameron’s ex-wife, who was stronger than most men. She had won the Oscar for Best Director in the same year as Avatar.

Even with such a precedent, it was still extremely difficult for a female director to win Best Director in a field dominated by men.

In short, Kathryn Bigelow was an exception, not the norm.

Sofia Coppola had a chance, but the likelihood of winning Best Director with a film like Juno was very low.

Before the screening of Madagascar, Ronan chatted with Sofia Coppola about Juno.

Jessica Felton had already finalized the directing contract with Sofia Coppola, and the two had officially signed the agreement a week prior.

The production budget for this project was only seven million dollars, which was on the lower end for Shai Entertainment’s current projects.

Lost in Translation had grossed over seventy-two million dollars in North America, and during negotiations, Sofia Coppola had only asked for a base salary of five hundred thousand dollars, with the focus of her compensation on the backend profits.

Working with a renowned director naturally came with higher costs, and the final agreement included a five hundred thousand dollar base salary for Sofia Coppola, along with a ten percent share of the North American box office profits.

Ronan and Jessica Felton were in agreement about inviting Sofia Coppola, both believing she would contribute to the film’s success.

The conversation then turned to Jessica Felton. Sofia Coppola said, “The female producer you found is excellent. Successful female producers are even rarer than successful female directors.”

Ronan smiled and said, “Jesse made it through her skills and abilities.”

Sofia Coppola glanced at Ronan, holding back some words she wanted to say.

At that moment, the lights in the ceiling dimmed, the big screen lit up, and the theater fell silent as the premiere of Madagascar began.

This film about African animals, tailored for the North American market, naturally started in the United States, with the main characters becoming animal stars in New York’s Central Park.

The lion, zebra, hippo, and giraffe originally lived comfortably in Central Park, but whether by force or choice, they yearned for freedom and escaped the park, experiencing a richer and more colorful life.

Of course, DreamWorks Animation had learned a lot from the success of Shrek.

For example, the absurd humor throughout the process.

DreamWorks Animation’s style had always been humor with underlying truth, goodness, and beauty.

Madagascar was very funny, and like the anti-fairy tale classic Shrek, it parodied many classic elements.

For instance, the lion’s signature entrance was a flipped version of the Peugeot logo, the green-eyed lion chasing the zebra was set to the classic Marlboro Man music, the ball the lion played with was Tom Hanks’ companion Wilson from Cast Away, and the roses from American Beauty were replaced with steaks…

When the evil penguins returned to their longed-for homeland of Antarctica and cursed, “What the hell is this place?” the parody reached its peak.

These penguins, who tried to follow the laws of nature and return to Antarctica, couldn’t bear the harsh environment and, with sunscreen in hand, turned around and headed to Madagascar.

The entire theater was filled with laughter.

Since Shrek, almost all of DreamWorks Animation’s successful animated features had been built on making the audience laugh uncontrollably.

Madagascar was no exception.

This was a film that made people laugh and feel comfortable.

As for profound themes or whether there was any irony, none of that mattered in the face of the market.

Making people laugh and feel comfortable ensured the film’s commercial success and guaranteed that every dollar invested by Embassy Pictures and DreamWorks Animation would yield its due return.

With traditional hand-drawn animation completely in decline, computer animation had ushered in its best era.

In recent years, the rapid advancement of computer technology had made computer animation a standout in the animation field, and Madagascar was another ambitious work from DreamWorks Animation.

In the pre-release promotions, DreamWorks Animation repeatedly highlighted the new computer animation techniques used in Madagascar, claiming significant breakthroughs.

For example, the fur of the lion, Alex.

Compared to the relatively rough visuals of Shrek, the seventy-five million dollar budget of Madagascar did show significant progress in technology and visuals.

However, Alex’s fur still fell short compared to Pixar’s Sulley from a few years ago.

But no one could deny DreamWorks Animation’s progress. Under Jeffrey Katzenberg’s leadership, DreamWorks Animation had broken free from its struggles and was catching up to Pixar.

No one wanted to be the eternal second-best; everyone wanted to be the industry leader.

Thus, DreamWorks Animation abandoned its previous frugal production style and began investing over one hundred and fifty million dollars into single animated feature projects, just like Pixar’s teams.

This was also a manifestation of Jeffrey Katzenberg and DreamWorks Animation’s ambition.

It was hard to say about the next three big-budget animated features, but Madagascar was at least a commercial success.

“A film that makes people laugh hysterically.”

“Smart family entertainment.”

The media’s reviews of Madagascar were also mostly positive.

The Hollywood Reporter’s review was perhaps the most representative.

“Madagascar doesn’t do too much; it just makes you laugh. This minimalism brings pure family joy!”

In the eyes of film critics, movies like Madagascar were the epitome of dullness and clumsiness.

Audiences didn’t care about these things, nor did they worry about continuity or deeper thoughts. Most viewers were immersed in the endless stream of jokes and couldn’t help but laugh.

The most popular characters in the film weren’t the main protagonists but the evil penguins.

Like the Ice Age series, the side characters stole the spotlight from the main ones.

Many viewers were won over by the penguins.

After watching the film, Ronan could guess that DreamWorks Animation would definitely develop a standalone animated film for the penguins in the future.

Hollywood would fully utilize every successful element of a popular movie.

Not to mention a well-received film like Madagascar; even Blade Runner, which had suffered heavy losses and nearly ruined Ridley Scott’s career, had gained Warner Bros.’ attention after more than twenty years of offline operations and word-of-mouth fermentation.

Rumor had it that Warner Bros. was discussing whether to make a sequel to Blade Runner.

Blade Runner, over time, had transformed from a financial failure into a classic, generating discussions and popularity that brought continuous revenue in the offline market, seemingly making Warner Bros. forget that time costs were also a form of cost.

After Madagascar was released, the audience response was excellent, and Embassy Pictures’ promotional and distribution capabilities were assured, achieving the expected box office results.

In its North American opening weekend, Madagascar played in 4,288 theaters and grossed fifty-seven million and two hundred twenty thousand dollars.

This result was enough to secure the film’s position at the top of the North American box office charts.

Due to the film’s positive audience reception, Cinemascore predicted that Madagascar’s North American box office would exceed two hundred million dollars.

Undoubtedly, this animated feature had already achieved success.

Madagascar also bolstered DreamWorks Animation’s already sky-high confidence.

Although there had been less successful animated features like Spirit: Stallion of the Cimarron and Sinbad: Legend of the Seven Seas in the past two years, since the release of Shrek 2, including Shark Tale and Madagascar, DreamWorks Animation had achieved an impressive three consecutive victories.

Jeffrey Katzenberg and DreamWorks Animation indeed had the capital to be confident.

As the weekend passed and the workweek began, Spielberg gave Ronan a clear response. The team jointly formed by DreamWorks and DreamWorks Animation arrived at Relativity Tower as agreed to discuss the termination of the contract with Embassy Pictures.

Meanwhile, Spielberg’s agent was also in talks with Shai Entertainment about a directing collaboration.

This directing collaboration with Spielberg was part of future plans and would not be executed in the short term.

The negotiations between DreamWorks and Embassy Pictures went smoothly, as Ronan and Spielberg had already agreed on the main terms.

Both parties also agreed that after the release of Shrek the Third next year, they would terminate the distribution contract. However, all films distributed by Embassy Pictures for DreamWorks Animation must have their online and offline distribution rights returned to DreamWorks only after the original contract expires in 2008.

Chapter 819: The Dynamics of Two Giants

In the conference room of Relativity Tower, Garcia and Jeffrey Katzenberg, representing Embassy Pictures and DreamWorks Animation respectively, signed a new contract before standing up to shake hands.

There was no applause, no tension, and certainly no hostility—everything proceeded with calm and natural ease.

The contract was executed exactly as Ronan and Spielberg had agreed.

Next, Ronan, representing Relativity Media, signed a share transfer agreement with Jeffrey Katzenberg and Steven Spielberg.

Relativity Media acquired all the Walt Disney shares held by Jeffrey Katzenberg, Steven Spielberg, and DreamWorks at the market price on the day of the negotiation.

Most Hollywood companies often held shares in each other, especially the Big Six, where this practice was most evident.

However, DreamWorks, being relatively new, held only a small fraction of Disney’s shares—less than one percent in total.

The relationship between DreamWorks and Relativity Media had entered a new era.

Spielberg shook Ronan’s hand. “Ronan, thank you for your support of DreamWorks.”

Ronan smiled. “It’s a win-win for both of us.”

Spielberg chuckled. “DreamWorks will always be Relativity’s most steadfast ally.”

Ronan replied with a line even he didn’t believe. “I’ve always believed that.”

Now, Relativity and DreamWorks shared common interests on a grand scale, but who could say what the future held?

Steven Spielberg was more than just a director, and Ronan was more than just a producer.

Beyond their famous careers, they shared another identity—businessmen!

Spielberg asked, “Regarding the director’s contract, I’ll come to Shai Entertainment to sign it when I have time.”

Ronan nodded slightly. “Steven, I look forward to our collaboration.”

“I do as well,” Spielberg replied smoothly. “Ronan, with you overseeing the themes and scripts, my confidence will return.”

Over the past two years, Spielberg had been on a decline. Both the media and audiences seemed to have grown tired of his formulaic approach—filling in pre-drawn frameworks.

But Ronan knew Spielberg’s abilities were still formidable. “We’re a perfect match.”

Spielberg asked curiously, “Can you tell me what the theme will be?”

Ronan wasn’t about to reveal project details before Spielberg had even signed the contract. He answered vaguely, “I haven’t decided yet. Our collaboration is part of Relativity’s future plans. Once the theme and content are finalized, I’ll send them to you immediately.”

Seeing that Ronan wasn’t giving anything away, Spielberg politely replied, “I’m very much looking forward to it.”

Jeffrey Katzenberg, who had been chatting with Garcia, walked over. “Steven, Ronan has always had a keen eye for film themes.”

Ronan laughed. “Speaking of keen eyes, Jeffrey, yours were sharpest with Shrek.”

Jeffrey Katzenberg adjusted his glasses. “Now that the contract is signed, DreamWorks Animation’s distribution partnership with Embassy Pictures will end next year.”

Spielberg added, “This is a beneficial agreement for all three parties.”

Ronan said, “Jeffrey, we’re friends. Relativity and I would never stand in the way of DreamWorks Animation returning home.”

The words sounded noble, and even Spielberg was moved—though he also gained a new appreciation for Ronan’s audacity.

If they truly wanted to let DreamWorks Animation go, why impose so many conditions? And why require Spielberg to sign a director’s contract?

As for the Disney shares, Spielberg didn’t care much. Disney had been plagued by internal strife, and its stock price had been lackluster. If they hadn’t struggled to find a buyer, he and DreamWorks would have sold those shares long ago.

Jeffrey Katzenberg said, “Ronan, thank you for your help with DreamWorks Animation.”

Regardless of anything else, Embassy Pictures had played a significant role in DreamWorks Animation’s development. The success of their animated features was due to both their quality and market fit, but no one could overlook Embassy Pictures’ efforts in promotion and distribution.

“You’re welcome,” Ronan smiled. “We’re friends.”

“Yes, we’re friends,” Jeffrey Katzenberg thought to himself, hoping they would remain so.

Spielberg stayed silent but understood that the relationship between Ronan Anderson and Jeffrey Katzenberg was no longer what it once was.

Hollywood had a famous “iron triangle”: Ronan Anderson, Will Smith, and Tom Cruise!

Jeffrey Katzenberg, who had once been part of their circle, had long since distanced himself—a telling sign.

Jeffrey Katzenberg glanced at the time, exchanged a look with Spielberg, and said, “Ronan, it’s getting late. We should take our leave. We still have to return to Glendale.”

Ronan smiled and shook hands with both of them. “I won’t keep you.”

After bidding farewell, Ronan escorted Jeffrey Katzenberg and Spielberg to the elevator.

The two men boarded the elevator, satisfied.

Garcia then asked, “Is it a shame to let DreamWorks Animation go like this?”

Ronan walked toward the office, waiting for Garcia to catch up before replying, “DreamWorks Animation’s next three projects after Shrek require massive investments, which would demand that Embassy Pictures match them with equally substantial promotion and distribution funds. But DreamWorks Animation isn’t the type to pursue extreme visuals after heavy investment…”

“High risk?” Garcia understood Ronan’s implication.

“Mainly, we don’t need to take that risk,” Ronan said slowly. “Shai Entertainment Animation Studio will continue releasing animated features over the next two years. Our resources and efforts should focus on our own production company. Besides, after the end of this year, the landscape of Hollywood animation might see new changes.”

Garcia had his suspicions but didn’t voice them.

Ronan smiled. “The distribution rights for Shrek and Madagascar are still in our hands until 2008. Find ways to stimulate the market and extract as much value as possible in these years. Don’t worry about the negative impact on future sequels.”

Garcia replied, “Embassy Pictures is already drafting plans.”

Apart from next year’s Shrek 3, the sequels to other animated films would no longer be distributed by Embassy Pictures, so there was no need to consider long-term plans or operations.

The revenue from popular animated films far surpassed that of live-action films.

In the first half of this year alone, even without new releases, DreamWorks Animation earned two hundred forty-seven million dollars from Shrek and Shark Tale through offline operations and commercial licensing.

As the distributor, Embassy Pictures was well aware of these figures.

This income came entirely from offline operations and related commercial licensing.

For this reason, Spielberg and Jeffrey Katzenberg had repeatedly expressed to Ronan their desire to bring DreamWorks Animation back home.

Compared to the old DreamWorks Animation, Jeffrey Katzenberg had greater advantages in distribution channels and company platforms.

The old DreamWorks Animation had always fought alone—it was a content creator, with most of its income coming from box office revenue, unlike Pixar, which, after being acquired by Disney, had stable distribution and derivative product sales channels.

Thus, Jeffrey Katzenberg had been seeking external partnerships. DreamWorks Animation had high-quality content but needed a larger company to ensure future growth.

However, Jeffrey Katzenberg’s path had been anything but smooth.

DreamWorks Animation had changed distributors multiple times, and Jeffrey Katzenberg had even considered selling the studio. Rumors of Hasbro acquiring DreamWorks Animation, only to back out, were frequent.

First, it was Hasbro, then Japan’s SoftBank, but all these acquisitions failed.

Selling DreamWorks Animation had been a decade-long struggle for Jeffrey Katzenberg, ending only when he joined Universal.

Why?

Ronan didn’t know the details, but after years of dealing with Katzenberg, he had some insights.

Katzenberg was difficult to work with and had an overwhelming desire to control DreamWorks Animation. Even if he sold the majority stake, he insisted on remaining the studio’s ultimate authority—a likely source of conflict with potential buyers.

Additionally, after on-site inspections, outsiders would find Hollywood extremely unwelcoming to newcomers.

One undeniable fact was that while Hollywood had investment value, opportunities for new entrants were scarce.

Relativity’s success couldn’t be overlooked—Ronan and the early Shai Entertainment were, in every sense, Hollywood’s “own.”

Hollywood was a system dominated by major companies, with distributors at the top of the food chain. Latecomers, even if they joined, would be tightly constrained by distribution channels alone.

With Relativity letting go, DreamWorks Animation was returning home. Ronan thought about Jeffrey Katzenberg and Steven Spielberg—the once mighty trio of DreamWorks, now reduced to two after David Geffen’s departure, their relationship strained by conflicts and power struggles.

Spielberg wanted a DreamWorks with a complete industry chain, strong capabilities, and under his control.

But DreamWorks was complex, and its shareholding structure reflected that.

Katzenberg, once driven out by Disney’s leadership, would not easily submit to others.

Could two monks carry water together?

Chapter 820: One More Choice

The motorcade entered the DreamWorks industrial park in Glendale, slowly coming to a stop in front of an office building. Katzenberg and Spielberg stepped out of their respective cars.

Spielberg stood beside Katzenberg and said, “Jeffrey, welcome home.”

Katzenberg replied, “The animation studio has always been part of DreamWorks.”

Truthfully, he didn’t much care for the tone Spielberg had just used, as if welcoming back a prodigal child.

Spielberg remained composed. “When we founded DreamWorks, the three of us—you, me, and David—stood right here, looking out over the entire industrial park, full of confidence in the future.”

His words carried a subtle undertone.

Katzenberg picked up on it and sighed. “It hasn’t been easy for DreamWorks to get to where it is today.”

Spielberg said, “Yes, after David’s departure and the pressure from the Big Six, DreamWorks didn’t collapse. I cherish this business even more now.”

His words seemed heartfelt, and they appeared to move Katzenberg. He spoke earnestly, “Steven, the situation is different now. With Ronan Anderson and Relativity Entertainment drawing fire in Hollywood, DreamWorks has a chance to grow stronger.”

Spielberg nodded slowly. “But only if there are no internal problems at DreamWorks.”

Katzenberg turned to face Spielberg. “The strongest fortresses always crumble from within.”

Spielberg suddenly extended his right hand. “Remember our original mission!”

Katzenberg firmly grasped his hand. “Remember our original mission!”

At that moment, the two men’s hands clasped tightly together. The two remaining giants of DreamWorks seemed ready to begin working together in earnest.

With the new agreement with Embassy Pictures just finalized, Katzenberg had a lot of work to handle. He soon headed over to the animation studio.

Spielberg entered the office building and returned to his own office.

Inside the office, only Spielberg and his trusted subordinate were present. The former asked, “DreamWorks is getting back on track. Go and confirm how many shareholders support me!”

The subordinate replied, “I’ll go right away.”

Spielberg stopped him. “Go yourself. Don’t let word get out.”

Many things required advance planning. Even if they weren’t carried out, preparations had to be made. Otherwise, it would be too late to come up with solutions at the last minute.

Back at the DreamWorks Animation Studio, Katzenberg first visited several project teams, briefly discussing the situation with Embassy Pictures with the project leaders to reassure everyone.

On his way back to the office, Jeffrey Katzenberg took a call. After a few words, he said, “Let’s meet at 3 PM on Eleventh Street in Santa Monica.”

After hanging up, he had lunch first, then returned to his office to work for a while. When the time was right, Katzenberg left without anyone, driving himself to Santa Monica, where he met an old acquaintance, Mike Dandrie.

Dandrie was also a producer who had left Disney Animation Studio and now worked at Universal.

The two were old colleagues and had always kept in touch.

Dandrie asked directly, “Jeffrey, I heard you’ve terminated the distribution contract with Embassy Pictures?”

Katzenberg replied, “We signed a new agreement this year. It’s not a termination; Ronan Anderson decided to bring the DreamWorks Animation Studio back home.”

Dandrie couldn’t help but smile. “Embassy Pictures’ distribution and promotional capabilities are better than DreamWorks’, aren’t they?”

Katzenberg said, “Not by much.”

“Jeffrey, how about listening to a suggestion of mine?” Dandrie was sincere. “How about having Universal distribute the DreamWorks Animation Studio’s films?”

He quickly added, “Don’t rush to refuse. Jeffrey, as the head of the DreamWorks Animation Studio, you’re responsible for the studio, not DreamWorks. Universal’s distribution capabilities are beyond what DreamWorks can offer.”

Katzenberg’s refusal caught in his throat.

Dandrie continued to sweeten the deal. “Universal is even willing to invest in the DreamWorks Animation Studio to expand your scale.”

“You want the DreamWorks Animation Studio to join Universal?” Katzenberg instantly grasped Universal’s true intentions.

Dandrie didn’t deny it. “The resources and platform that NBC Universal can provide are no worse than DreamWorks’. Universal can guarantee that you will always remain the head and decision-maker of the DreamWorks Animation Studio!”

Katzenberg frowned slightly, falling silent.

Dandrie continued, “Nowadays, computer animation is all the rage, and the market is wide open. Many large companies have their own animation studios. Universal has neglected this area in the past, which is why we haven’t started yet. So, Universal is very sincere about wanting to collaborate with the DreamWorks Animation Studio…”

He lowered his voice and listed a series of cooperation terms.

Katzenberg listened, and while he couldn’t say he wasn’t tempted, DreamWorks was a company he and Spielberg had built from the ground up. It wasn’t something he could just let go of.

“Jeffrey, think it over carefully.” Dandrie said, “Universal is one hundred and twenty percent sincere.”

Katzenberg neither agreed nor refused. “This concerns DreamWorks’ future. I need time to consider.”

Dandrie smiled. “Of course, this requires careful consideration.”

Not outright refusing was good news for Universal.

The meeting ended quickly. Jeffrey Katzenberg felt he couldn’t outright refuse Universal. The future of the DreamWorks Animation Studio needed more options.

He couldn’t tie his and the studio’s future entirely to Spielberg.

At Relativity Tower, after handling matters related to DreamWorks, Ronan received an old acquaintance.

Zack Snyder came to his office.

“How’s the post-production of 300 coming along?” Ronan asked.

Snyder quickly replied, “It’s going smoothly, but it won’t be completed until the end of the year.”

Ronan wasn’t surprised. After all, the film hadn’t shot a single outdoor scene; all filming was done in a studio against a green screen, with all backgrounds generated by CGI. Post-production would take time.

“No need to rush.” Ronan nodded slightly. “The film isn’t scheduled for release until next summer. There’s plenty of time for post-production.”

Snyder smiled. “Yes, post-production is key for this film.”

Ronan said, “You need to pay more attention to this. Stay with the crew.”

“I understand.” Snyder assured him. “I will submit a guaranteed completion edit to the company.”

He glanced at Ronan and tentatively asked, “Have you seen Charles Roven lately?”

Ronan thought for a moment. “I saw him a while back. Christopher Nolan gathered people to discuss preparations for the new Batman sequel. I and Charles Roven are both producers on the project.”

Snyder said, “Charles Roven has spoken to me a few times recently.”

Ronan immediately thought of the behind-the-scenes connections he had been fostering. “I’ve seen you and Charles get along well before.”

Snyder smiled awkwardly. “We share similar views on many aspects of film production.”

Ronan continued, “Charles has mentioned that to me.”

Snyder, seeing that Ronan didn’t seem to mind, tried again. “A couple of days ago, Charles Roven and two executives from Warner Bros. and DC Comics came to the set to see the post-production of 300. I sought your and George’s opinions, and after you agreed, I showed them some of the completed footage…”

Ronan nodded. “I remember that.”

Since the opening of Relativity Tower, most of Shai Entertainment’s crews had moved their post-production to Relativity Tower’s post-production studios. However, a few crews still did their post-production at Warner Bros. Studios, and 300 was one of them.

Ronan had deliberately left the 300 crew at Warner Bros. Studios.

“They saw that footage…” Snyder continued. “They were very interested and thought my style was unique. They want to work with me…”

At this point, Snyder looked at Ronan, seemingly a bit worried.

Ronan smiled. “Zack, you only signed a two-film contract with Shai Entertainment. You must have heard about Guillermo del Toro and Paul Greengrass. Business is business; we have contracts as a basis.”

Snyder had, of course, heard about those two who had already ended their cooperation with Relativity Entertainment. Otherwise, he wouldn’t have come forward.

“Charles Roven suggested that after I finish 300…” Snyder seemed encouraged. “I direct a DC Comics adaptation. He thinks my style in 300 is very suitable for that comic adaptation.”

Ronan said directly, “Zack, choosing your next film project is your freedom. Neither I nor Relativity Entertainment have the right to interfere, but there’s a premise: you need to finish 300 first.”

Snyder said seriously, “I promise. That’s what I told Charles Roven, so I haven’t agreed yet. I came here first to let you know.”

Even if they didn’t cooperate, he didn’t want to strain relations with Relativity Entertainment over working with another company.

Ronan said, “Zack, as long as you fulfill the contract, you can choose the path most beneficial to your future. I never have and never will interfere. You can rest assured about that.”

Snyder truly felt at ease. After all, Ronan’s reputation was well-known.

Chapter 821: Born Enemies

With Ronan’s confirmation, Zack Snyder left the office with a relieved expression. After 300, he had already chosen his path forward.

Warner Bros was currently the most successful film company in all of Hollywood, and collaborating with them guaranteed success.

Ronan wouldn’t set obstacles for Zack Snyder, but he wouldn’t do more than that either.

After all, Zack Snyder and DC Comics adaptations were a perfect match.

Kevin Tsujihara becoming the Chief Executive Officer of Warner Bros was already a done deal, and Warner Bros was about to embark on a mysterious journey of operations.

However, someone capable of becoming the Chief Executive Officer of a large company must have the ability. It was said that Kevin Tsujihara was considering what series to use to support Warner Bros’ film business after the Harry Potter series.

The Harry Potter series was the first major contributor to Warner Bros’ position as the leader in Hollywood, and finding a suitable replacement was not easy.

Thus, Warner Bros’ gaze naturally fell on DC’s superhero comics.

Warner Bros once again gathered Ronan, Charles Roven, Christopher Nolan, and Christian Bale at the Warner Bros building to discuss the preparation and filming of The Dark Knight.

The person presiding over this meeting was Kevin Tsujihara.

“When can this film start shooting?” Kevin Tsujihara was a bit anxious. “When can it be released? Warner Bros needs a clear timeline.”

Ronan, as the lead producer and representative of the two major investors, Shai Entertainment, took the initiative to respond: “Kevin, our plan is clear. Director Nolan has completed The Prestige, and preparations will begin in October. If shooting and post-production go smoothly, The Dark Knight can be released in the summer of 2007.”

Christopher Nolan then said, “I will submit the detailed plan to Warner Bros and Shai Entertainment again next week.”

Kevin Tsujihara said, “I still hope to speed up this process.”

“We need sufficient time.” Charles Roven took the initiative to advise, “This is a top-tier Hollywood production.”

Kevin Tsujihara frowned slightly: “You must consider the financial pressure Warner Bros is under. With a production cost of one hundred and eighty million dollars, the interest alone will strain Warner Bros’ cash flow.”

Ronan interjected, “How about this, Kevin? Shai Entertainment can take on more of the investment, say eighty percent, no problem.”

Kevin Tsujihara’s eye twitched slightly: “What about the revenue share?”

“Starting from the film’s release in North America.” Ronan directly stated, “A total of five years of proportional revenue sharing.”

Charles Roven smiled and said, “Shai Entertainment will also be under a lot of financial pressure, won’t they?”

Kevin Tsujihara quickly said, “No need, Warner Bros can handle the funding sources.”

Christopher Nolan said, “I can guarantee that The Dark Knight will be released on time in the summer of 2007.”

Kevin Tsujihara had to put his slightly restless heart back in place and turned to say, “Director Nolan, I’ve read the finalized script, and I have some questions about the plot and character settings. Isn’t the plot too dark? Creating the villain Joker in the way of the protagonist, will the audience accept it?”

This script for The Dark Knight gave him the deepest impression, as if the Joker was the protagonist, with all kinds of protagonist prestige.

Ronan said, “My opinion is the opposite. Director Nolan’s script is full of charm. Batman and the Joker are like two sides of a coin. The biggest highlight of the film is precisely their confrontation. To make the confrontation exciting, we must create a villain as powerful as Batman. What’s more important is that their confrontation is not reflected in action and physicality, but in their differing ideologies and worldviews.”

Christopher Nolan looked at Ronan, feeling that he was the producer in all of Hollywood who understood him the most.

When creating the script, he and Jonathan had thought of various versions of Batman and the Joker’s confrontation, such as family feuds, but always felt these were too low-level.

In the end, they chose the ultimate mode of opposition in human society—ideological opposition!

Because of the fundamental differences in ideology, the two are born enemies.

Ronan then said, “A pair of protagonists who love and kill each other always makes the film full of highlights.”

Charles Roven laughed: “Ronan’s description of Batman and the Joker is the most appropriate.”

In life, one can always hear and see countless such stories. Two people in love, one constantly pushing the other’s boundaries.

The underlying logic of this person is, you say you love me, is this true? I don’t believe it. So-called love for me is just adding color to your life. If you really love me, you will love me no matter what. Can you really do this?

In some ways, isn’t this also the case with the Joker and Batman?

Christopher Nolan didn’t say much, because among those present, no one’s words were more persuasive than Ronan’s.

Because behind this producer, Ronan, there were countless successful films.

“I also think Director Nolan’s script is very outstanding.”

Christian Bale, who had been silent all along, spoke up: “I am someone who likes and is brave enough to try new things, eager to pursue various multi-dimensional roles in the film industry. But my first reaction after reading the script was that I must act in this sequel.”

Kevin Tsujihara looked at everyone, especially Ronan, and finally didn’t say anything else.

Since Ronan said the script and character settings were outstanding, there should be no problem.

In this regard, Kevin Tsujihara felt that he should still trust Ronan Anderson.

Ronan looked at Christian Bale and said, “You need to prepare in advance. This film has higher demands on Batman.”

Christian Bale said, “I have already started special training.”

Christopher Nolan reminded, “Those who need special training are not only the newly added elements, but also some of the original skills that need to be reconsolidated. Also, communicate more with the stunt team. They need to understand you, imitate you, even the way you swing your arms when walking, must be imitated without any difference…”

He further said, “And the grasp of mentality. In this film, Bruce Wayne has already surpassed the person he wanted to become, but he hasn’t realized it yet. He has walked out of the painful past and the memories that tormented him, so I have to find some new things to continue tormenting him… Simply put, Batman has never escaped the past, nor can he ever escape.”

Ronan nodded slightly: “Bale, both action and psychology must be mastered simultaneously.”

If it were the first film, Batman Begins, Christopher Nolan was more borrowing from Frank Miller’s The Dark Knight Returns comic. This The Dark Knight had already transcended the comic.

Batman had no time to be gloomy there. He couldn’t indulge himself or vent his anger as he pleased. He had to stabilize his emotions at all times.

From the first film, Christopher Nolan had been trying to make Bruce Wayne face and overcome various obstacles, including anger and hesitation…

So in The Dark Knight, it was necessary to give more changes. This character played by Christian Bale began to step out of the painful shadow of his parents’ death, but even so, he was still a very dark character, completely different from those sunny superheroes.

Christopher Nolan’s way of achieving this was to pull Batman down from the pedestal, making him a person, a real person.

Superman gave people the most intuitive feeling, undoubtedly an ideal perfect incarnation.

In contrast, Batman had more human characteristics. He didn’t have so many idealized rules, so when dealing with things, he would appear more humanized and could even mix some political elements.

The rest of the meeting proceeded relatively smoothly. After being silent for a while, Kevin Tsujihara brought up another point: “Ronan, Director Nolan, and Charles. I hope The Dark Knight, and the end of the trilogy, will be open-ended, without a conclusion, leaving room for future sequels.”

In this regard, Ronan understood Kevin Tsujihara. Any qualified company decision-maker would not easily conclude a treasure trove like Batman.

“Alright.” Ronan said.

Kevin Tsujihara looked at Christopher Nolan.

An outstanding director often not only had excellent professional skills but was also good at handling interpersonal relationships.

Although only the Batman trilogy was planned, Christopher Nolan still said, “For me, the story of Batman will never have an end.”

He further said, “The reason I agreed to continue filming the sequel is because I happened to think of a good story idea and also know how to continue the previous legend. Actually, for such a big production, the most likely problem in sequel filming is that you have more budget, create grander scenes, but essentially, you are still repeatedly copying your previous self… Since I have recognized this problem, I will always avoid making similar mistakes.”

With the assurances from Christopher Nolan and Ronan, Kevin Tsujihara also temporarily set his mind at ease.

The Harry Potter series would have an end one day, and Warner Bros couldn’t rely on one film series forever. Batman and other DC comic superhero adaptations were undoubtedly the best replacement choices.

The meeting ended, and Kevin Tsujihara and Christian Bale left one after another. Ronan, Nolan, and Charles Roven remained in the conference room.

Ronan asked, “Are there suitable candidates for the actors?”

Chapter 822: The Choice for the Joker

To make the duel between the Joker and Batman stand out, it wasn’t just about the plot and character design—it also required the right actors.

Ronan was well aware of this, and so was Christopher Nolan.

Charles Roven spoke first: “I’ve already contacted all the main actors from the previous film, and they’ll all be returning.”

Even Liam Neeson, who had just finished filming Hurricane Rescue 2, would have flashback scenes in the sequel.

Ronan nodded and turned to Christopher Nolan, asking, “Do you have anyone in mind for the Joker?”

Christopher Nolan replied, “Charles and I have put out a notice through the Actors Guild, and several actors have submitted their materials.”

Charles Roven added, “We’ve selected a few actors to enter the audition process. This role is crucial, so the choice must be made carefully. In 1989, Jack Nicholson’s performance left a deep impression, and audiences will inevitably compare. The new Joker must at least hold his own.”

Ronan said, “The role itself is naturally set up to shine.”

Indeed, every actor who had played the Joker seemed to deliver an outstanding performance—from Jack Nicholson to Heath Ledger, then Jared Leto to Joaquin Phoenix. Each portrayal of the Joker had been unforgettable.

Many said there could be no Joker after Heath Ledger, but Joaquin Phoenix’s Joker had also received universal acclaim.

Christopher Nolan thought for a moment and said, “Among the preliminary candidates we’ve shortlisted, Robin Williams, Ray Liotta, Paul Bettany, Adrian Brody, and Heath Ledger have all expressed strong interest in playing the Joker.”

Apart from Ray Liotta, Ronan was familiar with the others—all established actors, including an Oscar winner.

Charles Roven said, “Warner Bros. thinks Adrian Brody is the most suitable. After all, he’s an Oscar winner for Best Actor, with both fame and influence.”

Ronan shook his head. “Adrian Brody may have fame, but his market appeal is questionable.”

Adrian Brody had arguably been the least successful Oscar winner for Best Actor since 2000. Apart from the established King Kong franchise, his other films had received lukewarm market responses.

This Oscar winner had struggled in commercial films—not just in North America, but seemingly worldwide.

Charles Roven argued, “But Adrian Brody is an Oscar winner for Best Actor.”

Ronan had never been swayed by this. “Don’t forget the uniqueness of the film that won him the award.”

Charles Roven opened his mouth but ultimately said nothing more.

Regardless, Ronan was the lead producer of the film. Even with Warner Bros. backing Charles Roven, he still didn’t have decision-making power over the production.

Seeing the disagreement between Ronan and Charles Roven, Christopher Nolan, who had been about to speak, swallowed his words.

Ronan simply said, “Let’s see how the auditions go.”

Charles Roven nodded. “Alright.”

Their conversation paused, and as Ronan and Christopher Nolan prepared to leave, Charles Roven called Ronan back.

“There’s something about Zack Snyder,” Charles Roven said. “Has he spoken to you about it?”

The earlier disagreement had been purely professional, and Ronan had no personal conflict with Charles Roven. He stopped and replied, “Zack has talked to me about it.”

Charles Roven looked at Ronan with concern.

“Zack Snyder only signed a two-film contract with Shai Entertainment,” Ronan said simply. “After 300, his contract with Shai Entertainment expires. Who he chooses to work with and which film he directs is his freedom.”

Charles Roven smiled. “Warner Bros. is preparing to collaborate with Zack Snyder.”

Ronan asked curiously, “I heard Zack say you’re planning a DC Comics superhero film.”

Charles Roven saw no need to hide it. “It’s Watchmen, written by Alan Moore for DC.”

Ronan wasn’t surprised by this answer. “That comic is highly anticipated.”

He hadn’t known much about it before, but after acquiring Marvel Comics, Ronan had done some basic research on the North American comic industry.

Watchmen was widely praised in both the comic world and mainstream media, considered a classic. This year, Time Magazine had even included it in their list of the “100 Best English Novels from 1923 to Present.”

Additionally, Watchmen was one of the few comic works to win a Hugo Award.

With its intricate plot, stunning visuals, and epic themes, it was truly a milestone in graphic novels.

Charles Roven continued, “Your Marvel Entertainment has many plans for superhero adaptations. Warner Bros. also has many ideas for DC Comics.”

Ronan asked, “How is Superman Returns coming along?”

“It’s finished filming and is now in post-production,” Charles Roven said. “It’s set to release next summer.”

Ronan said, “The Superman film has been long-awaited.”

Marvel and DC were direct competitors, but their relationship wasn’t adversarial—in fact, they often collaborated.

In stark contrast, the hardcore fans of Marvel and DC were fiercely opposed to each other, as if they were mortal enemies.

Sometimes, those at the top could laugh and chat, while those below would fight like dogs.

After chatting for a while, Ronan took his leave and met up with Christopher Nolan, who was waiting in the lobby of the Warner Bros. building. Together, they got into Ronan’s Rolls-Royce Phantom.

Without Charles Roven present, Christopher Nolan spoke more directly. “I have some thoughts about the actor for the Joker.”

Ronan glanced at him. “Chris, no need to be polite. Just say what you’re thinking.”

Christopher Nolan said, “I’ve met with Heath Ledger twice before, specifically to discuss the Joker role. I think Heath Ledger would be suitable for it.”

Ronan frowned slightly.

“Heath Ledger has worked with Relativity Entertainment before,” Christopher Nolan added. “Ronan, you know him, right?”

Ronan was honest. “He’s a great young actor, but there’s one thing—he might be involved with drugs.”

Christopher Nolan hesitated. “I see.” He seemed quite fond of Heath Ledger. “We can restrict him with a contract.”

Ronan had advised Heath Ledger before—more than once.

But it had no effect, and Ronan had decided not to interfere in others’ personal lives anymore.

After a moment’s consideration, Ronan said, “Chris, you’re the director. After the auditions, the final choice of actor is up to you. I’ll support you.”

Christopher Nolan smiled slightly. “Thank you.”

Christopher Nolan felt very fortunate to have a producer like Ronan.

As for the actor for the Joker, his first choice was Heath Ledger.

Issues like Heath Ledger’s drug use weren’t really problems—how many Hollywood stars didn’t touch that kind of thing?

As long as they signed a restrictive contract beforehand and ensured the filming was completed, the rest wasn’t the production’s concern.

Arriving at Century City, Ronan and Christopher Nolan entered Relativity Tower together.

Post-production for The Prestige was complete, and Ronan and Nolan had arranged to meet Hans Zimmer later.

Hans Zimmer, the quintessential commercial composer, would be handling the score for The Dark Knight.

Since Pirates of the Caribbean, Hans Zimmer had frequently collaborated with Relativity Entertainment, and he had also composed the scores for the two sequels.

This commercial composer was sometimes as unpredictable as Ridley Scott—his scores could be either brilliant or terrible, with a vast difference between the two.

It was also widely acknowledged in the industry that Hans Zimmer’s classic scores all sounded quite similar.

Some internet users had even joked that Hans Zimmer’s scores never strayed far from the music of Pirates of the Caribbean, which many called the Undead Overture.

But there was no denying that in grand scenes, Hans Zimmer’s music could easily stir the audience’s emotions.

Otherwise, it wouldn’t have been remixed by internet users into the grand background music known as the Undead Overture.

Ronan’s understanding of the highly specialized skill of composing was limited. The specific requirements for The Dark Knight’s score would need to be discussed between Christopher Nolan and Hans Zimmer.

Hans Zimmer, on the other hand, wanted to fully collaborate with Relativity Entertainment. Besides The Dark Knight, he also wanted to secure the score for Transformers.

But Ronan rejected this collaboration. It wasn’t that he doubted Hans Zimmer’s abilities, but Hans Zimmer’s team was already working on too many projects simultaneously. Just the projects related to Relativity Entertainment—Pirates of the Caribbean 3 and The Dark Knight—along with Transformers, would likely lead to Hans Zimmer remixing the Pirates of the Caribbean score again.

Just as Ronan never overestimated his own stance as a company boss in the face of major interests, he would never overestimate the integrity of Hans Zimmer, a commercial composer.

The choice of composer for Transformers would also depend on Michael Bay’s opinion, as he was the film’s director.

Since signing the directing agreement with Shai Entertainment, Michael Bay had quickly assembled a crew and begun pre-production.

Having worked in Hollywood for many years, Michael Bay had a relatively mature production team, and the crew was formed rapidly. Pre-production was progressing smoothly, and even the auditions for the main actors had already been scheduled.

Chapter 823: The Perfect Tool for Relaxation

Due to the need for massive soundstages, the Transformers would not only be CGI-created but also have full-scale models. Shai Entertainment once again chose the Hughes Aircraft Factory in Burbank as the production base for the Transformers crew, serving as the office for the early preparation phase.

At the same time, many indoor shooting scenes would be constructed here.

The protagonist of this film was undoubtedly the Transformers led by Optimus Prime, but the human actors were equally important.

After Michael Bay signed the director’s contract, Ronan had multiple discussions with him, ultimately finalizing the script’s plot and main character settings.

Unlike before, Ronan had planned an entire series from the start. Although the subsequent scripts had not yet been written, the main storyline was already determined.

Additionally, there would be experimental depictions of special forces.

The film would not provide any related explanations, but it would leave room for imagination. If the response was good, it would be further developed in the sequel.

If the response was mediocre, there would be enough room to retreat.

Ronan handed over the audition and decision-making power for the other actors to Michael Bay, but the selection of the female lead and male lead had to be approved by him.

The female lead was set as a high school girl.

The male lead had no direct relationship with the female lead.

He would be an absolute elite in the military, a commander of a special tactics squad, possessing strong personal combat skills and battlefield command abilities.

His name was Duke.

By his side would be a Black communications expert named Blake.

The actor for this Black role had already been finalized, played by Tyrese Gibson, who had signed a long-term contract with Shai Entertainment.

Neither Duke nor Blake would have much background detail in the first Transformers film.

Even if the special forces and Transformers were placed in the same universe in the future, this would be Duke and Blake’s experience before joining the special forces.

Therefore, there would be no specific depiction of Joe in this film.

This setting also determined that the film would adopt a dual-line progression, with the female lead as the first main line and Duke as the second.

Naturally, the actors for these two roles were of utmost importance.

Ronan could hand over the selection of other roles to Michael Bay, but not these two.

Michael Bay’s reputation in this regard was well-known in the industry. The female leads who had acted in his films all had a special relationship with him.

This was a common phenomenon in the global film industry, and Ronan was no better. He had done similar things many times.

In fact, he and Michael Bay had common ground in this area and were considered to have a relatively good reputation in the industry, adhering to the principle that there would be corresponding rewards for gains.

The audition for the female lead had already begun.

Ronan sat in the audition room, quietly watching a female actress audition.

This young actress with long brown hair and a slightly wild demeanor was performing a physical display at Michael Bay’s request.

Ronan recognized her because of the deep impression she had left.

Miss Fox, Megan Fox.

If the Transformers project had followed the original version, Ronan would have definitely considered Megan Fox as the female lead, especially since there was a male lead before her.

But now, the female lead was the first protagonist, and the second protagonist was Duke.

In front of the camera, Megan Fox fully understood Michael Bay’s physical display requirements, her body forming an exaggerated S-shaped curve, with the height of the front and back ends being particularly striking.

Michael Bay seemed very satisfied, continuously nodding slightly.

Ronan frowned slightly. Megan Fox looked like a wild young female leopard.

Megan Fox had captivating fox-like eyes, a tight and flat abdomen, and a stunning S-shaped slender figure.

Additionally, she had a wild and uninhibited nature that was rare among Hollywood actresses.

It had to be said that she was indeed the actress who once aimed to be the universe’s top decorative presence.

Of course, one couldn’t look too closely at Megan Fox’s face.

At this time, Megan Fox probably hadn’t had major facial surgery, and her freckles weren’t too obvious.

Western aesthetics were vastly different from Eastern ones.

In the East, this would be called an ugly face full of pockmarks.

But in the West, there was a trend of peculiar freckle beauty.

For example, Emma Watson, when she grew up, had a face full of freckles that was somewhat horrifying when she wasn’t wearing makeup.

However, compared to Megan Fox, Emma Watson was like a small witch meeting a great witch.

“Alright, Miss Fox.” Michael Bay called a stop to the audition: “Please go back and wait patiently for the crew’s news.”

Megan Fox politely bowed slightly to Michael Bay and Ronan: “Thank you, Director, thank you, Producer.”

As she spoke, her lively eyes intentionally or unintentionally glanced over Ronan.

Clearly, she was a smart person who knew who the real decision-maker for this audition was.

Ronan secretly sighed. Although he couldn’t appreciate a face full of freckles, he had to admit that Megan Fox was indeed a perfect tool for relaxation.

Michael Bay then asked: “Ronan, what do you think of this actress?”

Ronan didn’t answer but instead asked: “Why don’t you share your thoughts first.”

Michael Bay knew that the decision-making power wasn’t in his hands, so he left some room in his words: “Her appearance is very good, but her acting is a bit lacking. Overall, she can be considered as one of the backup options.”

Ronan said: “Alright. However, Megan Fox’s flaws are also very obvious. The female lead is set as a girl next door, who can be beautiful and sweet, but Megan Fox…”

Ronan didn’t elaborate further, just slowly shook his head.

If she wasn’t the first protagonist, Megan Fox would indeed be good, but as the first protagonist, Megan Fox’s demeanor didn’t suit the female lead’s setting.

Michael Bay was a smart man and said: “Let’s look at other candidates.”

In one morning, including Megan Fox, a total of four actresses auditioned, not a few of whom Ronan had known before, such as Emily Blunt and Teresa Palmer, young actresses with rich acting experience.

After lunch, the auditions continued, and Ronan saw a familiar face.

“I am Candice Swanepoel, from South Africa.” Candice Swanepoel stood in front of the camera, her smile particularly sweet: “I have only acted in one work, Uwe Boll’s Mortal Kombat.”

Michael Bay unconsciously glanced at Ronan. He knew the director Uwe Boll, whose reputation in the review circle was a hundred times worse than his own.

This person was a long-term collaborating director with Relativity Entertainment and was said to be highly appreciated by Ronan.

Michael Bay’s eyes fell on Candice Swanepoel. Her sunny and bright smile, her serene yet sexy appearance, and her bright, expressive eyes made her seem like the high school girl next door.

This girl had a very unique charm, with an irresistible allure.

Ronan didn’t speak, just like during other auditions, silently observing. He wouldn’t show any special signs just because he was more familiar with Candice Swanepoel.

The total investment in this project was hundreds of millions of dollars. Without seeing the actual audition results, Ronan wouldn’t casually use a new actress.

Otherwise, he wouldn’t have specifically taken time to participate in the auditions.

Following Michael Bay’s request, Candice Swanepoel first recited a line, then performed a scene with Bumblebee facing the air, and finally, the essential physical display.

Having undergone professional model training, Candice Swanepoel had an advantage in this area.

As for acting, no one could expect Candice Swanepoel, a half-baked actress, to be very good. Her level was roughly the same as Megan Fox’s.

Compared to the representatives of Hollywood actresses in the 80s, such as Natalie Portman, Scarlett Johansson, and Anne Hathaway, the gap was very obvious.

But compared to Jessica Alba and the like, it wasn’t much different.

Candice Swanepoel focused on the audition, not at all distracted by the fact that Ronan was an acquaintance.

Before coming to the audition, her agent and Charlize Theron had both told her that for such a top Hollywood production project, Ronan would definitely participate in the auditions and decide on the female lead.

Being familiar with Ronan was an advantage.

But Charlize Theron had interacted with Ronan many times and understood the mindset of such producers. She had emphasized to Candice Swanepoel that if the audition results were not good, even if she were Ronan’s younger sister, it would be of no use.

To leverage the advantage of being familiar with Ronan and to compete for the female lead role, the audition was the premise of everything.

“Alright, Miss Swanepoel.” Michael Bay said: “You can go remove your makeup. We will notify you of the audition results promptly.”

Candice Swanepoel nodded and left the audition room.

Michael Bay looked at Ronan: “This actress has a good image and demeanor.”

Ronan nodded slightly: “Her appearance is more suitable than the previous ones.”

“Her acting is a bit weak.” Michael Bay said: “Among the actresses who have auditioned so far, she and Megan Fox have the weakest acting skills.”

This was very obvious. Emily Blunt’s acting was the best, even two levels higher than Megan Fox and Candice Swanepoel.

The problem was, actresses with good acting skills might not be suitable for simple decorative roles.

In this regard, Ronan and Michael Bay had long reached a consensus. Transformers was a purely commercial film, and the female lead was a decorative presence for the Transformers.

Today’s audition work ended here, and the two also left the audition room together.

Michael Bay said: “I lean towards Candice Swanepoel. Acting isn’t important, but her demeanor and appearance are very suitable for the female lead’s setting.”

Ronan was relatively cautious: “There are three more audition candidates tomorrow. We’ll decide after seeing them.”

After a few words, Ronan went to meet the special effects supervisor from Industrial Light & Magic. When Michael Bay returned to the office, he encountered Candice Swanepoel, who had just removed her makeup.

Chapter 824: Differential Treatment

After removing her makeup and stepping out of the dressing room, Candice Swanepoel met up with her agent, who had been waiting outside, preparing to leave the set.

The agent, having gathered some basic information, asked, “Did Ronan Anderson say anything during the audition?”

Candice Swanepoel replied, “No, Ronan didn’t say a word from start to finish. It was as if he didn’t know me at all.”

The agent frowned slightly. “I remember you have Ronan Anderson’s contact information.”

The last time she attended the premiere of a film under Relativity Entertainment, Candice Swanepoel had obtained Ronan’s contact details but had never taken the initiative to reach out.

Having been in Hollywood for a year now, Candice Swanepoel was no longer naive. She said, “It wouldn’t be appropriate to contact Ronan now.”

The agent patiently advised, “The outcome of an audition is often decided outside the audition itself.”

Over the past year, Candice Swanepoel had seen many things, and for a moment, she fell silent.

A tall, middle-aged man approached from the side. The agent quickly pulled Candice Swanepoel aside and greeted him first, “Hello, Director Bay.”

Candice Swanepoel looked up and saw Michael Bay’s long face. She quickly said, “Director.”

Michael Bay smiled. “Hello, Miss Swanepoel.” He casually asked, “Are you leaving?”

The agent said, “The audition is over. We’re preparing to leave.”

Candice Swanepoel nodded slightly.

Michael Bay said, “Your audition went well. Your appearance and demeanor fit the role’s requirements.”

Hearing this, Candice Swanepoel’s heart leaped with joy, and the agent breathed a sigh of relief.

But Michael Bay wasn’t finished. “By the way, I’m planning a party tomorrow. I wonder if Miss Swanepoel has the time?”

If this had been when she first arrived in Hollywood, receiving an invitation from a director of Michael Bay’s caliber would have made Candice Swanepoel extremely happy.

But nearly a year had passed, and she had gained some understanding of Hollywood’s ecosystem.

Candice Swanepoel had no other choice but to bring up her only reliance. “Miss Charlize Theron invited me to dinner tomorrow evening. I’m sorry.”

Michael Bay smiled and said, “That’s too bad.”

Hearing this, the agent’s heart sank.

Candice Swanepoel wasn’t foolish either. She understood the implications behind his words but maintained her smile without yielding.

Thinking about the intentions of this middle-aged man with a long, horse-like face, Candice Swanepoel couldn’t bring herself to agree no matter what.

This seventeen-year-old girl was still at the stage where she saw the world through rose-colored glasses.

Michael Bay nodded slightly at the two of them. “Goodbye.”

He didn’t linger, leaving before Candice Swanepoel and her agent could respond.

Watching the Hollywood director leave, Candice Swanepoel felt a chill in her heart. A sudden thought flashed through her mind: perhaps Michael Bay had simply invited her to a party without any ulterior motives.

But this thought was fleeting, and Candice Swanepoel soon revealed a self-deprecating smile.

Hadn’t she seen enough of Hollywood in the past year?

Suddenly, Candice Swanepoel felt her prospects in Hollywood dimming.

“You shouldn’t have rejected him so directly,” the agent said in a low voice. “There are more tactful ways.”

Candice Swanepoel softly replied, “He’s probably around the same age as my father.”

The agent sighed. “He is Michael Bay, after all.”

There was something she didn’t say: when faced with Michael Bay and a major project like Transformers, Charlize Theron didn’t amount to much.

Candice Swanepoel’s voice grew even softer. “I know. This isn’t beneficial, but I—”

“I understand,” the agent gently stroked Candice Swanepoel’s beautiful golden hair. “Candice, in a place like Hollywood, as an actor, especially a female actor, to get something, you have to give up something.”

The agent had told Candice Swanepoel these things before, and even Charlize Theron had warned her.

Candice Swanepoel understood. Over the past year, she thought she had seen and heard enough and had prepared herself mentally. But when it came down to it, especially when she saw that middle-aged, horse-faced director, she still chose to reject him outright.

“Let’s go,” the agent reminded her. “Candice, you should—”

Candice Swanepoel suddenly stopped in her tracks, looking to the left and nudging the agent’s arm.

The agent quickly fell silent and looked in that direction. Ronan Anderson was approaching with his assistant, followed by several bodyguards at a distance.

“Hi, Ronan,” Candice Swanepoel greeted him first.

Ronan smiled in response. “Long time no see, Candice.”

Then, Candice Swanepoel also greeted Connie.

The agent, seeing Ronan, quietly stepped aside to fully highlight her client. She could see that Candice Swanepoel treated Michael Bay and Ronan very differently.

Candice Swanepoel’s face was full of sweet smiles, her voice still as serene as ever. “We just saw each other in the audition room.”

Ronan followed her words. “The audition went well.”

Candice Swanepoel was quite familiar with Ronan and specifically asked, “Does that mean I have a chance at the role?”

Ronan shrugged slightly. “It’s not decided yet. There are other actors auditioning tomorrow.”

“Oh,” Candice Swanepoel was a little disappointed but didn’t show it. “The competition is fierce.”

Ronan looked at Candice Swanepoel and said, “Be patient for a while.”

The agent suddenly stepped forward and said, “Candice, didn’t you just say you wanted to invite Mr. Anderson to dinner tonight?”

Candice Swanepoel resisted the urge to turn and look at the agent, following her words. “Ronan, do you have time?”

Her bright eyes glanced over Ronan, showing no displeasure at the agent’s presumption. Instead, she said, “Last time, you gave me an opportunity to work with Director Ball. I still haven’t thanked you.”

Ronan waved his hand. “No need to be polite.”

Candice Swanepoel said, “I can’t afford to treat you to a big meal, but I can invite you to a simple dinner to express my gratitude.”

Ronan had plans for the evening and was about to refuse, but seeing the South African girl standing in front of him, he didn’t want to refuse.

This seventeen-year-old girl had long legs, a slender waist, and perfectly matched his aesthetic.

Frankly, in terms of appearance alone, Candice Swanepoel clearly surpassed the South African beauty Charlize Theron.

Ronan had never been indecisive, especially in this regard, so he decided to follow his heart.

“What time does the evening meeting start?” Ronan asked.

Connie directly replied, “Six-thirty. The crew meeting in Relativity Tower on the seventh floor starts on time.”

Ronan said, “How about this, Candice, I’ll treat you.”

“No, no,” Candice Swanepoel quickly said. “I want to thank you.”

Ronan glanced at the time. “Alright, let’s go directly to Relativity Tower. There’s a restaurant on the first floor with good food and reasonable prices.”

Candice Swanepoel said, “Okay.”

The agent automatically followed behind the two, looking at Candice Swanepoel chatting and laughing with Ronan, then thinking about Michael Bay earlier. The differential treatment was too obvious.

Hollywood was truly a place that could make people transform quickly.

Speaking of which, whether in terms of power, age, or appearance, Ronan Anderson was far superior to Michael Bay.

Getting into Ronan’s Rolls-Royce Phantom, Candice Swanepoel was about to speak when Connie’s phone on the passenger seat rang. After answering and saying a few words, she hung up and said to Ronan, “It’s Gulfstream. The business jet we ordered is ready. They invite you to inspect it in three days.”

Ronan said, “Okay, schedule it and recruit a captain and flight attendants.”

Connie reminded him, “The company has already recruited two pilots. The flight attendants will be in place soon.”

Ronan nodded slightly. “Hurry up with the procedures, especially for international routes.”

A year ago, Relativity Entertainment had placed an order for a business jet with Gulfstream. One was for Ronan’s exclusive use, and the other was for the company.

Arriving at Relativity Tower, Ronan and Candice Swanepoel went directly to the restaurant on the first floor.

Connie went upstairs to prepare for the evening’s Transformers crew meeting.

Candice Swanepoel’s agent had left halfway.

This was Relativity Tower, and most people recognized Ronan. Ronan casually brought Candice Swanepoel to a window booth.

When it came to women, Ronan had always been bold and straightforward. Though not high-profile, he didn’t hide much either.

In the booth, Candice Swanepoel ate seafood in small bites and said, “It’s delicious. It reminds me of home.”

Ronan casually said, “I’ve heard Sally say that South African seafood rice is very good.”

“Yes,” Candice Swanepoel nodded.

Ronan sighed. “It’s a pity that it’s hard to find authentic ones in Los Angeles.”

Candice Swanepoel laughed. “If you want to eat it now, I can make it.” She paused slightly. “How about this, after your meeting, come to my place, and I’ll make you a midnight snack to try.”

This proposal was quite tempting.

But Ronan had just seen Candice Swanepoel’s profile during the morning audition. She was only a seventeen-year-old girl.

In the United States, in Los Angeles, this was troublesome.

“This meeting will be long,” Ronan tactfully declined. “I don’t know when it will end.”

Candice Swanepoel said, “Tomorrow then. I can invite Sally.”

Ronan shook his head. “I have to go to India early tomorrow morning.” An idea struck him, and he tentatively invited, “Interested in going to Mumbai to enjoy Indian cuisine together?”

Chapter 825: Optimus Prime Abuses Me a Hundred Times

India was a rather unfamiliar land for enjoying cuisine. Candice Swanepoel thought for a long time, but besides curry, she couldn’t think of any other Indian delicacies.

Oh, right, they say there are no bathrooms there.

That’s a bit terrifying.

Candice Swanepoel thought of Michael Bay and suddenly had an epiphany, understanding what cuisine truly was.

“You’re planning to go to India?” Candice Swanepoel hesitated, not wanting to make an immediate decision, so she asked a question to buy some thinking time.

If she were two years older and had spent two more years in Hollywood, Candice Swanepoel would not have hesitated.

But she was still under eighteen, and even though she had made rapid progress and mental preparations over the past year, she still needed to weigh her options carefully.

Ronan didn’t rush her. This was just a suggestion. If Candice Swanepoel wanted to go, he would welcome her warmly; if not, he wouldn’t force her.

“There’s some official business to handle,” Ronan said with a smile. “And I’ll take a few days off for myself.”

In reality, there was indeed official business to attend to. He planned to meet someone secretly in Mumbai, but he wouldn’t tell her that. Even if Candice Swanepoel went, he wouldn’t let her see them.

Steve Jobs had finally given Ronan a clear response, preparing to face Ronan head-on. Robert Iger and John Lasseter had communicated, and their meeting was best kept secret to facilitate future operations.

Thus, meeting in Los Angeles or San Francisco wasn’t suitable, as every move Ronan and Jobs made was under scrutiny.

So, Ronan accepted Steve Jobs’ suggestion to meet in India, but Mumbai was Ronan’s choice.

As for inviting Candice Swanepoel to India, Ronan had his reasons.

India’s laws in certain aspects were very lenient, and American and Californian laws had no jurisdiction there. Candice Swanepoel wasn’t American either.

Candice Swanepoel curiously asked, “Is India fun? I’ve never been there.”

Ronan thought for a moment and said, “I’m only familiar with Mumbai. The culture and scenery there are very different from the West. Mumbai also has Bollywood, a film industry base that produces more movies annually than Hollywood.”

Vaguely remembering, Priyanka Chopra had taken him to tour Bollywood, where he saw some film crews shooting. They would start dancing at the drop of a hat.

Candice Swanepoel said, “I’ve heard of Bollywood. They say their shooting speed is very fast.”

Ronan nodded slightly. “The overall speed should be a notch faster than Hollywood.”

Compared to their counterparts in Hong Kong, even Bollywood’s film production was slow.

The two chatted about Indian films for a while, and Ronan didn’t bring up the trip to India again, as if he had never mentioned it.

But at the end of dinner, Candice Swanepoel took the initiative to say, “I actually want to see different scenery and experience different foreign cultures.”

Ronan didn’t rush her or say anything, completely leaving the decision to Candice Swanepoel.

Candice Swanepoel smiled at Ronan and said, “I’ve had a lot of work lately. I’ll go back and see how to adjust. Can you wait for my call?”

“It would be my honor,” Ronan said smoothly.

Candice Swanepoel took out her phone to check the time and said, “It’s almost time, Ronan. You should get busy.”

Ronan said, “I’ll have the driver take you.”

“No need,” Candice Swanepoel quickly declined. “I’ll call a car.”

Ronan had already waved over Finch. “Arrange a car to take Miss Swanepoel home.”

Finch didn’t say anything, just nodded and sent a text message.

Ronan called the waiter to pay the bill, shook hands with Candice Swanepoel, and said, “Go home.”

“Goodbye, Ronan.”

Candice Swanepoel followed Finch out of the restaurant.

Ronan entered the lobby of Relativity Tower through the restaurant’s side door and arrived at the office area of Shai Entertainment on the seventh floor, entering the conference room right on time.

The relevant attendees were already waiting there.

Connie had prepared the materials Ronan needed.

This was an important meeting for the first phase of the Transformers preparation. Besides Ronan, the attendees included Shai Entertainment’s Chief Executive Officer George Clinton, project director and executive producer Michael Bay, production manager Bernalsson, Pacific Foundation’s Scott Swift, Hasbro’s Chief Executive Officer Brian Goldner, Embassy Pictures’ distribution representative Thomas, and Industrial Light & Magic’s project director Hank, among other key members of the crew.

The meeting was chaired by George Clinton, who first announced a series of preparation, filming, and distribution matters.

The Transformers production budget was tentatively set at one hundred and eighty million dollars, with all funds to be raised by the Pacific Foundation. Filming would begin in December, post-production in March next year, and the film would be released in the summer season of 2007. Embassy Pictures would handle marketing promotion and global distribution.

Additionally, Hasbro would coordinate with the film’s progress to promote the Transformers series globally.

From a self-interest perspective, Hasbro also hoped that Transformers, one of the company’s three major toy series, could regain the vitality of the eighties and nineties through the film’s success.

Hasbro had previously produced animated films to promote toys, and their marketing experience in this area was rich.

Thomas also announced a piece of news: “Embassy Pictures has reached agreements with seventy distribution and advertising companies worldwide to jointly promote Transformers.”

Hasbro’s Brian Goldner said, “Hasbro’s overseas subsidiaries and related licensing companies will also fully cooperate with Embassy Pictures to drive promotional marketing.”

Ronan nodded in satisfaction. “Besides filming and production, promotional marketing is also of utmost importance.”

This was undoubtedly good news for the film project.

Production manager Bernalsson then said, “The crew and Netflix sharing have jointly launched an Optimus Prime movie line competition. Currently, over one million people worldwide have participated, submitting over ten thousand lines. We have selected some of them.”

As he spoke, an assistant turned on the projector, displaying the relevant submissions on the conference room screen.

Ronan and the others looked through them one by one. Most of the selected lines were ones Optimus Prime had used in the animated series.

“I think this one is the best,” Hasbro’s Brian Goldner said. “Freedom is the right of all sentient beings.”

Ronan slowly nodded and said, “Freedom is the right of all sentient beings.”

Brian Goldner continued, “This is the motto on one of Optimus Prime’s toys, the first concept Hasbro established for Optimus Prime.”

“Very appropriate,” Ronan said. “It truly reflects Optimus Prime’s character and ideals.”

He first said to Thomas, “Let’s choose this line, but the line collection should continue to maintain internet buzz.” Then he turned to Michael Bay and said, “In an appropriate scene, have Optimus Prime say this line himself.”

Michael Bay thought for a moment and said, “No problem. This will also become the film’s concept.”

Ronan said, “A Cybertronian Transformer, traveling thousands of miles to Earth to save lives, needs a plausible reason. This line is very suitable.”

It was under this concept that Optimus Prime and his brother-like Megatron parted ways.

It was also this concept that made Optimus Prime sacrifice Cybertron’s interests to become a machine protector of humanity.

What kind of spirit is this?

This is a noble Transformer, a pure Transformer, an idealistic Transformer, a Transformer who has transcended lowly tastes and is beneficial to all humanity.

Actually, Hasbro’s portrayal of Optimus Prime was very successful. He wasn’t just the tall, perfect image from the animated series who only shouted, “Autobots, transform, roll out.”

Optimus Prime was an excellent warrior, a genius military strategist, an orator, a political leader, absolutely image-conscious, with first-rate power skills.

As a die-hard Transformers fan, also known as a Steelie, Ronan had seen many works related to Transformers, from animated series to blockbuster films to derivative comics. Among them, IDW’s Optimus Prime personal comic left a particularly deep impression on him.

The most important point of this comic was that it told the story of Optimus Prime’s growth.

Initially, Optimus Prime appeared as a disheartened leader who needed to seek balance among various factions, so he didn’t hesitate to use control of faith to achieve his means.

At this stage, Optimus Prime had the wisdom and responsibility of a leader, but also the arrogance of a leader, such as his saying, “Leaders always do the right thing.”

After being hit by Crimson Flame’s justice punch and the baptism of a great battle, Optimus Prime realized, “We cannot be bound by the past. Sometimes we must stand up to protect life, but sometimes we must make concessions for the same purpose. The role of a leader is to be able to distinguish the difference.”

Every Transformers fan actually doesn’t like the ending of Optimus Prime and Megatron.

These two leaders carried too much sentiment from the Steelies.

Thus, the film was destined to continue the love-hate relationship between Optimus Prime and Megatron.

Since it was planned as a unified series, Ronan had many ideas about the sequel’s setting, such as letting Optimus Prime and Megatron temporarily join forces and fight side by side for a common purpose, as in the comics and toys.

Michael Bay’s films were also interesting. Not to mention the coherence of the plot and the second part, just looking at the first and third parts, Megatron didn’t seem to have the intention to kill Optimus Prime.

Especially in the third part, he even showed his skills when Optimus Prime was in danger.

In this regard, perhaps some articles could be written.

Give Megatron this setting: Optimus Prime abuses me a hundred times, I treat Optimus Prime like my first love.

After summarizing and arranging various tasks, the meeting quickly came to the last item, which was also the one Ronan wanted to emphasize and correct.

Mobile users, please browse csw.read for a better reading experience, with bookshelves synchronized with the computer version.

Chapter 826: Starting Over

In the conference room, a white screen displayed the projected image—a concept drawing of Optimus Prime.

Hank, the project director of Industrial Light & Magic, pressed the remote control, and the image changed to reveal Megatron’s concept art.

Next came Bumblebee and Starscream.

The following images showcased the detailed designs of the backs and specific body parts of these four main Transformers characters.

Even though these were just static images, not dynamic videos, everyone present, including Ronan, could see the meticulous effort Industrial Light & Magic had put into the designs.

Hank spoke up, “This is the initial design proposal, the first draft of concept art incorporating various design opinions.”

Ronan looked at the images of Optimus Prime and Megatron on the screen, his brow slightly furrowed, but he remained silent.

Brian Goldner of Hasbro stroked his chin, lost in thought.

Hank continued, “According to our design philosophy, the Transformers will be composed of countless mechanical parts. For example, Optimus Prime will consist of nearly twelve thousand mechanical components. To enhance realism, we’ve abandoned the blocky, angular shapes typical of animated and toy versions of the Transformers, opting instead for a robotic design with numerous detailed parts.”

He glanced at everyone, seeing no objections, and added, “During a transformation, thousands of components will move simultaneously, avoiding the issue in the animated series where the Transformers’ size and mass could arbitrarily shrink or expand—a phenomenon difficult to explain with everyday physics. The new design also emphasizes their alien origins.”

Ronan listened carefully to every word and said, “Your design philosophy is entirely correct. The Transformers are not simple machines; they shouldn’t transform like boxes stacking together as in animations and toys. They are alien life forms, just with a different carbon-based structure than humans.”

Hank quickly agreed, “Yes, that’s exactly how we see it.”

Brian Goldner interjected, “The philosophy is correct, and I completely agree.” He took a laser pointer and pointed at the images of Optimus Prime and Megatron on the screen. “Optimus Prime is fine, but are you sure others will recognize Megatron?”

Hank replied, “A live-action film is not an animated series or a toy.”

Hasbro had never truly participated in the production of a live-action film, and Brian Goldner had no experience in this area.

Michael Bay did not join the discussion because the final decision rested with Ronan.

“Industrial Light & Magic’s design philosophy for the Transformers is correct and suitable for a live-action film,” Ronan said. He had reviewed the relevant design drafts the previous day and had prepared thoroughly. He gestured lightly to Connie, who stood by the projector and connected it to her laptop. He continued, “As we all know, live-action films fundamentally differ from animated series and toys. The concepts from animations and toys are not suitable for live-action films. Moreover, times are changing. The Transformers, as life forms, cannot simply be blocky combinations. This would not be convincing in a film.”

Brian Goldner scratched his head, seemingly deep in thought.

Hank remained calm. As an experienced special effects director at Industrial Light & Magic, his understanding of films was indeed profound.

Connie adjusted the projector, and when she reopened it, a new image appeared. The familiar model of Optimus Prime and the latest concept art from Industrial Light & Magic were placed side by side, creating a stark contrast.

Ronan picked up the laser pointer and pointed at the image. “This is Optimus Prime. Whether it’s the old version or the new concept art, anyone even slightly familiar with the Transformers series can recognize it as Optimus Prime.”

He signaled Connie, and when she turned to the next page, the laser pointer aimed at Megatron’s concept art. “If we don’t say this is Megatron, how many people would think this is Megatron if it were shown alone?”

Brian Goldner nodded repeatedly. This was the biggest issue he saw with the initial design.

Connie continued flipping through the pages. When Bumblebee appeared, Ronan said, “Bumblebee’s design is quite distinctive, especially these puppy-like eyes. They’re cute and appealing, but the same problem arises—the difference from the original appearance is too great.”

Hank already understood what Ronan was trying to express and was about to speak when Ronan raised his hand to stop him. “Let me finish.”

Connie turned to the page featuring Starscream.

Ronan directly stated, “On the left is the old version of Starscream, widely recognized as the most handsome robot in the Transformers series. On the right is the new Starscream.”

Brian Goldner chimed in, unceremoniously, “Even as someone from Hasbro, if no one told me, I wouldn’t believe this is Starscream. This is the ugliest Transformer in history.”

Hank was only responsible for the design and did not insist on his own views. The client’s needs were the only standard. He said, “This is just a draft, meant for discussion.”

Ronan nodded, showing no blame. Such designs were meant to be continuously improved. He simply said, “I’ll emphasize this again. Hank, your philosophy is not wrong. Based on your philosophy, redesign the Transformers, but the resulting designs must closely resemble the classic versions from the eighties and nineties. They should allow anyone familiar with or who has heard of the Transformers to immediately associate the image with the specific character’s name upon first sight.”

Hank said, “I understand. We will modify and redesign the appearance.”

Ronan emphasized, “Don’t overlook the appearance. The image and influence of the Transformers are the foundation for the success of the live-action film. Nostalgia is the key to our promotional marketing. Although the film adaptation will inevitably shatter many people’s beautiful childhood memories, an overall appearance that aligns with their memories can evoke their nostalgia.”

Brian Goldner added, “The appearance can be different, like the red and blue paint job in the concept art, which is very suitable for Optimus Prime and will help us launch new merchandise. But it must be recognizable as who it is.”

Ronan agreed, “This is very important. All concept designs must be redone from scratch.”

In fact, Ronan had emphasized these points from the beginning of the project. However, film creation was not a one-person job; it required coordination among multiple teams, each with different creative philosophies. Only through continuous communication and coordination could these issues be resolved.

Michael Bay, who had been silent all along, spoke up, “Necessary changes still need to be made. My ideal action scenes involve close combat between the Autobots and Decepticons. Since they are mechanical beings, there won’t be blood splattering, but flying debris can highlight the visual effects.”

Ronan smiled, “Michael’s idea is excellent. The action scenes with debris flying everywhere can also emphasize the intensity of the fight.”

Hank noted this down.

Michael Bay was undoubtedly skilled in action scenes. His words reminded Ronan of something—the fight scenes in the Transformers series were intense and thrilling, even exhilarating. Michael Bay did an excellent job as a director, but there was one aspect that wasn’t quite right.

The second and third films were slightly better, but this issue was most evident in the first film.

Without Optimus Prime and Bumblebee in the action scenes, when the Transformers fought together, it was often hard to tell who was who, or even which were Autobots and which were Decepticons.

Even the Decepticon insignia was extremely rare.

Thinking of this, Ronan reminded them, “Also, the insignia of the Autobots and Decepticons are not prominent enough.”

Hank said, “The main difference is in the eyes. The Autobots have blue eyes, and the Decepticons have red eyes.”

Ronan shook his head, “In intense action scenes, this isn’t enough and is hard to distinguish. The insignia must be visible on the exterior of their bodies. The differences between the two factions of Transformers must be clear, and the differences between individual Transformers must also be clear.”

He then looked at Michael Bay, “During filming, pay special attention to this aspect. Make it easy for the audience to identify which Transformers are fighting.”

Michael Bay thought for a moment and said, “I’ll find a way and focus on the design.”

Facing Ronan’s demands as the producer, the others could only cooperate. Hank also said, “We will focus on this part in the second design.”

Ronan turned to Brian Goldner and asked, “Do you have any other ideas?”

Brian Goldner smiled and said, “Ronan, you’ve thought of everything more thoroughly than I have.”

After today’s meeting, Brian Goldner was even more confident about the success of the Transformers.

Ronan sought the opinions of others and said, “That’s all for today’s meeting. Let’s keep in touch.”

George Clinton announced the end of the meeting. It was getting late, and everyone gradually left the conference room.

Ronan and Scott Swift walked together.

“How is the financing going?” Ronan asked. “I need a large amount of funds for the next stage.”

Scott softly replied, “Don’t worry, there’s no problem. Our overseas financing channels are expanding. Currently, through Embassy Pictures’ channels, we’ve already entered the Eastern markets for financing.”

This was somewhat unexpected for Ronan, but he didn’t object. He only reminded, “Focus on reputation and credibility. These are the foundations of our financing.”

Scott assured him, “The foundation has always placed great importance on this.” He added, “There’s a large group of wealthy individuals who have made their fortunes through resources. They are very interested in overseas investments.”

Ronan nodded, “You’re still in charge of the specifics, but make sure not to break any laws or regulations, and don’t say anything reckless.”

Scott understood Ronan’s meaning, “Don’t worry, I’ve specifically emphasized this, and the people we’ve sent are carefully selected.”

Talking about the foundation’s issues, Ronan and Scott left Relativity Tower together. After returning to the estate, Ronan received a call from Candice Swanepoel.

Candice Swanepoel said she was very interested in the exotic scenery of India and wanted to see different cultural landscapes.

Chapter 827: Indian Cinema

A brand-new Gulfstream business jet landed at Mumbai Airport. Candice Swaneepoel followed Connie and the bodyguards off the plane, waiting a moment before Ronan, who had just finished a call, joined them and walked out together.

Noticing Candice Swaneepoel seemed a little nervous, Ronan gently tapped her high-bridged nose. “Enjoy this trip.”

Candice Swaneepoel smiled sweetly. “This is my first time in India.”

She looked ahead. Dozens of meters away, a motorcade was parked there, and a group of Indians in suits had already come forward to greet them.

These people enthusiastically shook hands with Ronan. From their manners to their attire and speech, they were practically indistinguishable from Westerners—clearly, they had all been Westernized.

Candice Swaneepoel stood beside Ronan, maintaining a proper smile.

She had an advantage in this regard, having received professional training.

Ronan introduced her to the leading Indian man. “Candice, this is Rakesh Ross, President of the Indian Mountain Fund. Mr. Ross, this is my companion, Miss Candice Swaneepoel.”

Rakesh Ross nodded and smiled at Candice Swaneepoel, who responded with a smile of her own.

Candice Swaneepoel could tell that this Indian man did not take her seriously.

“Mr. Anderson, welcome back to Mumbai,” Rakesh Ross said warmly to Ronan. The Mountain Fund had been cooperating with the Pacific Investment Foundation for years, yielding stable profits annually. “This time, you must follow my arrangements.”

Ronan smiled. “No problem.”

“Please, this way.” Rakesh Ross gestured.

Ronan patted Candice Swaneepoel. “Let’s go to the hotel first.”

Candice Swaneepoel nodded slightly. “I’ll follow your lead.”

However, Ronan politely declined Rakesh Ross’s offer and did not get into his car. Instead, he boarded the car from Embassy Pictures’ Indian branch.

The head of the Indian branch, Sterling, glanced at Candice Swaneepoel and followed Connie into another car.

As soon as they got in, Sterling asked, “Is this the boss’s girlfriend?”

If so, some arrangements would need to be reconsidered.

Connie understood his implication and shook her head slightly. “Proceed with the original reception plan.”

Sterling relaxed. “I understand.”

The motorcade left the airport, heading toward Mumbai’s business district.

Entering the business district, Candice Swaneepoel curiously looked out the window. Skyscrapers and modern buildings and facilities were everywhere, the prosperity rivaling that of Century City in Beverly Hills.

“It’s not what I imagined,” Candice Swaneepoel said.

Ronan asked, “What did you imagine India to be like?”

Candice Swaneepoel smiled. “From the media, there are some reports about India.”

Ronan nodded. “I see.” He asked, “Like this? Dirty, messy, people relieving themselves anywhere, trains packed with people, a motorcycle carrying more than five passengers…”

Hearing this, Candice Swaneepoel said, “More or less.”

Ronan also looked out the window. “We’ve been traveling through the most prosperous areas, the wealthiest parts of Mumbai and even all of India.”

Candice Swaneepoel nodded slightly. “I understand.”

The motorcade soon arrived at the hotel. After getting out, Candice Swaneepoel looked into the distance. Near the coastline, as far as the eye could see, was prosperity, no different from Beverly Hills.

She followed Ronan into the hotel. After a short wait, Ronan’s assistant, Connie, had already checked them in. The group took a private elevator directly to the suite.

Without needing to ask, Candice Swaneepoel knew this was the legendary super presidential suite with its own elevator, the place she would be staying.

Ronan went to the study to make a call. Connie tidied up Ronan’s luggage and came over. “The master bedroom has a dedicated ladies’ wardrobe. Would you like me to help unpack your luggage?”

“No need.” Candice Swaneepoel had already prepared herself mentally. She smiled. “I can do it myself.”

Connie reminded her, “Ronan doesn’t like to be disturbed while working. You can move freely anywhere except the study. When Ronan isn’t around, you can call me anytime or notify Finch.”

As she spoke, she handed Candice Swaneepoel two business cards.

Candice Swaneepoel took them and asked, “Will Ronan be very busy?”

Connie vaguely replied, “There’s a lot of work to handle.”

Candice Swaneepoel quickly said, “I won’t disturb Ronan’s work.”

Connie nodded and, without saying more, turned and went to the study.

Seeing the study door open and close again, Candice Swaneepoel pursed her lips. Isn’t it said that he doesn’t like to be disturbed? How can you just come and go as you please?

But she had some understanding and knew that Connie, this plain-looking woman, who appeared to be Ronan’s assistant, was actually a major figure in Relativity Entertainment.

Candice Swaneepoel went to the master bedroom and found that Ronan’s luggage had already been neatly arranged. She tidied up her own luggage, took her makeup bag, and sat in front of the vanity to touch up her makeup.

Although she only applied very light makeup, her natural beauty and youthful advantage made Candice Swaneepoel look radiant and charming.

Especially her sweet temperament, like a delicious candy.

After finishing her makeup, Candice Swaneepoel began to explore the presidential suite, curiously touching and looking at everything.

In South Africa, she came from a typical middle-class family, but this ultra-luxurious suite was her first time staying in one.

From Los Angeles to Mumbai, Candice Swaneepoel had been greatly impressed.

The luxurious and comfortable private jet, where any bottle of wine on board was more expensive than her salary from Dead or Alive, and the three flight attendants whose looks were no less than hers…

Candice Swaneepoel walked around and sat on the sofa, quietly waiting.

The study door was opened from the inside, and Ronan came out first, followed by Connie.

“Sterling just mentioned it to me,” Connie said. “Do you remember the Falchi Foundation? They also want to cooperate with the Pacific Investment Foundation.”

Ronan nodded slightly. “The first time we came to India, they intended to cooperate with us but ultimately chose to invest in that Wall Street fund?”

Connie said, “That’s them. The Falchi Foundation has been investing in Wall Street for the past few years. For the first two years, they were nominally profitable, but the companies they invested in kept urging them to buy new funds and stocks after making profits, so the funds were never recovered.”

Ronan could roughly guess what had happened. “The profits were always on paper?”

“Yes.” Connie simply said, “The funds were always in the Wall Street investment companies, which kept encouraging the Falchi Foundation to make new investments. Starting last year, the investments began to incur losses. The funds the Falchi Foundation finally recovered were less than half of the initial investment.”

Ronan knew well that Wall Street’s shady operations were no less than Hollywood’s.

Connie continued, “The Falchi Foundation has decided to change its investment strategy, focusing on stable income investments. The Pacific Investment Foundation has many cooperations with India and Mumbai, and its reputation and credibility have always been good, so their intention to cooperate is strong.”

Ronan said, “Communicate with Sterling. I can meet with them in two days.”

Connie nodded. “No problem.” She then said, “At noon, Rakesh Ross is hosting a banquet for us.”

Ronan glanced at the time. “Alright, we’ll leave on time in half an hour.”

Connie didn’t say more. After asking a question, she took the initiative to leave the presidential suite.

“You seem very busy,” Candice Swaneepoel tilted her head, looking at Ronan.

“Some unexpected things came up.” Ronan walked over and took her hand. “Go take a shower, change into something more formal. We have a banquet to attend.”

Candice Swaneepoel said, “Okay, wait for me a moment.”

With that, she returned to the master bedroom, quickly showered, applied light makeup, and put on a fitted little dress before meeting Ronan and leaving the suite.

After leaving, Candice Swaneepoel immediately linked arms with Ronan.

The luncheon was held on the third floor of the hotel. It wasn’t the rumored Indian cuisine but various Western dishes.

Ronan soon left Candice Swaneepoel to the side and began discussing the next phase of cooperation with Rakesh Ross.

The Pacific Investment Foundation and Rakesh Ross’s Mountain Fund had been closely cooperating for years. Although the Pacific Fund wasn’t the highest-yielding option, it was the most reliable.

After overcoming the most difficult period, Ronan placed great emphasis on credibility, which was a crucial prerequisite for securing overseas financing.

Speaking of which, in recent years, anyone or any institution that had invested in his projects hadn’t failed to gain substantial returns.

Including the Abu Dhabi Group.

Rakesh Ross’s Mountain Fund had recently invested in many Bollywood films, but the profit margins were average.

India’s film production was astonishing, but the market wasn’t actually that large. Only a few could break out of the South Asian market.

Audiences in other regions weren’t accustomed to the Bollywood style of breaking into song and dance at any moment.

In fact, Bollywood’s musical films fully illustrated one thing: what was national often struggled to become global.

In the next phase, the Mountain Fund planned to invest five hundred million dollars in the Pacific Fund.

The luncheon lasted over an hour. Afterward, Ronan declined Rakesh Ross’s invitation, citing the need to rest after a long flight, and returned to the suite with Candice Swaneepoel.

Tomorrow, he would meet with Steve Jobs. Ronan also needed to rest well and adjust his state.

Because next, he would be facing one of the shrewdest businessmen and professional managers in the world.

Chapter 828: Chairman Qiao

“I have work to do this morning.”

Inside the suite, Ronan said to Candice Swaneepoel, who was applying makeup, “I’ll have someone accompany you around. The boutiques here are excellent; feel free to buy whatever you like.”

Candice Swaneepoel nodded and said, “Ronan, go ahead and attend to your business. Don’t worry about me.”

Ronan pinched her high-bridged nose and said, “Call me or Connie if you need anything.”

“I will,” Candice Swaneepoel replied.

Ronan left the room and saw two female bodyguards waiting outside. He instructed them, “If Miss Swaneepoel goes out, make sure to keep her safe.”

The female bodyguards responded concisely and firmly, “Yes.”

Connie gave a few more reminders and accompanied Ronan downstairs. They took a car to the place they had arranged the day before.

A convoy of three cars left the Mumbai city area and arrived at a spiritual retreat center.

The cars stopped at the entrance. Ronan looked at the various Buddhist symbols and buildings without saying much. He simply followed an Indian monk waiting at the entrance and walked inside.

Although he didn’t believe in religion, Ronan always showed sufficient respect for others’ politics, culture, and beliefs.

This was the most basic common sense.

They arrived in front of a simple-looking house. John Lasseter was waiting there. He hurried over and said, “Good morning, Ronan.”

“Good morning, John,” Ronan nodded.

John Lasseter said, “Steve’s health hasn’t been very good lately.”

Ronan knew a little about Steve Jobs’ illness and said, “Don’t worry. It won’t be long.”

John Lasseter opened the door, and Ronan walked in. He immediately smelled the scent of burning incense; the air was clearly not very good.

Steve Jobs sat on a wooden floor cushion. An Indian master was circling around him, muttering something.

As for what he was saying, Ronan couldn’t understand at all.

“Please wait a moment,” Steve Jobs said softly. “I’ll be done here soon.”

Ronan glanced at his wristwatch and said calmly, “I arrived ten minutes early.”

The Indian master was as still as an ancient well, seemingly detached from the world.

After about two minutes, the Indian master stopped moving. Steve Jobs slowly stood up. The two of them bowed to each other with their hands clasped, and the master slowly drifted out of the room.

At that moment, Steve Jobs seemed like the most devout believer.

Ronan didn’t understand, but he could guess that Steve Jobs was probably trying to treat his illness through spiritual or Zen practices.

He didn’t speak, nor would he be foolish enough to offer an opinion.

This involved matters of faith, and interfering recklessly could be very troublesome. Not to mention Steve Jobs, even with Tom Cruise, Ronan never interfered or participated in matters of faith.

As for the effectiveness, all he could say was that if Steve Jobs believed in it, then it was effective.

Ronan had some understanding of this. Although Steve Jobs had undergone related surgeries, he still hadn’t given up on finding a complete solution to his illness in India.

For an ordinary pancreatic cancer patient, such exertion would have sent them to meet God long ago. But Steve Jobs, apart from spiritual and Zen practices, had another ability to save his life.

Money power!

Perhaps Steve Jobs himself might have a clear understanding, but pancreatic cancer is known as the king of cancers. Normal medical channels don’t have a real solution. Even billionaires can only spend money to prolong their lives.

And not for very long.

When people are desperate, they tend to have unrealistic fantasies.

Although Steve Jobs had once been mythologized, he also had this commonality.

“It’s been a long time, Ronan,” Steve Jobs invited Ronan to sit down.

Ronan sat on a wooden chair and said, “It should have been two years since we last saw each other.”

Steve Jobs put on his round glasses. The devoutness of a believer disappeared completely, replaced by the shrewdness of a businessman. “In just two years, you’ve changed too much.”

Ronan smiled faintly and said, “Have I? I don’t think so. I’m still Ronan Anderson.”

“Just a billionaire Ronan Anderson,” Steve Jobs said, perhaps due to his poor health, his voice was always soft. “If I remember correctly, Netflix’s market value has exceeded fifty-five billion dollars. You’ll definitely be in the top ten on the rich list next year.”

Ronan was very calm. “Wealth in the stock market is just on paper. It doesn’t mean much.”

Steve Jobs, behind his round glasses, was all shrewdness and calculation. “It’s easy to convert into actual financial assets. Why don’t you transfer some of Netflix’s shares to me at the market price now?”

Ronan didn’t respond but instead said, “Steve, Pixar’s stock price has always been very stable.”

Steve Jobs didn’t hide it either. “Pixar’s stock price won’t have much more room to rise. After all, it’s just a pure content manufacturer. You’re a Hollywood operations expert; you know better than I do that the film industry is all about channels.”

Ronan said, “Relativity’s channels can make Pixar more valuable.”

“Pixar’s contract with Disney is about to expire,” Steve Jobs said unhurriedly. “I have many choices.”

Ronan countered, “Steve, do you really have many choices? Besides Disney, how many companies in Hollywood have truly operated animated films? Does Pixar want to continue cooperating with Disney?”

Steve Jobs said, “The copyrights for Pixar’s animated films are still with Disney. I can’t let Pixar’s children be lost forever.”

These words seemed ordinary, but Ronan understood. This was Steve Jobs setting conditions.

Ronan said, “Pixar’s children must come back. No one will let Toy Story, Monsters, Inc., and Finding Nemo be lost.”

Steve Jobs asked, “Do you have a way?”

“I’ve thought of some ideas, but nothing is certain yet,” Ronan said slowly. “To get the copyrights back, we need to cooperate tacitly. This is a prerequisite.”

Steve Jobs was extremely intelligent and immediately understood that this was Ronan’s condition. Unless Pixar and Relativity became one, Ronan wouldn’t make a move.

John Lasseter and Robert Iger had already discussed this many times. There was no need to hide it between them.

Ronan said, “Steve, we can benefit from working together.”

Relativity wanted to acquire Pixar. After Pixar left Disney, it needed new global marketing channels.

Steve Jobs was well aware of this, but as an exceptionally shrewd businessman, he had to secure the most favorable conditions for himself.

“I agree in principle,” Steve Jobs got straight to the point. “But there’s a condition, Ronan. You must promise that Relativity will help Pixar reclaim the copyrights for the animated features distributed by Disney.”

Ronan said very seriously, “I guarantee it.” He repeated, “These animated features can be serialized. Their value hasn’t been fully realized yet. I can’t let them stay in Disney’s hands.”

Steve Jobs had heard more than once that in Hollywood circles, Ronan Anderson’s credibility was excellent.

As a typical businessman, he wouldn’t believe another businessman’s guarantee.

Because he had experienced it.

But Steve Jobs believed in a businessman’s greed when faced with enormous interests.

So, Steve Jobs nodded slightly and said, “Ronan, I believe you will fulfill your promise.”

Ronan smiled and said, “Taking benefits from Disney is in line with both of our needs.”

“What’s the specific plan?” Steve Jobs asked.

Ronan wasn’t about to say now. “When the time comes, Robert Iger will communicate directly with Pixar.”

Steve Jobs didn’t dwell on this. “Alright, leave the specific progress to them. Ronan, we only discuss the most important things.”

Ronan said, “Of course, Steve. You’ve always been the one in charge at Pixar.”

Even now, after several rounds of financing and share expansion at Pixar, Steve Jobs had sold shares to cash out and increase his holdings in Apple.

This top boss of Pixar still held nearly fifty-one percent of Pixar’s shares.

Ronan was clear that Steve Jobs was about to name his price.

The specific price would be discussed by the people below, but the main framework had to be agreed upon by him and Jobs.

After a few minutes of consideration, Steve Jobs said, “We’ll proceed with a share swap. I’ll exchange Pixar’s shares for an equivalent value of Netflix shares from Relativity, with the specific price based on the market price on the day the deal is concluded.”

Pixar’s current market value was over fifty billion dollars. If the transaction were carried out under the current circumstances, Relativity might have to give up about ten percent of Netflix’s shares.

Netflix was just starting out, with all businesses developing smoothly and the stock price in a rapid upward trend.

Ronan understood this, and Steve Jobs, as a business elite, saw it clearly as well.

Conversely, Pixar, without distribution channels, had a very stable stock price in recent years and was unlikely to have significant growth. The Hollywood industry system was no secret. Anyone with a little knowledge knew that Pixar was at the downstream end of the industry chain.

“Alright,” Ronan replied. “But I also have a condition. It’s simple, not complicated.”

Steve Jobs said, “Please go ahead.”

Ronan said softly, “You are the Chief Executive Officer of Apple, and I am a shareholder of Apple. Soon, we’ll have new identities. I’ll be the chairman of Netflix, and you’ll be a major shareholder of Netflix…”

Steve Jobs looked at Ronan with a sense of foreboding.

Ronan directly said, “Apple is developing a smartphone. Steve, you should push within Apple for Apple’s smartphones and other handheld terminals to use the Android operating system under Netflix.”

Chapter 829: A Mutually Beneficial Partnership

Upon hearing Ronan’s conditions, Steve Jobs suddenly smiled and said, “This goes against Apple’s fundamental development principles. Not only can I not push for it, but even if I did, the shareholders would force me out.”

At present, Steve Jobs held only a small amount of Apple’s shares, far less than what Ronan possessed. Though Steve had founded Apple, his role in the company now was more akin to that of a professional manager.

Despite knowing the difficulty, Ronan still wanted to try: “As long as Apple’s smartphones sell well, these issues won’t matter. Steve, don’t forget, I’m also an Apple shareholder. I’ve spoken with many of them, and they only care about two things—stock price and profits!”

Would most of Apple’s shareholders care about which operating system the company’s portable handheld terminals used, as long as the stock price remained high?

But Steve Jobs’ relationship with Apple was undeniably complex: “Joining your alliance doesn’t benefit Apple.”

Ronan smiled and said, “How could there be no benefit? A broader promotional platform, more profit-sharing partners, more distribution channels…”

Steve Jobs raised his hand to interrupt Ronan: “Apple doesn’t need these. Apple must stay true to itself.” He spoke with absolute confidence: “Because Apple is Apple, not anything else.”

Ronan sighed inwardly. From Steve Jobs’ attitude, it was clear that the possibility was zero.

Perhaps it was this very arrogance and confidence that made the world embrace an apple with a bite taken out of it—a symbol so coveted that people would sell a kidney to own it.

Ronan didn’t dwell on the matter further. “Steve, your conditions are something I can’t agree to either. Netflix also has many shareholders, and I can’t compromise their interests.”

Steve Jobs said, “I can accept shares in Relativity Entertainment.”

Ronan didn’t refuse. Instead, he directly stated, “Relativity Entertainment will be valued at one hundred billion dollars.”

Steve Jobs’ expression darkened instantly: “Netflix has an impressive market value, but Relativity Entertainment isn’t fully owned. If we calculate Netflix’s market value at sixty billion dollars, does your Relativity Entertainment have a value of over forty billion?”

Ronan was as confident as Jobs had been moments ago: “In my hands, it does.”

The room’s atmosphere grew tense as the two men fell into a stalemate.

Both Ronan and Steve Jobs were sincere about collaborating.

Relativity Entertainment needed Pixar, not just for the studio’s future production of countless valuable animated films—both online and offline—but also for its world-leading hardware and software development capabilities in animation.

Pixar was recognized as Hollywood’s premier animation studio, not only for its filmmaking prowess but also as a provider of animation hardware and software.

From Blue Sky to DreamWorks and Shai Entertainment, these animation studios extensively used software and hardware systems purchased from Pixar.

On the other hand, Pixar’s core was its animated films. As a pure production company, it urgently needed new distribution channels.

Otherwise, it would have to continue collaborating with Disney.

The contract between Walt Disney and Pixar was notoriously unfair, and Pixar’s management had grown to resent Disney.

Once, Robert Iger had single-handedly persuaded Steve Jobs, leading to Disney’s acquisition of Pixar.

But Steve Jobs was undoubtedly the biggest winner in that deal, becoming Disney’s largest shareholder.

After Steve Jobs’ passing, the greatest legacy he left his family wasn’t Apple’s wealth but Disney’s shares.

This ensured that Jobs’ widow remained firmly among the billionaires.

Ronan had a rough idea. Today’s Relativity Entertainment and Netflix were like Disney had been to Steve Jobs in the past.

Both Ronan and Steve Jobs were sincere about collaborating because a partnership would be mutually beneficial. Yet, they also wanted to secure the best terms and maximum benefits for their respective sides.

At this moment, Ronan and Steve Jobs considered the matter purely from a business and capital perspective.

They were just businessmen!

“Steve,” Ronan said calmly, “we both want to work together, and it’s mutually beneficial. Why don’t we each take a step back?”

Steve Jobs coughed twice and emphasized, “Apple is Apple, and Pixar is Pixar. The two cannot be conflated.”

Ronan nodded slightly: “The premise of cooperation is that Relativity Entertainment must hold a controlling stake in Pixar.”

Steve Jobs said, “I agree, but Pixar needs to maintain sufficient creative independence.”

“If Pixar doesn’t maintain a certain level of independence…” Ronan countered, “is it still Pixar?”

Steve Jobs said, “In film creation, I trust your judgment.”

Ronan’s judgment in film was something Steve Jobs trusted more than Ronan’s character and reputation.

“See, Steve, we still have a lot of common ground.” Ronan spread his hands and said, “We also want Pixar to have a better future.”

Steve Jobs believed in the sincerity of these words because a better-developed Pixar aligned with Relativity Entertainment’s interests.

“Tell me your conditions.” Perhaps due to recent spiritual practice, Steve Jobs seemed a bit tired.

Ronan stopped beating around the bush and directly stated, “Relativity Entertainment will acquire Pixar through a combination of cash and partial Netflix shares.”

Steve Jobs remained silent for a long time, seemingly weighing the pros and cons, before slowly saying, “Alright, I agree to this deal.”

Business negotiations, especially those with cooperative intent, were inherently about mutual compromise. He then asked, “What’s the specific ratio?”

Ronan said, “Let the people below handle the details.”

Steve Jobs thought for a moment and said, “That works.”

Reaching an agreement was sufficient. The specifics of the negotiations were tedious, and they couldn’t possibly determine every detail themselves.

“Regarding the copyrights with Disney, what are your thoughts?” Steve Jobs continued.

“The copyrights must be reclaimed.” Ronan was very clear on this point: “Toy Story has already been serialized, and Finding Nemo and Monsters, Inc. can also be serialized. Disney is unstable internally, and the next year is our only opportunity.”

Steve Jobs said, “If there’s anything Pixar needs to cooperate on, feel free to have someone contact John and Ed.”

Ronan nodded lightly: “I will.”

Steve Jobs suddenly changed the subject: “Ronan, we will have many shared interests. I hope you’ll be a supportive shareholder for me at Apple.”

Everything about Apple had once told Ronan that supporting Steve Jobs was the choice most aligned with his investment interests.

“We are allies.” Ronan said naturally.

Steve Jobs no longer spoke of work and instead asked, “How long do you plan to stay in India?”

Ronan casually replied, “Probably two more days.”

Steve Jobs then said, “If you have time, you can come here to listen and see. It will bring your mind back to its purest state.”

Ronan smiled: “That won’t be necessary.”

Steve Jobs seemed to imply something: “Doing anything is ultimately an expression of one’s inner nature. That is the only reason for our existence.”

Ronan didn’t respond and instead said, “You’re not well. I won’t take up too much of your time.”

Steve Jobs didn’t insist. As Ronan stood up to shake his hand, perhaps due to the special environment, Steve Jobs instead pressed his palms together in a gesture of respect.

Perhaps with the conclusion of the business negotiations, Steve Jobs had automatically switched back to his devout believer state.

Ronan said nothing more and took his leave.

He had heard that the Jobs couple were devout believers. Reportedly, their 1991 wedding had been a Buddhist ceremony.

According to Marc Randolph, a veteran of Silicon Valley: The ceremony was so simple it had an almost ascetic feel. As guests and the bride entered, incense burned. There were no wedding bells, only the melody of Buddhist chants.

All one could say was that every successful person was, in some way, a fanatic.

Speaking of which, Ronan was also a fanatic, especially in his preferences, much like Leonardo’s unwavering devotion.

Leaving the temple, declining John Lasseter’s offer to see him off, Ronan got into his car and returned to Mumbai’s city center.

In the car, he briefed Connie on the details of the discussion and instructed her to notify Robert Iger to initiate the follow-up plan.

As the highest leaders and actual controllers of both companies, Ronan and Steve Jobs had reached a consensus. The rest would depend on Robert Iger’s specific operations.

Ronan returned to the hotel, met up with Candice Swaneepoel, and first went to a specialty restaurant for lunch. After resting, he took her around the commercial district and Bollywood.

The two had already developed an unspoken understanding. With a swipe of his card, Ronan bought her a large pile of luxury goods.

Young women always had a special affection for such things, even daring to pay unimaginable prices for them.

Additionally, Ronan had George Clint notify Michael Bay to confirm Candice Swaneepoel as the female lead in Transformers.

Her acting skills weren’t the best, but they were above average. Combined with her appearance, which fit the sweet, girl-next-door type, her overall audition performance was top-tier.

This was something Ronan had already determined; otherwise, he wouldn’t have extended the invitation.

The next morning, Steve Jobs visited Ronan at the hotel again, and the two talked for a longer time.

Given Ronan’s wealth and status, he was also a highly valued business partner for Steve Jobs.

Chapter 830: Financing

Ronan’s trip to India had been incredibly fruitful by the time he returned to Los Angeles.

First, he secured a five hundred million dollar investment for the Pacific Investment Foundation from the Mountain Fund. Then, he reached an agreement with Steve Jobs. Finally, he managed to secure new financing clients.

One of Ronan’s initial goals when he first came to Mumbai in search of investment had been the Falchi Foundation. After suffering setbacks in Wall Street investments, although they had not given up on continuing to invest in the United States market, their investment targets shifted towards more stable and lower-risk investments with steady returns.

The highly reputable Pacific Investment Foundation was their top choice.

The intended investment amount was as high as three hundred million dollars.

Ronan reached a verbal agreement with the Falchi Foundation and left Mumbai. Scott Swift personally led a team to India to conduct formal financing negotiations with the Falchi Foundation.

When it came to using overseas funds, Ronan had always believed that the more, the better.

The achievements of Relativity Entertainment today could be largely attributed to their efforts to utilize overseas funds.

Scott Swift had left Merrill Lynch to join the Pacific Investment Foundation, and his work had been increasingly outstanding.

Originally, Ronan had considered whether to seek investments from some of the newly wealthy individuals in certain markets.

Unexpectedly, Scott had quietly gotten the job done.

Scott had been staying in the Eastern markets recently, handling some final matters related to financing there. Once finished, he would head directly to South Asia and begin negotiations with the Falchi Foundation in Mumbai.

Under the coordination of Embassy Pictures’ overseas branches, the Pacific Foundation had attracted hundreds of millions of dollars in investments from the Eastern markets.

Most of these investments came from the natural resources industry.

Investing in the United States market offered stable returns and a prestigious reputation. Although many were relatively cautious, the Pacific Investment Foundation still attracted a group of investors.

No one could underestimate the group often labeled as uncultured and nouveau riche by many. Those who had made it in this industry were far from foolish.

Their industry was inherently highly profitable, but no one knew how long it would last—it was a high-risk industry.

Compared to the high-risk investments on Wall Street, the Pacific Foundation, with its stable returns and good reputation, was seen as an excellent choice by many.

These individuals did not want their descendants to continue in this high-risk industry. Providing a stable environment for their children’s growth and finances was of great importance to them.

There was another crucial point: to open up the investment market there, Scott had specifically hired several professionals from that region.

These individuals played a key role because they had devised a strategy to attract investments from this specific group.

The Pacific Investment Foundation could assist their descendants in choosing schools in the United States.

This was a major selling point for that region. There had been cases where people spent a fortune to buy a bathroom just to secure a spot in a good school district.

With the financial means of this group, sending their children to study in the United States was not difficult, but getting into prestigious universities, especially well-known ones, was not so easy.

While the Pacific Foundation could not guarantee admission to other schools, getting into USC was not a problem.

Over the past few years, due to Ronan’s previous studies at the USC School of Cinematic Arts, he and his companies had been making donations to USC, including the Pacific Investment Foundation.

Alumni and their alma maters were always important to successful individuals, especially those from prestigious universities.

Because of their alumni status, Ronan had naturally connected with George Lucas and established a good personal relationship.

If it weren’t for their alumni connection, Robert Zemeckis might not have agreed to direct Alice in Wonderland.

After all, this renowned director had earned enough money and now preferred to work on experimental films.

Entering USC through Ronan and the Pacific Investment Foundation’s channels offered significant flexibility.

This point attracted many overseas investors.

Although some people often preached the idea that education was useless—like this group who often boasted about earning much more than educated people—if their descendants were not allowed to study, they would probably be anxious enough to jump.

Only they knew how much they had suffered due to their low education levels.

This generation always wanted to make up for what they lacked by ensuring their children could attend prestigious schools. The appeal of this was enormous.

Initially, they had secured investment agreements worth hundreds of millions of dollars, and there were still many interested parties.

Of course, Scott kept in mind the points Ronan had emphasized, ensuring all operations complied with laws and regulations.

Moreover, the people at the Pacific Foundation maintained a low profile in public, focusing on actions rather than words.

Scott was also clever, entrusting more of the business there to employees from that region, while he focused on supervision.

Over the past month, through various efforts, the Pacific Investment Foundation, with its excellent reputation and various measures, had attracted over one billion dollars in investments worldwide.

These funds were sufficient to cover the budgets for major film projects like Transformers and The Hulk.

Without enough money, even the best film ideas could only remain on paper.

In this era, art, money, and commerce were inseparable.

Take the art market, including various antiques. The speculation and commercial operations, along with other shady dealings, were no less than those in Hollywood.

Compared to the operations of international antique dealers targeting the Eastern markets, the Pacific Investment Foundation was an extremely conscientious enterprise.

With sufficient budgets for Transformers and The Hulk, the preparatory work proceeded smoothly. Funding was the most basic guarantee for the crew’s operations.

Marvel Entertainment had already signed a directing agreement with Joss Whedon. Joaquin Phoenix had taken the initiative to go to the USC Viterbi School of Engineering to experience life alongside several physics professors to better adapt to the role of scientist Bruce Banner.

Fitness training was also an essential part of Joaquin Phoenix’s preparation.

This actor, in stark contrast to his late brother, was known for his clear mind and high professionalism.

Perhaps River Phoenix’s experiences constantly reminded Joaquin Phoenix and those close to him.

Ella Fisher, who had collaborated with Shai Entertainment on Wedding Crashers, stood out among the female lead candidates and would play Bruce Banner’s girlfriend, Betty Ross, the daughter of General Ross.

Similarly, this Australian actress had also signed a long-term contract with Marvel Entertainment.

The directors for Thor and Captain America had not yet been finalized and were still under selection.

These two films were to be released after Iron Man 2, so there was plenty of time.

Marvel’s Avengers Initiative, with ample financial support, was progressing step by step. Related comic developments were also underway. For example, Civil War, as more content was published, was causing a strong reaction across the United States, with its influence extending beyond the comic realm.

This was not like the childish airport fight scene from a previous movie. It involved political and social realities.

The current comic version of Civil War was not about personal grudges but a clash of ideologies.

And the content was quite dark.

The concept of Civil War was proposed by Ronan, but the content and plot were ultimately decided by Marvel. Ronan had communicated with Marvel’s Creative Committee, and the ending of Civil War was equally dark—Captain America would be assassinated!

This would also lead to the complete split of the Avengers in the comics.

Movie adaptations differed from comics, and how the film would be made in the future would depend on the market.

As for The Avengers, if the plan proceeded normally, it would likely be released in 2009 or 2010.

Regarding Transformers, after Ronan finalized Candice Swaneepoel as the female lead, he returned to Los Angeles and participated in the auditions for the male lead. He ultimately chose Henry Cavill, a British actor who had auditioned for Superman Returns but was not selected, to play the male lead, Duke.

Young Henry Cavill was tall and muscular. After a few months of military training, he could fully embody the role of a soldier.

Similarly, having just experienced the casting setback for Superman Returns, to secure the role of Duke, Henry Cavill had to sign a long-term contract with Shai Entertainment.

Perhaps it was a matter of timing, but the Superman who had truly left an impression on Ronan was not Christopher Reeve but Henry Cavill.

It seemed that later, Henry Cavill had collaborated with Tom Cruise and even played the famous role of the Witcher in a stake-driving machine.

Ronan also thought of the origin of the Witcher role from Henry Cavill’s stake-driving machine character. It seemed to be a TV series adapted from a game, but what was the name of the TV series or the original game?

The Witcher? Or The Sorcerer?

Unfortunately, he had not seen this series and really could not remember.

With Henry Cavill signing the actor’s contract, all the cast for Transformers was in place, and the crew began the final preparations for filming.

In terms of the project budget, special effects production would be the largest expense. Although the film would not use 3D filming, it would still require a budget of hundreds of millions of dollars for special effects technology.

In comparison, the actors’ salaries were low. The highest-paid actor in the entire crew was not the male or female lead but the already famous black actor Tyrese Gibson, whose salary was only five hundred thousand dollars.

The highest salary went to Peter Cullen, the voice actor for Optimus Prime, as he provided the most classic Optimus Prime voice.

For Megatron, Ronan rejected the idea of inviting Hugo Weaving and instead invited a voice actor with a more distinctive voice but lower fame and salary.

It was not cost-effective to spend a large sum to invite Hugo Weaving just for voice acting.

While the crew was finalizing the actors, Michael Bay utilized his relationship with Relativity Entertainment to reach an agreement with the Department of Defense and the military. They would obtain filming permissions at multiple military bases, including Edwards Air Force Base.

Additionally, the military would send soldiers to participate directly in the filming, and the crew could use various heavy equipment, including planes and tanks, for the filming.

In return, the film’s plot and content could not denigrate the military and had to positively promote the military’s image.

This aligned with the film’s setting, so Ronan naturally agreed.

Chapter 831: Commercial Advertising

With military cooperation in filming, this movie could save at least forty million dollars in expenses. As long as the crew was willing to cooperate, the military would fully support the production, from equipment to bases to soldiers.

The military’s requirements were simple—they wanted a grand advertisement. This aligned with Duke’s storyline in the film, so Ronan naturally wouldn’t refuse.

Besides, Hollywood collaborating with the military on major films, especially recruitment films, wasn’t uncommon. The most typical example was Top Gun, starring Tom Cruise, which was practically a super recruitment ad for the U.S. Navy. Rumor had it that after the film’s release, the Navy had no trouble recruiting.

A joint military team arrived in Los Angeles to discuss script-related matters with Ronan and Michael Bay. Their conditions weren’t excessive—similar to the first Transformers film, they didn’t demand U.S. soldiers fight alien robots alone. Instead, they wanted to showcase as much modern military equipment as possible on screen.

Ronan understood—this was less a recruitment ad and more a weapons ad. Through a potentially widely popular film, they wanted to tell the world: We have the best weapons on this planet. Come buy them.

The military had collaborated with Hollywood many times and understood its creative process. They didn’t need American soldiers to fight heaven, earth, or air.

Michael Bay’s cooperation with the military began with The Rock, where the military’s image wasn’t particularly flattering. Sometimes, propaganda didn’t need to be grand or lofty.

One of Ronan’s reasons for inviting Michael Bay to direct this series was fully realized. He knew Bay had good relations with the military, who not only provided him with the latest equipment but even allowed his crew to film inside the Pentagon.

Other directors would struggle to receive such treatment.

Both sides were eager to cooperate, and negotiations between the crew and the military proceeded smoothly. Under Michael Bay’s leadership, they finalized a list of weapons and equipment to feature in the film.

This included the V-22 Osprey tiltrotor aircraft, the soon-to-be-retired F-117, the famous Black Hawk, M1 Abrams tanks, C-130s, Los Angeles-class nuclear submarines, and an entire Nimitz-class aircraft carrier fleet.

Of course, there was also the F-22 Raptor, which had just been officially unveiled worldwide this year. The military specifically emphasized this point, insisting the crew highlight the F-22 Raptor.

Ronan readily agreed, making the F-22 the flight form of Starscream.

As for individual soldier equipment, Hollywood films featured so much of it that even without military provision, plenty of props could be rented.

It was well-known that the U.S. military relied heavily on equipment. In the later stages of World War II, their equipment on the Pacific battlefield was overwhelmingly superior.

For example, Japan’s Zero fighter initially dominated the early Pacific War, but within a few years, the Americans developed countermeasures, and the Zero earned a new nickname—the “Zero Lighter.”

While negotiating with the military, the crew was also handling another matter.

Embassy Pictures had established a dedicated team for Transformers, intervening early in the project’s preparation phase to collaborate with Shai Entertainment in securing global advertising sponsorships for the film.

As a modern sci-fi film, it would feature numerous cars and storefronts, making it a waste not to include advertisements.

From storefront ads to car ads to everyday product placements, the team was negotiating dozens of potential insertions. For example, Bumblebee would first appear in his classic beetle form before transforming into a sleek sports car. While top-tier supercar brands remained aloof, mainstream brands were very interested.

Chevrolet, Mustang, and Mercedes-Benz were all considering Bumblebee’s product placement.

Other major Transformers characters were also commercial hotspots.

Since this was a commercial film, Ronan naturally wouldn’t refuse advertisements. Based on Embassy Pictures’ negotiations, the film’s ad revenue could exceed thirty million dollars.

However, Ronan had discussed product placement with Michael Bay, emphasizing that ads must be natural and seamless—no forced insertions.

Michael Bay, a director with an advertising background, wouldn’t have issues if he put in effort. Past examples had been too cringe-worthy, like certain milk ads or the infamous “just over the mountain to Hong Kong” line—classic failures in product placement.

Ronan would never allow such ads.

Both military equipment ads and pure commercial ads effectively reduced the film’s actual investment, keeping production costs from being as exaggerated as publicly stated.

Michael Bay was highly favored by Hollywood studios for many reasons. His productions strictly adhered to budgets, often finishing under budget while achieving planned effects—a rarity among major directors.

The usual approach of big directors? Never enough power, never enough budget, never enough runtime…

From a producer’s perspective, Michael Bay was very likable.

Michael Eisner and Jerry Bruckheimer had once said that Michael Bay was one of the greatest commercial directors in Hollywood history—a high praise.

Compared to Transformers and Michael Bay, Alice in Wonderland and Robert Zemeckis had no budget discounts—two hundred million dollars, no less.

This was a fantasy project; product placement was impossible. The cost of 3D production meant every dollar spent showed on screen.

Shortly after Alice in Wonderland began preparations, Robert Zemeckis visited Ronan’s office in Relativity Tower.

“The initial twenty-five million dollars in startup funds are almost gone,” Robert Zemeckis said bluntly. “The second round of funding needs to arrive as soon as possible.”

Ronan nodded slightly. “Don’t worry. Shai Entertainment has coordinated with the Pacific Investment Foundation. The next thirty million dollars will be available next week.”

Robert Zemeckis breathed a sigh of relief. “Outstanding 3D effects are burned through money.”

Ronan said, “I understand. Robert, rest assured—the project’s promised budget won’t be short by a single cent.”

In this era, 3D was just beginning commercialization in Hollywood, and the technological costs were staggering.

Robert Zemeckis asked, “By the way, casting is about to begin. Do you have any specific ideas for the female lead?”

Ronan shook his head. “I don’t have anyone in mind. Let’s hold auditions and find the right person.”

“How about I recommend someone?” Robert Zemeckis smiled. “You know her—Bryce.”

Ronan asked, “Bryce Dallas Howard? Ron’s daughter?”

Robert Zemeckis said, “Yes, her. Dallas heard about this project and has already signed up for auditions.”

Ronan thought for a moment. “This project has a huge investment. I can’t make a decision without seeing the audition results.”

Robert Zemeckis understood Ronan’s meaning. “Then we’ll decide after her audition.”

He could see why—with a production budget of two hundred million dollars, plus marketing costs, such a massive investment couldn’t be decided solely by Ron Howard’s daughter.

Ronan recalled Bryce Howard’s appearance. They had met before, and she hadn’t yet gained weight. Last time, Ron Howard mentioned she had joined the Spider-Man 3 crew as Gwen Stacy.

But would this typically large-framed, robust woman be suitable for Alice? Ronan’s strongest impression of Bryce Howard was her running through the jungle in stilettos, her massive chest bouncing wildly.

Later, Bryce Howard seemed to grow even larger, rivaling Star-Lord in awkward dancing.

Ronan didn’t make an immediate decision—he would wait until after the audition.

Besides, Anne Hathaway was also very interested in the role of Alice.

After returning from Mumbai, Ronan and Anne Hathaway had a daytime rendezvous where clothes were optional. During their time together, Alice in Wonderland came up.

Originally, Ronan wanted to ask if Anne Hathaway was interested in the White Queen, but she expressed interest in auditioning for the lead role of Alice.

Anne Hathaway was at her peak—her looks and acting skills were both excellent, so Ronan naturally wouldn’t refuse.

Moreover, Anne Hathaway was truly dedicated. In her exaggerated words, she nearly suffered a stomach hemorrhage from stress.

Frankly, aside from being Ron Howard’s daughter, Bryce Howard had no chance against Anne Hathaway.

Anne Hathaway was preparing for her audition, which included losing weight.

Then there was the Mad Hatter role.

Robert Zemeckis wasn’t Tim Burton, who insisted on Johnny Depp. This role would also be decided through auditions.

Currently, several actors had signed up, including Bradley Cooper, fresh off The Hangover, and James Franco from the Spider-Man series.

The final choice would depend on the audition results.

For special effects, Shai Entertainment continued its partnership with George Lucas’s Industrial Light & Magic.

Lucasfilm was becoming a more fixed partner for Relativity Entertainment.

Ronan and George Lucas had also jointly established a USC School of Cinematic Arts Employment Foundation to help USC film students transition more quickly into the industry after graduation.

This also benefited Relativity Entertainment, ensuring a steady stream of fresh talent.

Professionally trained USC graduates were more skilled than those who entered the field later in life.

After all, James Camerons were few and far between.

Chapter 832: New Projects and New Itineraries

The Hollywood summer season had not yet extended into August, with July marking its end. Relativity Entertainment, however, conducted extensive market research in August, leveraging Netflix Streaming Media and Netflix’s online rental data to gain deeper insights into the film and television market.

For instance, the new season of Peppa Pig, which aired during the summer, saw a surge in popularity due to thorough preparation. From mid-July to mid-August, within just one month, the project’s revenue reached two hundred million dollars.

The best-selling items were not the series’ copyrights but various merchandise and licensing deals.

Take Taylor Swift, who voiced Peppa Pig—her earnings from voice acting alone over the past few years amounted to a staggering four point two million dollars.

Though Scott had a close relationship with Relativity Entertainment and was Ronan’s important assistant, their business collaborations followed Hollywood’s conventional practices.

Conducting business through proper commercial channels actually helped stabilize their cooperation.

Additionally, Intern Grey continued to release a new season every year without fail.

Once a TV series became a hit, its revenue was equally astonishing.

This year, screenwriter and producer Shonda Rhimes was even listed among Time magazine’s one hundred most influential people.

Shonda Rhimes was also planning a new series, with preliminary plans already submitted to Ronan. It was another medical drama titled Private Clinic.

Ronan had never seen this series before, but given the massive success of Intern Grey, he greenlit the project.

Shonda Rhimes had single-handedly orchestrated the success of Intern Grey, and her control over medical dramas was trustworthy.

However, Shai Entertainment still adopted a cautious production strategy—the first season would only have six episodes, with a production budget not exceeding five million dollars.

Whether it would be renewed depended on the market response.

No large-scale project could casually invest massive funds.

Years of industry experience and his unique memories told Ronan the essence of modern film and television production: market research, audience testing, review, modification, renovation, and reprocessing until they were ready for consumption.

In his office, Ronan looked at the latest market research report and said to the delicate female screenwriter across from him, “Shai Entertainment, in collaboration with bookstores and online sales channels, conducted a fan survey for Twilight.”

He handed over a report: “These are the latest statistics.”

Lindsay Bill took it and read, saying, “Among the readers who purchased or read the novel, eighty-five percent expressed willingness to see a film adaptation, ten percent showed interest, and less than five percent did not want the novel adapted into a movie.”

Ronan said, “A total of two hundred thousand people participated in the survey.”

After reading, Lindsay Bill said, “This means the film adaptation already has a basic audience foundation.”

Ronan nodded: “How is the script adaptation coming along?”

“Almost finished with the first draft,” Lindsay Bill admitted honestly. “The difficulty of adaptation is greater than I anticipated. Many scenes in the original work need repeated consideration to select the best ones.”

Ronan said, “Pay attention to the selection of actors and directors.”

Lindsay Bill said, “I’ve discussed it with George. Next month, he will issue a recruitment notice to the Actors Guild and major agencies on behalf of Shai Entertainment.” She smiled: “As for the director, Ronan, you should make the decision. It’s one of the keys to success.”

“Alright,” Ronan said slowly. “I’ll keep an eye out for suitable candidates.”

Ronan had never paid attention to who the original director was, but due to a certain scandal, he remembered the male and female leads clearly.

The female lead was Kristen Stewart, who, after playing with men, turned to women.

The male lead was Robert Pattinson, once called the “Tenderloin Five” and the new Bruce Wayne.

Compared to the movies starring these two, Ronan was more familiar with the gossip between Robert Pattinson and Kristen Stewart.

Once, under the expectations of countless Twilight fans, the two became real-life lovers. But during the filming of Snow White and the Huntsman, Kristen Stewart cheated with the director, turning Robert Pattinson’s head into Green Acres.

The crisis management by Robert Pattinson’s PR team was a masterclass.

After the news broke, numerous media outlets reported that Kristen Stewart was at home, covering her face in regretful tears.

At first glance, this seemed to garner sympathy for Kristen Stewart, but it subconsciously made people believe that the affair was a fact—that Kristen Stewart had wronged Robert Pattinson.

Later, no matter what Robert Pattinson did, the public naturally sided with him.

It had to be said that many Hollywood PR teams could play their cards well.

Ronan also planned to have someone investigate Kristen Stewart and Robert Pattinson.

The former was a child star, and David Finch had mentioned her before, so she shouldn’t be hard to find.

He vaguely remembered seeing that Robert Pattinson had acted in the Harry Potter series, so he could have someone look into that.

Lindsay Bill didn’t stay long in Relativity Tower and soon took her leave.

Ronan thought about the director selection. Hollywood had many directors skilled in filming melodramatic, tear-jerking films like those of Qiang Yao.

But incorporating fantasy elements required careful consideration.

Not long after Lindsay Bill left, Robert Iger arrived at Ronan’s office, and the two discussed Pixar and Disney matters for an entire morning.

The specific affairs needed Robert Iger to handle, as company management and capital operations were his specialties.

In the afternoon, the scriptwriting department of Shai Entertainment delivered a newly completed script.

After Robert Lee acquired the copyright to the Indian novel Q & A in the first half of the year, Shai Entertainment quickly completed the first draft of the script.

After a rough review, Ronan requested further refinement of the plot, removing excessive descriptions of Indian social conflicts.

Additionally, the project’s name was changed from Q & A to the more targeted Slumdog Millionaire.

He also sent an email to Rakesh Ross of the Mountain Fund, asking him to start searching for suitable Indian actors in terms of acting and appearance from next year.

This was preparation for the future film operations.

Once the second draft of the script was completed, Ronan would have Shai Entertainment contact British director Danny Boyle to discuss directing the film.

Shai Entertainment had already researched Danny Boyle’s situation—he was currently collaborating with Fox Searchlight on the space sci-fi disaster film Sunshine.

Ronan noticed that Chris Evans also had a small role in it.

Thinking of the former Captain America, Ronan specifically called Kevin Feige to ask about the situation. Kevin Feige sent over a recent video of Chris Evans experiencing military life. Compared to his audition, the man seemed somewhat different.

It wasn’t obvious, but one could sense a change, and it was for the better.

There was still time before the filming of Captain America began, and Ronan had enough patience to wait.

Kevin Feige also told Ronan that after Jason Momoa was invited by the crew to prepare for Thor, besides growing a beard and working out, he specifically contacted a studio that made ironware using traditional hand-forging methods to swing a hammer and forge iron…

In Kevin Feige’s words, this helped the actor experience the use and force of a short-handled, single-handed hammer.

Ronan, of course, had no objections.

It seemed that the Thor of the past had worked on a construction site swinging a sledgehammer.

Speaking of which, everyone who had swung a sledgehammer on a construction site and made it big was incredibly tough, said to be the type who could go straight to the stomach.

These actors, far from being stars, were willing to pay the price for their dreams of fame, and their efforts were often astonishing.

Johnny Depp, in his youth, was also very dedicated and hardworking.

From the perspective of a boss and producer, Ronan appreciated the hardworking and dedicated types like Chris Evans and Jason Momoa.

Why did managers and bosses promote and preach those chicken-soup success stories? Was it because those who had endured hardships didn’t understand the reasoning?

The answer was, of course, no. Because the chicken soup fed to employees made them work harder and contribute more value.

Connie knocked and entered, saying, “Next week’s itinerary is set.”

Ronan nodded: “Get to the point.”

“There are two main parts,” Connie said concisely. “Midweek, we’ll go to Venice to attend the Venice Film Festival, then head to the UK over the weekend to watch the Premier League match between Manchester United and Chelsea.”

She asked, “Do you have anything to add?”

Ronan thought for a moment and said, “No, we’ll decide the specifics once we’re in Europe.”

Connie said, “Alright, I’ll notify the crew to prepare now.”

With the delivery of the custom business jet, Ronan’s travels had become much more convenient. Maintaining such a plane was effortless for him, allowing him to leave on a whim.

The new Premier League season had already begun. The Premier League Board had some clever commercial planning, scheduling several high-profile matches in the first few rounds, including Manchester United vs. Chelsea and Arsenal vs. Tottenham Hotspur, quickly heating up the new season.

Before the new season started, Ronan had explicitly declined Mansour and the Abu Dhabi Group’s offer, stating he would not consider selling Manchester United Football Club in the short term.

Rumors had it that Mansour and the Abu Dhabi Group were not giving up and were working on a new acquisition plan.

As for attending the Venice Film Festival, it was because Ang Lee’s Brokeback Mountain was set to have its global premiere at this year’s Venice Film Festival.

Chapter 833: Brokeback Mountain

A small yacht glided slowly through the canals of Venice, making its way toward Lido Island. Along the way, enthusiastic fans waved to the film crew on board.

Anne Hathaway pressed her lips into a thin line, standing beside Ronan as she waved back at the crowd.

Ang Lee, along with Jake Gyllenhaal, Heath Ledger, and Michelle Williams, also stood on the deck, frequently responding to the fans on both sides of the canal.

“I’ve never attended a premiere by boat before,” Anne Hathaway whispered to Ronan.

Ronan kept his voice low as well, replying, “Neither have I.”

Anne Hathaway asked, “Do you think this film can win the Golden Lion?”

“How would I know?” Ronan shrugged slightly. “It all depends on how it’s received after the screening.”

The yacht wasn’t moving quickly, but it gradually approached Lido Island, the traditional venue for the Venice Film Festival.

Anne Hathaway’s hair was tousled by the wind, and Ronan reached out to smooth it for her.

Watching Ronan’s thoughtful gesture, Anne Hathaway sighed softly. When they were together, Ronan was always at his best.

But she knew better than to expect him to think of her when she wasn’t around.

“By the way, Ronan,” Anne Hathaway quickly dismissed those thoughts. After all, their relationship had been clearly defined from the start. “I heard that Ron Howard’s daughter, Bryce Dallas Howard, is also auditioning for the female lead in Alice in Wonderland?”

Although she believed she outshone Bryce Dallas Howard in every aspect—appearance, acting, and star power—she had no confidence in winning the role when she heard Bryce was in the running.

In this industry, connections often mattered more than talent.

Otherwise, how could Spielberg’s godchildren have risen so easily?

Ronan understood Anne Hathaway’s concerns. He gently squeezed her hand and said, “Focus on preparing for the audition. This is my project, and the casting will ultimately be decided by the audition results.”

Anne Hathaway instantly felt reassured. “I saw in the script that Alice has some action scenes and sword fights at the end. I plan to do some action training in advance.”

“That’s a good idea,” Ronan suddenly thought of Catwoman. “Diversifying your skills will open up more opportunities in the future.”

Anne Hathaway nodded lightly. “Mm, I’ll listen to you.”

Ronan was quite satisfied with Anne Hathaway. “Relativity Entertainment will have many film projects in the future. Anne, don’t fall behind.”

Anne Hathaway promised, “I’ll keep up with you.” She leaned in and whispered in Ronan’s ear, “I’ve prepared something special for you tonight in my room.”

Ronan smiled. “You really are my favorite Anne.”

The boat arrived at the dock, where the red carpet stretched from the theater. Jake Gyllenhaal was the first to disembark, standing by the boat with gentlemanly grace to assist the others.

Ronan let Ang Lee go first. “You’re the director. This is your film’s premiere.”

Ang Lee smiled and nodded, stepping onto the red carpet first.

Despite the failure of The Hulk, Ang Lee still had considerable fame in Europe. Combined with the film’s genre, both the audience and media reporters were quite enthusiastic.

At European film festivals, films exploring taboo subjects were always the most popular.

Jake Gyllenhaal walked the red carpet alone, followed by the couple Heath Ledger and Michelle Williams.

Then, Ronan and Anne Hathaway made their way down the red carpet.

At the theater, Ronan saw the members of this year’s Venice Film Festival jury.

The jury president was an Italian who had made his career in the United States—a renowned Hollywood art director, Dante Ferretti.

His works included Interview with the Vampire, Casino, and Gangs of New York.

His most recent project was The Aviator, which had been snubbed at the Oscars this year by Martin Scorsese.

Ferretti had a close relationship with Scorsese, having collaborated multiple times.

So, when Ronan shook hands with Dante Ferretti, he specifically said, “I’ve heard Director Scorsese mention you many times. He said his biggest regret was that you couldn’t be part of The Departed.”

Dante Ferretti knew that Scorsese was working with Ronan. “I had already accepted the invitation to the Venice Film Festival. Mr. Anderson, I deeply regret missing this collaboration.”

Ronan smiled. “We’ll have more opportunities to work together in the future.”

Dante Ferretti replied, “We certainly will.”

Although he had started his film career in Italy, after nearly twenty years in Hollywood, Dante Ferretti had been fully assimilated. He was well aware that Relativity Entertainment’s subsidiary, Shai Entertainment, was now one of the top production companies in Hollywood.

Ronan didn’t linger with Dante Ferretti. The circumstances didn’t allow for it.

Next, he greeted the other jury members one by one.

In such public settings, it was the only proper way to interact with the jury. The festival had rules prohibiting jury members from privately accepting invitations from competition section film crews.

These jury members were all unfamiliar faces, except for Claire Denis, one of Leonardo DiCaprio’s former rumored girlfriends.

Of course, she was also a blonde, long-legged actress who looked more like a model.

Ronan then met up with Ang Lee, and together they entered the VIP lounge to wait for the upcoming entrance ceremony.

“How’s the promotion going?” Ronan asked.

Ang Lee replied, “Embassy Pictures’ European branch has done a lot of preparatory work with the crew. Whether we win or not depends on luck.”

Ronan stated directly, “Our primary goal is the Golden Lion. I’ve seen the internal screening of this film—it’s truly outstanding. As for the jury president, before the festival began, Martin Scorsese called Dante Ferretti because of our collaboration. Given the excellence of Brokeback Mountain, he won’t make things difficult.”

Ang Lee simply smiled and nodded.

Any award selection was relatively fair but influenced by many external factors. In Europe’s three major film festivals, the jury president held significant sway.

Similar to the Cannes Film Festival, if the jury president wanted to push a decent film to win, it could usually be achieved.

But most people valued their reputation and weren’t as carefree as Quentin Tarantino.

Ronan reminded him, “No matter the outcome at the Venice Film Festival, the North American awards season at the end of the year is our main battleground. All our work is in preparation for that.”

Ang Lee understood the implication. “Tell me what you need, and I’ll fully cooperate.”

The failure of The Hulk had brought Ang Lee immense frustration, and he was eager to make a breakthrough during the awards season.

Only he knew how much effort he had poured into Brokeback Mountain—it was his make-or-break battle in Hollywood!

Ronan could see Ang Lee’s determination. “Relax. This film is excellent. In my opinion, Brokeback Mountain will go down in film history.”

Ang Lee was confident in his work and knew that Ronan had been optimistic about Brokeback Mountain after seeing the screening. But he hadn’t expected Ronan’s praise to be so high.

If anyone else had said this, Ang Lee would have dismissed it as flattery. But coming from Ronan, a top producer, could the film really bring something extraordinary?

Ronan didn’t say more. Brokeback Mountain was indeed outstanding. Even those who disliked homosexuality would find it hard to dislike the film itself.

Ang Lee’s direction was beautiful and subtle.

In North America and around the world, there was a growing group that desperately needed a film like this—one that would speak for them.

This group’s voice was getting louder, and soon they would become a force to be reckoned with.

With a little push, they would surely elevate Brokeback Mountain to legendary status.

Because their movement needed a widely circulated film to speak for them, to represent them.

The equality movement in the United States was intensifying, and Hollywood, a left-wing stronghold, was pushing the industry to another extreme. Brokeback Mountain was arriving at just the right time, meeting the demands of the era.

The success of Brokeback Mountain was never just about the film itself—there were far more complex factors at play.

Similarly, the film would face much criticism, especially from conservatives.

Ronan had already warned Ang Lee, who was mentally prepared.

Ang Lee went to discuss with his agent, while the couple Heath Ledger and Michelle Williams approached Ronan.

“Hey, Ronan,” Michelle Williams, who had worked with Shai Entertainment for years, was familiar with Ronan. “I didn’t expect you to come personally.”

Ronan got straight to the point. “Brokeback Mountain is Relativity Entertainment’s Oscar contender this year.”

Michelle Williams teased, “So, does that mean I have a chance at an Oscar nomination?”

Ronan nodded slightly. “The plan is for Best Supporting Actress. Whether you get nominated depends on luck.” He then turned to Heath Ledger. “You should prepare as well. The crew will also submit for Best Actor.”

Heath Ledger said, “Thank you, thank you, Mr. Anderson, for your support.”

Ronan resisted the urge to bring up certain matters again—he had already mentioned them twice, so there was no need to dwell. He simply said, “Your role is very impressive.”

Heath Ledger was confident. “I believe this will be a turning point in my career.”

Michelle Williams tugged at him lightly and interjected, “Ronan, Heath will be working with you again. He passed the audition for Nolan’s The Dark Knight.”

Ronan said, “I know. Director Nolan has a very high opinion of Heath.”

A staff member came over to notify them, and Ronan didn’t say more. He joined the main crew and entered the screening hall.

Chapter 834: Horror Film

The Oscar selection process is influenced by many external factors. While the awards at Europe’s three major film festivals appear more impartial than the Oscars, their fairness is still limited.

However, one thing is certain: for a film to win an award, it must have a certain level of quality as its foundation. Otherwise, it will inevitably spark massive controversy.

For films, controversy isn’t necessarily a bad thing, but neither Ronan nor Ang Lee would appreciate the kind of controversy surrounding Shakespeare in Love and Gwyneth Paltrow—being relentlessly dredged up isn’t exactly pleasant.

Of course, including the Venice Film Festival, the three major European film festivals have produced their fair share of absurd award results, no less than Hollywood and the Oscars.

But from the moment Brokeback Mountain began screening, it was clear this was a film of substance and quality.

The stunning cinematography could only be described as “pristine”! The film depicted a desolate, pure, dazzling, and mysterious world, like a hidden paradise.

Countless sheep, two men, lonely years, mutual companionship, support, and warmth. Love was almost instantaneous, as if answering the call of nature.

Thus, true love knows no age, ethnicity, gender, or even race…

A friend of Ronan’s once said that in the wilderness, aside from men, there are only sheep. Either men or sheep. In the end, if you don’t choose sheep, you have no choice but to choose men. This was also for the safety of the sheep.

Ang Lee had told Ronan that he wanted to express love—pure love, a universal emotion, love in its broadest sense, not confined to men or women.

Thus, in Ang Lee’s lens, everything was so natural and subtle, like a river flowing into the sea, the sun setting on the horizon.

It was this very naturalness and subtlety that made it difficult for people to feel repelled by the film. At the same time, it didn’t make people feel like Ang Lee was promoting homosexuality, because watching the film, you felt that Ennis simply loved Jake, not men in general.

Perhaps it was Ang Lee’s subtlety that made Brokeback Mountain what it was. If a European art director had taken the helm, the film’s content would have been easy to imagine—many cringe-worthy scenes that would leave viewers unable to eat afterward. Such art could be done without.

At the film’s end, Ennis hangs their shirts together, beside a postcard of Brokeback Mountain…

This moment was moving. From then on, Brokeback Mountain would no longer be just a mountain but a symbol in the broadest sense.

As the film ended with a nostalgic female vocal, the entire theater erupted in thunderous applause. The audience, all film enthusiasts who had come specifically for the festival, seemed deeply moved by the emotions conveyed in the film.

Behind Ronan, a girl sniffled, her voice trembling with tears: “This is so sad.”

The film received a standing ovation, igniting the entire Venice Film Festival.

At the subsequent press conference, when faced with media questions, Ang Lee uttered the now globally famous line: “Everyone has a Brokeback Mountain in their heart, a dream that can never be reached!”

Some have said that Ang Lee’s strength lies in his bicultural background, allowing him to interpret the Eastern world with Western thinking and the Western world with Eastern thinking.

With the film’s release, Brokeback Mountain intensified its promotion at the Venice Film Festival. The specially designed poster for the festival, aside from the title, featured a subtitle tailored for the event—Love is the Natural Force!

In the passionate and vibrant Venice, Brokeback Mountain unsurprisingly captured the attention of countless people.

Whether audiences or media, the reviews for the film were overwhelmingly positive.

The Italian News highly praised it, stating that Ang Lee had told a moving love story nearly perfectly.

Other similar reviews, such as “a near-perfect masterpiece” and “an epic of love,” were abundant.

Brokeback Mountain once again brought Ang Lee into the spotlight of world cinema.

Even the crew could already see the Golden Lion award beckoning in the distance.

But Ronan knew best that the Venice Film Festival was just the beginning. For investors and Relativity Entertainment, awards were always a stepping stone to commercial success. The ultimate goal of all artistic awards was to gain more commercial profits.

Thus, even if Brokeback Mountain won the Golden Lion at the Venice Film Festival, it would still be far from enough for its global marketing.

Reports about Brokeback Mountain had begun to appear on North American internet and traditional media, but Embassy Pictures had not yet launched its campaign. The real show would only begin on the eve of the awards season.

Since he was in Venice, Ronan also took the opportunity to explore the film festival, seeing if he could find any suitable films.

During a break in promotions, Anne Hathaway came over to accompany Ronan as he toured the Venice Film Festival’s market.

Walking among the booths of production companies from around the world, Anne Hathaway curiously looked around. Soon, she whispered in Ronan’s ear, “The people in these booths are looking at you more eagerly than they look at me.”

Ronan smiled slightly and whispered back, “How could they compare to you, my Catwoman?”

Anne Hathaway chuckled softly, “Do you like it?”

Ronan didn’t hide his feelings: “A night I will never forget.”

After the premiere last night, when they returned to the hotel, Anne Hathaway had transformed into a cat, even attaching a fluffy tail, as if she had truly become Catwoman.

Anne Hathaway continued in a low voice, “If you like it, I have many more tricks.” To pique his interest, she shifted the topic back to the previous question: “Why are all those people looking at you so eagerly?”

Ronan glanced at an Israeli film producer’s booth for a moment, ignoring the enthusiastic invitation from the staff, and walked away before answering Anne Hathaway’s question: “Because they all know who I am and why I’m here.”

Anne Hathaway nodded, understanding: “You’re not just a producer; you’re also the owner of a distribution company with global reach.”

Ronan smiled again and stopped to watch a clip playing at another booth.

Although the global film industry was developing rapidly, only a few films made it to theatrical release, and even fewer broke into the global market.

In the end, Ronan shook his head and walked away. For these highly experimental and auteur-driven films, he could respect them, but he had no interest in purchasing them.

Frankly, the market section of the Venice Film Festival was not on the same level as the Cannes Film Festival.

Films that considered themselves commercially promising often chose the Cannes Film Festival’s market platform first.

When they reached a booth from an Eastern film company, Ronan finally saw a familiar film—a comic adaptation.

Unfortunately, it was a Japanese comic adaptation, and the lead actor wasn’t a professional.

Ronan paused to watch for a moment and was about to leave when a familiar face approached.

“Mr. Anderson.” Andrew Lau’s face lit up with delight.

Ronan was also somewhat surprised and shook Andrew Lau’s hand, saying, “Andrew, I didn’t expect to see you here.”

“The script for Scorsese’s film has been finalized, so I left the crew.” Andrew Lau smiled and said, “Just in time for the Venice Film Festival, I came to promote my new film.”

Ronan pointed to the playing clip and asked, “Initial D…”

Andrew Lau quickly said, “This is a new film I co-directed with my partner.”

Ronan nodded slightly, watching the scenes of Jay Chou and Chen Bolin on screen, feeling a sense of nostalgia.

Especially Chen Bolin, who was practically sacrificing his career to educate the public, warning them never to let someone repair their computer without clearing the hard drive first.

The consequences could be severe, even tragic.

Andrew Lau had recommended this new film to Embassy Pictures, but they had outright rejected it.

Because the Infernal Affairs trilogy’s box office in North America was so dismal that “tragic” was an understatement.

Seeing Ronan, Andrew Lau’s hopes were reignited. He glanced at Ronan, seeing him scrutinize the playing clip, and introduced, “This is based on a Japanese comic of the same name, starring a young actor popular in the East…”

Before Andrew Lau could finish, Ronan raised his hand to interrupt, saying directly, “Andrew, this film isn’t suitable for the North American market, or even the Western market.”

Andrew Lau was a smart man; some things didn’t need to be said outright. He immediately understood that Ronan wasn’t interested in the film.

After another glance at the famous Akina Speed Star, Ronan said, “I’ll look around elsewhere; let’s talk another time.”

Andrew Lau didn’t say much more and saw Ronan out of the booth.

Anne Hathaway, arm in arm with Ronan, curiously asked, “You weren’t interested, yet you still watched for a while?”

Ronan smiled and said, “Darling, how to explain this…”

It was impossible to explain. This represented memories of the past; the Akina Speed Star was one of the most widely circulated memes on the internet.

But as for the film Initial D…

Rumor had it that Jay Chou’s female fans weren’t too fond of it, thinking that a good idol racing film adapted from a comic had been turned into a horror film.

Why horror? Jay Chou’s female fans gave an incredibly powerful reason: wasn’t it horrifying enough to see such an ugly Japanese woman kissing Jay Chou’s face repeatedly?

Later, Ronan also saw Xu Haofeng’s Seven Swords, but again, he had no intention of buying.

After circling the market, he came away empty-handed, but Ronan wasn’t disappointed. It wasn’t possible to find a The Blair Witch Project or Crouching Tiger, Hidden Dragon every time.

In all these years of film festivals, the number of films he had picked up could be counted on one hand.

On the way back to the hotel, Ronan invited, “I’m going to the UK this weekend, Anne, are you coming?”

Anne Hathaway, of course, wouldn’t refuse and said, “Sure.”

Chapter 835: New Player

London, Chelsea, Stamford Bridge.

Led by Chelsea staff, Ronan and Anne Hathaway ascended the main stand, heading toward Roman Abramovich’s private room.

Stamford Bridge wasn’t particularly large, but with Chelsea hosting Manchester United at home, every stand was packed to capacity. A sea of blue stretched as far as the eye could see.

Anne Hathaway clung tightly to Ronan’s hand. When she spotted a camera turning toward them, she flashed a dazzling smile at the lens.

On the television broadcast, the commentator noted the arrival of Manchester United’s owner with his girlfriend.

As always, Ronan never hid such matters. If he did it, he didn’t fear others talking about it. Could it be that others could do it, but he couldn’t be talked about?

“Wow, so many people!” Anne Hathaway whispered into Ronan’s ear. “This is my first time at an English football match!”

Ronan smiled. “Manchester United is my team. When you have time, you can come watch games with friends. I have a private room at Old Trafford, though I can’t make it to many games in person. I’ll let the club know—you can go anytime.”

Anne Hathaway was delighted. “Great! I’ve decided to become a Manchester United fan.”

As the saying goes, entertainment and sports go hand in hand, and Hollywood is no exception. Hollywood stars often appear at professional league games, with the NFL being the most common league to spot them. As for events like the Super Bowl, they need no further explanation.

It was a shame Los Angeles didn’t have an NFL team; otherwise, Ronan might have considered buying one.

Arriving at Roman Abramovich’s private room, Abramovich, as the host, stood to welcome Ronan.

“Welcome to Stamford Bridge,” Abramovich said, shaking Ronan’s hand. “Welcome to Chelsea’s home ground.”

Ronan responded with a smile. “Roman, we’re old friends. No need to be so formal.”

Abramovich returned the warm smile.

Although Chelsea had been defeated by Manchester United in both the Premier League and the UEFA Champions League last year, Abramovich still held a psychological advantage over Ronan—primarily in terms of wealth.

Now, even that advantage had vanished, as Abramovich knew that in terms of personal fortune, he was no longer superior to the young man before him.

Ronan glanced at the young, beautiful brunette beside Abramovich and introduced her. “Roman, this is my friend, Miss Anne Hathaway. Anne, this is Chelsea’s owner, Mr. Roman Abramovich.”

“Hello, Miss Hathaway,” Abramovich said politely, having made great efforts to integrate into Western society. “I’ve seen many of your films. Your acting and charm are truly captivating.”

Anne Hathaway’s big-mouthed smile stretched from ear to ear. “Thank you. It’s an honor to meet you.”

Abramovich then introduced the woman beside him. “This is Dasha Zhukova, my… friend.”

Ronan could tell that, just like him and Anne Hathaway, the relationship between Abramovich and Dasha Zhukova was far more than just friendship.

He vaguely recalled that Abramovich was married. Was he preparing for a divorce?

It seemed Abramovich’s divorce case had once been a sensation, with him ultimately giving up half his fortune.

“Hello,” Ronan said, shaking Dasha Zhukova’s hand.

After Anne Hathaway and Dasha Zhukova exchanged greetings, Abramovich added, “Dasha’s father is Alexander Zhukov.”

Ronan had heard of the name—one of Russia’s top billionaires, a renowned arms dealer, and oil magnate.

Abramovich and Dasha Zhukova coming together—was this a union of powerhouses?

Speaking of the surname Zhukov, it was easy to let one’s imagination run wild.

After the pleasantries, they all sat down in the private room. Dasha Zhukova, clearly well-educated and a model herself, struck up a conversation with Anne Hathaway about fashion, a topic both found fascinating.

Ronan and Abramovich, meanwhile, discussed football.

This summer, both teams had made significant moves. Chelsea had once again invested heavily, signing several stars, such as Ashley Cole from Arsenal for a hefty sum, bringing in Spanish international Deorno, and acquiring Ukrainian striker Shevchenko earlier than before.

Other signings included Wright-Phillips and Lass Diarra.

Additionally, they had parted ways with the team’s biggest source of instability, Bridge.

The infamous “friend’s wife” scandal had finally come to an end.

In comparison, Manchester United’s moves were smaller. They had sold Ruud van Nistelrooy to Real Madrid, cleared out several redundant players, and brought in Iniesta and Leo Messi from Barcelona.

Manchester United had also promoted several second-tier players to the first team, such as young player Gerard Piqué, who had joined freely from La Masia last summer.

This season had just begun, and under Ronan’s direction, Manchester United had signed a five-year professional contract with Piqué—without a penalty fee clause!

Last summer, Piqué’s decision to leave La Masia was largely due to his desire to sign a five-year contract with Barcelona, but Barcelona had refused.

Ronan wouldn’t let Piqué leave Manchester United so easily.

On the field, the warming-up players exited, and the match was about to begin.

Abramovich glanced at the two women chatting and said, “Official girlfriend?” He candidly admitted, “Dasha is my girlfriend.”

Ronan was equally candid. “Anne and I are friends.”

At this point, Ronan suddenly recalled some gossip he had read. Abramovich had many romantic entanglements, and it was said that after his divorce, he had once broken up with his new girlfriend because Emma Watson had intervened as a third party.

This reminded Ronan of more gossip. Around 2010, the newly adult Emma Watson was often seen with her “Uncle Abram.”

Emma Watson had even specifically explained to the media that this was only because of her love for football.

Of course, neither the media nor netizens believed her.

The adult Emma Watson was on par with Taylor Swift.

Entertainment stars who frequently changed partners weren’t just limited to male stars like Leonardo. Female stars like Emma Watson, Rihanna, Taylor Swift, and Kristen Stewart were no different.

And compared to Leonardo’s long-standing monogamy, these female stars had even more diverse tastes, even daring to be unconventional.

Some men, thrilled to have won over their beloved goddess, didn’t realize they might not even be a backup option—just one of the many “stamp collections” in the goddess’s repertoire.

“Last season, if Chelsea hadn’t been in disarray,” Abramovich suddenly said, “it would have been hard to say who would have come out on top between Chelsea and Manchester United.”

This seemed to imply something.

Ronan, of course, wouldn’t be foolish enough to admit any involvement. “We’ll see which team has the last laugh in this match.”

Abramovich said, “Chelsea is very strong now. We have Shevchenko.”

Ronan smiled. “The Ukrainian nuclear warhead is terrifying.”

Unfortunately, this was England, not Italy.

It seemed Mourinho didn’t like Shevchenko, but affected by last year’s defeat, Abramovich had brought in Shevchenko earlier and at a higher price than before—certainly not as a mascot.

In the first few rounds, Shevchenko’s performance hadn’t been ideal, but everyone believed this was just an adjustment period. Changing teams and environments required time for players to adapt.

Plug-and-play players were rare.

Moreover, Shevchenko had already proven himself in Serie A and the UEFA Champions League.

Ronan felt that Shevchenko’s current situation might be better than before. Drogba had been poached by him last year and was now Manchester United’s starting striker. Without Drogba’s pressure, Shevchenko might have more space and freedom on the field.

Additionally, Chelsea’s manager was Mourinho. In the rapid rise of his coaching career, perhaps Mourinho could awaken the Premier League’s Shevchenko in the absence of Drogba.

Abramovich asked, “What are Manchester United’s goals this year?”

Ronan didn’t answer but countered, “What about Chelsea?”

“Chelsea already won the FA Cup last year,” Abramovich said, always composed, as if declaring his and Chelsea’s ambitions. “This year, our primary goal is the Premier League, and we’re also aiming for the UEFA Champions League.”

Ronan said, “Manchester United will prioritize the league and UEFA Champions League results.”

Abramovich said, “It seems our competition is inevitable.” He suddenly changed the subject. “By the way, I’ve invited another guest today. They should be arriving soon.”

“Who?” Ronan asked cooperatively.

Abramovich smiled. “An old friend of yours.”

As he spoke, Chelsea staff were already leading someone over—a well-dressed Arab man.

Ronan took a look—it was indeed an old friend, Sheikh Mansour from Abu Dhabi!

“Welcome, Your Highness,” Abramovich stood to greet him.

Mansour first shook hands with Abramovich, then looked toward Ronan.

Ronan wouldn’t be rude in such a setting. He stood and shook Mansour’s hand. “Good afternoon, Minister. I didn’t expect to see you here.”

Mansour smiled. “When I heard from Roman that you’d be coming to Stamford Bridge to watch the game, I called him specifically. As someone who loves football, I couldn’t miss such an event.”

Abramovich and Ronan introduced the two women. Mansour wasn’t as polite with them, merely nodding with a smile.

The players were entering the field now, and Abramovich invited Ronan and Mansour to take their seats.

“In the past, the Premier League was right before my eyes,” Mansour said with feeling. “Visible, but untouchable.”

He laughed. “Now, Abu Dhabi can finally join the Premier League.”

Chapter 836: Chaos

Upon hearing Mansour’s words, Ronan instantly guessed that the Abu Dhabi Group was about to invest in the Premier League, likely having already reached or being on the verge of finalizing an acquisition deal.

With the Abu Dhabi Group’s financial resources, acquiring a Premier League club posed no pressure. The reason they had not succeeded thus far was primarily due to opposition from British public opinion and the Football Association. Otherwise, as early as the turn of the millennium, the Abu Dhabi Group would have become the owners of Manchester United Football Club.

However, the Premier League had developed into the most commercially successful football league in the world, thanks to its open operational strategy. The Football Association could not repeatedly block the Abu Dhabi Group’s acquisitions, as that would undoubtedly affect investors’ interest in the Premier League.

Ronan turned to Mansour and asked with a smile, “Minister, may I ask which club your group is planning to take over?”

Abramovich also cast a curious glance, clearly not fully aware of the specifics.

Due to previous encounters with public opposition, which led to unnecessary setbacks and ultimately failure at the last moment, the Abu Dhabi Group had kept this acquisition operation strictly confidential and had gone to great lengths to smooth relations with the Football Association.

Without someone like Ronan causing trouble, Mansour’s acquisition proceeded smoothly, having already passed the Football Association’s approval.

With the acquisition a done deal, Mansour saw no need for secrecy or pretense and said, “Ronan, we will be neighbors from now on.”

The implication was clear, and Ronan understood immediately: “So your group is acquiring Manchester City.”

Mansour nodded: “Yes, Manchester City.”

Abramovich suddenly interjected, his words carrying a deeper meaning: “A local rival, huh.”

Mansour smiled and said, “We are neighbors.”

“That’s right, neighbors,” Ronan said casually, “Manchester United has only one true rival.”

Abramovich and Mansour understood what Ronan meant. Manchester United’s true rival had never been Manchester City, nor Chelsea, nor Arsenal.

There was another layer to his words—the current Manchester City was far from being Manchester United’s rival.

Ronan asked, “When will the deal be completed?”

Mansour replied, “It’s already done. It will be announced soon. You must come to watch the next Manchester City vs. Manchester United match in person.”

Ronan smiled and said, “If time permits, I will definitely be there.”

“It’s a shame,” Mansour sighed, “The transfer window is already closed, so Manchester City can’t buy any players.”

The current Manchester City team was merely a mid-to-lower-tier team, even struggling to avoid relegation each season.

Once, Manchester City had fully demonstrated the magic of money in professional football.

Abramovich chimed in, “The next season’s transfer market will be even more lively.”

For some reason, Mansour and Abramovich both looked at Ronan with a hint of caution in their eyes.

Ronan waved his hand, “Don’t worry, Manchester United’s structure is reasonable, and the squad is well-stocked. We won’t be making any major purchases in the short term.”

In the future, Manchester United would fully embrace its role as the “price-driving United.” Although they wouldn’t specifically target Chelsea and Manchester City, it wouldn’t be easy for them to acquire their desired players at low prices.

And then there was Manchester United’s true rival.

According to Manchester United’s intelligence, Benitez was very interested in Atletico Madrid’s golden boy, Fernando Torres.

This deal must not be allowed to go through easily for Liverpool.

Manchester United’s main center-back pairing was Vidic and Ferdinand, and Torres was indeed Vidic’s nemesis.

If it weren’t for Torres, Vidic’s reputation might have been even higher.

Ronan remembered that in six encounters with Liverpool’s Torres, Vidic had received three red cards.

How brutal!

Just as Joe Hart was known for his long-range shots, whenever people looked back at Torres, Vidic was always the backdrop.

Now, Vidic was an absolutely reliable part of Manchester United’s defense, perfectly suited to the physically demanding style of the Premier League.

As the match began, Vidic was directly up against Chelsea’s starting striker, Shevchenko.

Perhaps not yet adapted to the Premier League, Shevchenko made frequent mistakes.

Abramovich’s expression was not pleasant, as he and Mourinho had had a heated argument over Shevchenko, causing a rift in their previously close relationship.

Another major reason for his unpleasant expression was the song being sung by the Chelsea fans in the stands.

“We have a very rich team!” The Chelsea fans, as they did when facing other teams, sang the famous Premier League song: “Our team has endless money!”

Not to be outdone, the Manchester United fans responded with their own chant: “Our owner is richer! Our team doesn’t spend the owner’s money!”

These noisy chants from the Manchester United fans were also a major reason for Abramovich’s unpleasant expression.

He quietly glanced at Ronan’s side, knowing a little about Manchester United’s situation.

After acquiring Manchester United, Ronan Anderson had transferred all the debts from the acquisition onto Manchester United. With Manchester United winning both the Premier League and the UEFA Champions League last season, Manchester United not only didn’t require a single penny from Ronan Anderson but could also allocate a large sum of money for transfers while repaying debts in installments and ensuring the club’s normal operations.

This was the proper development model for a commercial club!

Abramovich thought about his ongoing divorce case and the assets that would soon be halved, feeling even more that Chelsea Club needed to change its operational approach.

If only Chelsea could be like Ronan Anderson’s Manchester United.

All of this depended on competitive results.

As the match began, Anne Hathaway returned to Ronan’s side and, after watching for a while, said, “It seems we’re completely dominating the opponent?”

Ronan said, “We’re just controlling the game.”

Mourinho’s team never pursued possession, and actually, Ferguson didn’t prioritize possession either. However, Manchester United’s midfield control was undoubtedly superior, making it seem like they were dominating Chelsea.

Although Ferguson had implemented a technical revolution at Manchester United, the team still retained traces of traditional Premier League style—fast, concise, and relentlessly pressuring the opponent.

Chelsea, on the other hand, launched sharp counterattacks through the flanks. Joe Cole and Duff frequently used their speed to breach Manchester United’s defense, creating several openings, but whenever the ball reached Shevchenko, the attack mysteriously fizzled out.

Seemingly accustomed to AC Milan’s aging style of play, Shevchenko struggled to find his rhythm in the Premier League.

After more than a season of adjustment and integration, this Manchester United team had been molded by Ferguson into a cohesive unit, with seamless coordination and no lack of individual talent.

Robben and Cristiano Ronaldo frequently cut inside, and Manchester United came close to scoring several times.

Mourinho’s team was incredibly resilient, with his personal style deeply ingrained in the team. Tenacity and iron will were the hallmarks of Chelsea.

But this Manchester United team was no less determined, with nerves as strong as Ferguson himself.

Under Ferguson, this Manchester United team, especially with the 92 class still making an impact, was the epitome of unbreakable spirit.

Neither team would collapse, and the players’ willpower in every position would not waver.

However, someone’s body could not hold up.

Manchester United had an absolute advantage in the first half but could not break through Chelsea’s defense. Early in the second half, Manchester United suffered a heavy blow.

As one of the key players in Manchester United’s championship last season, Robben had been closely marked by Chelsea players.

Manchester United’s Fletcher intercepted Lampard’s pass and quickly fed it to Robben. Robben, with his signature quick steps, dribbled from the left flank, cutting inside towards Chelsea’s penalty area.

Paul Ferreira, who had been beaten, fully executed Mourinho’s iron-clad defensive strategy, tackling Robben from the side and behind.

Robben, sprinting at high speed, fell awkwardly, clutching his knee in pain as he rolled on the ground.

Drogba, the closest to Robben, bent down to ask a question, then urgently waved for the stretcher, his face filled with concern.

Paul Ferreira was only shown a yellow card.

Manchester United’s players were furious. Paul Scholes immediately confronted Paul Ferreira, and the field descended into chaos.

Ferguson was also unusually angry, rushing to the technical area and shouting at the seemingly indifferent Mourinho!

Players from both sides pushed and shoved on the field, while Ronan and Abramovich sat expressionless in the private room.

When the camera panned away, Ronan said, “Iron will should not be equated with brutality.”

Abramovich could only reply, “This is an accident. No one wants to see this.”

“He’s okay, right?” Anne Hathaway asked softly.

Ronan shook his head, “Hopefully it’s a hard injury.”

For a speed-based player like Robben, a soft tissue injury was even more terrifying.

But all speed-based players, if they didn’t adjust their playing style appropriately, would eventually suffer from soft tissue injuries.

Manchester United made a substitution, with Iniesta replacing Robben.

After emergency treatment by the team doctor, Robben was directly taken away by ambulance, indicating a serious injury.

On the sidelines, the furious Ferguson confronted Mourinho again, and the two managers clashed. Although no one knew what was said, it was clear that neither was being polite.

Unsurprisingly, both Ferguson and Mourinho were sent to the stands by the referee.

The two teams finally calmed down, and the match resumed.

Manchester United seemed to have been stimulated, launching even fiercer attacks, pressing Chelsea back into their own half.

But Mourinho’s team was indeed strong defensively, with a midfielder named Makelele always covering the gaps in time.

As the minutes ticked by, Manchester United still couldn’t break through Chelsea’s defense.

With over eighty minutes played, Mourinho substituted Shevchenko with Wright-Phillips, preparing to use speed to exploit Manchester United’s weaknesses.

The young Mourinho was not yet so conservative and was willing to take risks at crucial moments.

Chapter 837: The Terrifying Wastewood

In the private room, Abramovich felt an inexplicable sense of anticipation. After two seasons at the helm of Chelsea, he had begun to grasp some of the patterns of the game.

Manchester United had launched a frenzied attack for nearly ninety minutes, yet failed to score a single goal.

This was an extremely dangerous sign.

Moreover, Manchester United’s opponent was Chelsea, a team under Mourinho that was exceptionally tenacious and resilient.

Since Robben’s injury, the private room had fallen silent, as if both sides had suddenly lost their topics of conversation.

Abramovich glanced at Ronan’s side. Last season, Chelsea had lost too embarrassingly. Perhaps today, they could finally win this match and vent the frustration that had been bottled up for half a year.

He recalled Chelsea’s technical statistics for this season. Chelsea was one of the Premier League teams that scored the most goals after the eighty-fifth minute of a match.

No matter what, as long as they won this match, it would help him save some face.

Perhaps this was the beginning of the changing of the guard between Chelsea and Manchester United, the old and new kings.

The situation on the field seemed to be developing as Abramovich had imagined. After John Terry blocked Drogba’s shot, Chelsea launched a quick counterattack. Duff, known as the “Little Giggs,” sprinted down the left flank. The aging Gary Neville couldn’t keep up with his pace and was outrun by Duff’s sheer speed.

But Duff’s reverse triangle shot from the flank was intercepted by Wright-Phillips and sent straight into Čech’s arms.

Abramovich was so anxious he almost stamped his foot. If Shevchenko had been on the field, the ball would have gone in!

Why had Mourinho substituted Shevchenko? Abramovich couldn’t understand it. The best striker in the world today, and Mourinho wasn’t using him…

The situation on the field changed in an instant. Before Abramovich could even locate Mourinho in the stands, Čech’s throw-in landed at Cristiano Ronaldo’s feet.

Chelsea’s counterattack instantly turned into Manchester United’s.

Fortunately, Chelsea’s attack had been so fast that the midfield and defensive players hadn’t pressed forward. Cristiano Ronaldo took two steps forward before being blocked by Paul Ferreira and Makelele working together.

Cristiano Ronaldo had no choice but to pass back to Xabi Alonso, who then passed to Iniesta on the other flank.

With little time left, Iniesta chose a forty-five-degree cross.

Although Manchester United’s attacking players were surging into the box, Abramovich breathed a sigh of relief. Terry and Carvalho were sandwiching Drogba, Paul Ferreira was entangling his national teammate, and Makelele was standing near Xabi Alonso, preventing long-range shots and further attacks…

Mourinho’s defensive line was indeed well-structured and reliable. Every attacking player in Manchester United’s midfield and forward line had a Chelsea player marking them tightly.

The match was about to end. Abramovich felt that even if they couldn’t win, a draw wasn’t unacceptable.

The ball flew to a spot slightly ahead of the penalty spot. Drogba, entangled with Terry and Carvalho at the near post, didn’t touch the ball.

But another figure in red surged into the box from behind, leaving Lampard in his wake.

He leaped high, using the momentum of his rapid advance, and smashed his head into the ball.

The ball flew into the net.

Darren Fletcher.

Fletcher, the defensive midfielder dubbed “Manchester United’s wastewood” by the media. Fletcher, the least notable player in the Manchester United squad.

A header to score.

The moment the ball hit the net, Abramovich instinctively closed his eyes, his face turning ashen.

Only then did he remember that Manchester United was also one of the teams that scored the most goals after the eighty-fifth minute.

Mansour remained expressionless, but inwardly, he mused, “Is this Manchester United? Truly an extraordinary team.”

A pity, though. This was Ronan Anderson’s team, not Abu Dhabi’s.

Ronan saw the camera turn toward him and, without hesitation, stood up to applaud. This was his team.

Anne Hathaway also stood up with Ronan to applaud.

As for the ashen-faced Abramovich, he was none of Ronan’s concern.

From the moment Robben was injured and left the field, Ronan had been waiting for a goal. Ferguson had been waiting for a goal. The entire Manchester United team had been waiting for a goal.

Defeating Chelsea was the best consolation for Robben.

The match ended quickly, with Manchester United defeating Chelsea thanks to Fletcher’s goal.

Abramovich stood up and extended his right hand to Ronan, appearing gracious. “Congratulations.”

Ronan smiled and politely replied, “Thank you.”

This time, he and Manchester United had won again.

Abramovich shrugged and said, “A bit unexpected. I didn’t think the goal would come from the most unremarkable player on the field.”

Ronan replied, “Every Manchester United player is trustworthy.”

Wastewood? That’s what the British media and fans called Fletcher. This Manchester United youth academy product had a style of play that was too plain, with a technical approach that seemed to lack any distinctive features, as if he didn’t belong in this luxurious team.

But the British didn’t understand. There was a terrifying existence called “wastewood.”

A wastewood that made a comeback could be deadly.

Ronan recalled how difficult it had been for Ferguson back then. After Glazer took over Manchester United, they had managed to make a comeback against Chelsea with such a lineup…

Of course, there was another point that couldn’t be ignored. At that time, Cristiano Ronaldo had come into his own.

After the match, Abramovich escorted Ronan and Mansour all the way to the VIP exit.

“I have some business to attend to today.” Abramovich shook hands with Ronan, Mansour, and Anne Hathaway one by one. “Let’s talk another time.”

Ronan said, “We’re old friends. No need to be so polite.”

Mansour also exchanged pleasantries with a smile.

Then, Ronan and Mansour walked out of the stadium together.

“Your team’s fighting spirit is too strong.” Mansour, now forcing himself to treat Ronan as an equal rather than the small figure who had once sought investments from him, said, “Manchester United lives up to its name.”

Ronan smiled and said, “It’s mainly because enough money was spent.”

This Manchester United team’s strong fighting spirit was closely related to the significant investments made in outstanding players during the two transfer windows.

Mansour completely agreed with Ronan’s point. “That’s the golden rule of football.” He immediately added, “Manchester City is short on personnel. How about transferring a few players to Manchester City during the winter break?”

Ronan couldn’t possibly agree. He responded, “You should discuss this with the club’s management. I don’t get involved in the club’s specific affairs.”

Suddenly, Anne Hathaway beside them gently tugged on Ronan’s arm.

Ronan looked at her, questioning with his eyes.

Anne Hathaway gestured with her eyes toward the exit ahead. “Harvey Weinstein.”

There weren’t many people in the VIP corridor connecting the main stands. Ronan had been focused on his conversation with Mansour and only now noticed a large man ahead who seemed to be waiting for someone.

“Met an acquaintance.” Ronan said to Mansour, “Mr. Minister, let’s talk another time.”

Mansour nodded slightly. “Alright.”

Ronan had been in contact with Harvey Weinstein and had originally planned to have a good talk with him in the next two months. Now that they had met, he naturally had to say hello.

He took Anne Hathaway with him as he walked over.

Harvey Weinstein saw Ronan and quickly waved. “Hey, Ronan, over here.”

Ronan went over and shook his hand. “Harvey, didn’t expect to see you here.” He curiously asked, “When did you become interested in English football?”

Harvey Weinstein greeted Anne Hathaway and then smiled. “I’m here with someone.”

He glanced at Anne Hathaway. He had heard quite a few rumors about Ronan and Anne Hathaway. His own affairs weren’t anything to hide, so he gestured toward the nearby restroom. “Kate invited me to watch the game with her.”

“Kate?” Ronan was confused.

There were too many people named Kate in Hollywood.

Someone came out of the restroom. A tall, brown-haired woman, also an acquaintance of Ronan’s.

Kate Beckinsale was quite surprised to see Ronan. “Mr. Anderson…”

Ronan smiled and nodded. “Hello, Kate.”

Kate Beckinsale looked at Anne Hathaway, not intending to speak to her, and then said to Ronan, “When did you come to London?”

Ronan said, “Just arrived today. Came specifically for this.”

Harvey Weinstein interjected, “Manchester United is Ronan’s team.”

“I almost forgot…” Kate Beckinsale smiled apologetically. “Congratulations, Manchester United won again.”

Ronan said, “Thank you.” He then asked, “Harvey, how long are you staying in London?”

Harvey Weinstein replied directly, “Probably a few more days. I need to convince Kate to star in my new film.”

Ronan felt that the situation was probably the opposite. After all, Kate Beckinsale wasn’t in a good position.

Harvey Weinstein didn’t hide it in front of Ronan. “Kate, I’ve watched the game with you. Now, let’s discuss the script, shall we?”

“Alright, Harvey.” Ronan prepared to take his leave. “Let’s talk another time. Wait for my call.”

Harvey Weinstein quickly said, “I’ll be waiting anytime.”

Ronan didn’t say more and bid farewell.

Not far away, two people watched Ronan walk away, then turned their gaze to Harvey Weinstein.

“Andy, should we go now?” The middle-aged man, who somewhat resembled Mr. Bean, said, “Ronan Anderson is leaving.”

The man named Andy said, “We’ve already confirmed that Ronan Anderson is in London. The rest will be easy.”

The middle-aged man slowly nodded. They had guessed that Ronan Anderson would come to London to watch this important match between Manchester United and Chelsea. Since they didn’t have his contact information, they had to use this clumsy method.

Andy added, “Unexpectedly, it’s a buy-one-get-two-free deal. We also ran into Harvey Weinstein.”

“What should we do?” the middle-aged man asked.

“We can’t put all our hopes on one company and one person.” Andy looked at Harvey Weinstein walking out of the stadium. “Pete, you go find Harvey Weinstein. I’ll go find Ronan Anderson. If the stadium isn’t the right time and place, follow him to the hotel.”

Chapter 838: A Fatal Accident

Following Harvey Weinstein to the hotel, Kate Beckinsale harbored some hope, eager to see the script he had mentioned and discuss the female lead role.

Over the past two years, her career had been in a slump. The failure of Van Helsing had been devastating—not only had no one dared to cast her as the female lead in a major commercial production, but even the successful Underworld series had been halted by Shai Entertainment.

If she could secure a nomination for a major award, even for Best Supporting Actress, it might turn her career around.

Despite Harvey Weinstein’s notorious reputation, Kate Beckinsale still came to the hotel. After all, he had the power to make or break careers in Hollywood.

And let’s be honest—how many producers in Hollywood had a clean reputation? Ronan Anderson? Jerry Bruckheimer?

The former was embroiled in messy scandals with Anne Hathaway and Scarlett Johansson, rumors that had spread like wildfire through Hollywood.

As for the latter, she had starred as the female lead in Pearl Harbor and knew firsthand…

But the moment she stepped out of the elevator in the hotel, Kate Beckinsale’s hopes were shattered.

“Sorry, Harvey,” Kate Beckinsale said, standing in front of a suite door, watching as Harvey Weinstein swiped his keycard. She asked, puzzled, “Shouldn’t we discuss work in a conference room or an office?”

Harvey Weinstein opened the door and gestured for her to enter. “The script is in here.”

Kate Beckinsale hesitated for a moment before stepping inside. Harvey Weinstein closed the door behind her with a smile.

“Make yourself comfortable,” he said, loosening his tie. “Kate, wait here for a moment. I need to change.”

Kate Beckinsale reminded him, “I have to go home soon. Let’s make this quick.” She emphasized, “Where’s the script? Give it to me first.”

Harvey Weinstein took a briefcase from the desk in the living room, pulled out a photocopied script, and handed it to Kate Beckinsale. Without another word, he headed straight into the bedroom.

Kate Beckinsale quickly flipped open the script and began reading on the sofa.

Before she could finish the first page, the bedroom door opened, and Harvey Weinstein emerged.

Kate Beckinsale glanced up—and froze.

Harvey Weinstein was wearing nothing but a bathrobe, the gaping fabric revealing far more than she cared to see.

In that instant, Kate Beckinsale felt her lunch rising in her throat.

Harvey Weinstein grabbed a bottle of wine and two glasses from the minibar. “Let’s have a drink. I’m exhausted today. Kate, I’ve heard from Michael Caine that you give excellent massages. How about giving me one later?”

Thud. The script slipped from Kate Beckinsale’s hands and fell to the floor.

The implication was impossible to miss.

Kate Beckinsale wanted to flee immediately.

Harvey Weinstein, blatant in his intentions, said, “After today, the female lead is yours. I’ll let you in on a secret—this film is my Oscar contender.”

Just as Kate Beckinsale was about to stand and excuse herself, she found herself rooted to the sofa, as if under a freezing spell.

Having navigated Hollywood for years, this wasn’t the first time she had encountered such a situation. She steadied herself and said, “Harvey, you’re married.”

Many directors and producers still valued their families.

Harvey Weinstein suddenly laughed. “Don’t worry about that. Georgina and I have an agreement—when I’m away on business, I can have a fling with anyone.”

Kate Beckinsale was trapped in a dilemma.

A lifeline came in the form of Harvey Weinstein’s ringing phone.

“What is it?” he answered. “What? A British screenwriter and producer wants to see me? He has a new project, and you think the subject matter is excellent? Hmm… Fine, tell him to wait for me in the hotel lobby for ten minutes.”

Hearing this, Kate Beckinsale breathed a sigh of relief.

Harvey Weinstein went back into the bedroom to change. When he returned, he said, “Kate, take the script home and think it over. I’ll call you tomorrow.”

Kate Beckinsale fled the room as if her life depended on it. Only when she stepped into the elevator did she realize her hand was still clutching the script tightly.

Should she answer Harvey Weinstein’s call tomorrow or not?

Harvey Weinstein headed downstairs and met the British screenwriter and producer, Pete Morgan, in the hotel lobby. He carefully examined the script Morgan had brought.

Based on a true story, it involved many high-ranking figures in the UK and had once caused a global sensation. It naturally had the potential to captivate audiences.

If executed well, it could not only be a blockbuster but might even garner attention at the Oscars.

Harvey Weinstein, with years of experience in the film industry, had a keen eye for valuable scripts. However, he didn’t rush. Instead, he kept Pete Morgan waiting to negotiate a better deal later.

At Stamford Bridge, the stadium had gradually quieted down as Ronan prepared to leave after boarding the team bus to congratulate them on their victory.

The Mercedes from Embassy Pictures’ UK branch was parked by the roadside. Just as Ronan opened the car door for Anne Hathaway, the security guards surrounding them stopped a middle-aged man.

“What’s going on?” Ronan noticed the commotion.

Finch spoke into his walkie-talkie for a moment before saying, “A British producer trying to pitch a film project.”

Ronan glanced over—an unfamiliar face.

“Mr. Anderson,” the man said in a distinctly British accent. “Could I take a few minutes of your time?”

This wasn’t the place for a conversation. Ronan turned to Finch and said, “Let him follow us to the hotel.”

Over the past few years, more and more people had approached Ronan to pitch scripts and projects. Whenever possible, he would hear them out and review their work.

After all, he had discovered commercially viable films and TV projects this way.

Twenty minutes later, in the lounge area of the hotel where they were staying, Ronan met the British producer.

Anne Hathaway remained by Ronan’s side, observing with curiosity but not interrupting.

The British man introduced himself: “Mr. Anderson, I’m Andy Harris, a producer. I previously worked on a film called Hidden Agenda.”

This producer was straightforward. He emphasized, “The film was directed by Mathieu Kassovitz and starred Jean Reno and Vincent Cassel.”

Ronan didn’t recognize the director’s name, but the two leads were well-known in Europe. Jean Reno, of course, was the famously unflappable assassin.

French actor Vincent Cassel was Monica Bellucci’s husband.

Ronan didn’t beat around the bush. “Mr. Harris, tell me about your project.”

Andy Harris quickly placed a script on the table and pushed it toward Ronan. “This is a script co-written by Pete Morgan and me, based on a true story. It documents a major event in 1997 that shook Britain and the world.”

Ronan picked up the script and glanced at the cover.

Anne Hathaway also looked over curiously. It was a simple, printed script with a plain white cover bearing a single line of text—The Queen!

Recalling what Andy Harris had just said, Anne Hathaway immediately made the connection: Could it be about that figure in Buckingham Palace?

But the script was in Ronan’s hands, and she couldn’t see its contents.

What major event happened in the UK in 1997 that affected the whole world?

A sudden realization struck Anne Hathaway. If it involved the Queen and Buckingham Palace, there was only one possible answer!

Ronan only needed to read a few pages to understand what the script was about.

Anyone who paid even slight attention to current affairs would have heard of Diana’s fatal car crash in Paris in 1997.

The script didn’t focus on the accident itself but on the reaction of Diana’s ex-husband’s family in its aftermath.

Ronan looked up at Andy Harris. “This subject matter is highly sensitive.”

“A bit,” Andy Harris admitted. “But it’s also something the public has been deeply curious about.”

Ronan was blunt. “Films involving politics can be troublesome.”

Andy Harris needed a partner with substantial investment and production capabilities, as well as strong distribution power.

Thus, he had bypassed British companies entirely.

Having finally found a suitable studio head, Andy Harris wasn’t about to give up easily.

“It won’t be a problem,” he said. “I just want to depict the intense emotional exchanges within Diana’s ex-husband’s family in the week following her death. Mr. Anderson, you must have heard that Her Majesty values privacy and never grants media interviews. The people don’t truly know the Queen they revere, and her apparent detachment after the 1997 incident only deepened their confusion. Recreating her life and struggles during that specific period would be meaningful.”

Ronan asked, “Do you know what really happened back then?”

Andy Harris considered his words carefully. Instead of lying, he revealed part of the truth: “Since it involves many real members of the royal family, we can’t replicate history exactly to avoid legal issues. But isn’t filmmaking about artistic reinterpretation based on facts?”

Ronan knew that a film capitalizing on a royal tragedy could have massive market potential. He was intrigued but also cautious.

“If this project moves forward,” he asked directly, “what if the royal family pressures the production?”

Andy Harris was confident. “Pete and I did thorough research before writing the script. We consulted with royal family members and people familiar with Downing Street, reviewed extensive interview materials, and carefully verified credible sources. We even consulted lawyers on every detail to ensure the plot is factual, verifiable, and won’t provoke royal backlash.”

Chapter 839: The Golden Lion

Listening to these words, Ronan’s gaze returned to the script. Anything related to Diana had always been a strong selling point.

Andy Harris continued to pitch: “During the script preparation, Pete Morgan and I uncovered a lot of little-known insider details, but we swore not to reveal them to the world. Therefore, the purpose of this film is not to challenge anyone.”

Ronan said, “There are many biographies about the royal family and that incident, some of which are not suitable for a film.”

“This is absolutely not a satirical film about the royal family,” Andy Harris assured. “The script clearly shows that Pete Morgan and I have designed the film to avoid any immorality or defamation.”

He organized his thoughts slightly: “The reason Diana’s story with the Queen attracts me is because this young princess challenged the long-standing monarchical authority. Yet, when she met her tragic end, the royal family maintained an astonishing silence. Initially, no one in the royal family knew how to react, but they quickly showed signs of grief. However, this makes one wonder—was this grief genuine? Was it the same as the public’s grief?”

Ronan didn’t make a decision immediately. His good relationship with William was something he had to consider.

But as a businessman, he couldn’t bear to let go of such a potentially valuable film project.

Ronan thought more about Andy Harris’s intentions and asked, “A film like this must be handled with extreme care.”

Andy Harris said, “The Queen has dedicated her entire life to this country. She should not be blamed. The only ones who should truly be blamed are the public and our desire to point fingers at things we don’t understand.”

He further emphasized, “The theme of the film is actually the conflict between the old and new worlds. It’s a story about the end of tradition. Creating a film about the Queen is like making a film about one’s own mother. In the UK, the Queen truly symbolizes the mother of the nation. So, I don’t want, nor can I allow, any bias or recklessness. All prejudices and negative influences must be eliminated.”

Ronan closed the script and asked the key question: “Have you done a budget?”

Andy Harris said, “It might require an investment of over twenty million dollars.” This was also his concern, so he quickly added, “The subject of Diana and the royal family, if done well, will definitely recoup the investment.”

Ronan was well aware of this.

As a story material, Diana’s death provided ample creative space: the terrible car accident caused by the relentless paparazzi; the untimely death of a celebrity; the controversial love that ended prematurely; and the media, which bore significant responsibility for the death of a famous woman, being widely condemned.

Since the car accident in 1997, countless people had been profiting from Diana’s death.

Ronan slowly nodded and said, “Alright, Mr. Harris, I’ll take your script for now. I need to consider the specifics of the project further. Yes, leave your contact information with me.”

Andy Harris quickly handed over his business card and added to his credentials: “Helen Mirren has agreed to play the Queen.” Considering possible future negotiations, he also said, “Harvey Weinstein from Miramax is also very interested in this project.”

Harvey Weinstein? Ronan slightly furrowed his brows.

Was this fat man suddenly in London for Andy Harris’s project?

Ronan wasn’t particularly worried about Harvey Weinstein. If it came to competition, Weinstein, who was barely holding onto Miramax, was no match for Relativity Entertainment.

Helen Mirren, however, was a plus.

He remembered that this film was indeed starring Helen Mirren.

Moreover, this actress was very topical. Compared to ordinary British actors, she was more likely to attract attention.

Helen Mirren was even hailed as the symbol of sexy Britain.

Whether in her youth or now, in her advanced age, Helen Mirren never minded exposing her body in films, even to a great extent.

For example, Helen Mirren had once starred in the famous “Caligula.”

She had exposed herself on screen multiple times and didn’t mind being seen naked.

Even now, nearing sixty, she still appeared fully exposed on screen.

When Hollywood had a severe photo leak incident that caused a huge uproar, Helen Mirren, the Oscar-winning actress, joked in a media interview: “My phone wasn’t hacked. I feel deeply insulted.”

It could be said that she was a very individualistic actress who was also very good at creating, and daring to create, topics and controversies.

Ronan didn’t show any particular reaction to Andy Harris’s words. He shook hands with Andy Harris and, with Anne Hathaway, went straight back to the room.

In the suite, Anne Hathaway kicked off her high heels, helped Ronan take off his coat, and hung it on the hanger. She asked, “This project…”

Ronan smiled and said, “It has market potential, but it’s also easy to cause controversy.”

Anne Hathaway said, “You’re afraid of controversy?”

“I don’t care about controversy,” Ronan said, slouching on the sofa. “I have a good relationship with William. When I acquired Manchester United, William helped a lot. From William’s perspective, he definitely wouldn’t want to see such a film come out, continuing to exploit Diana and the royal family.”

Anne Hathaway thought for a moment and said, “If it were me, I wouldn’t want to see a film frequently using my family as material.”

Ronan said, “A film like this, if handled well, can bring significant short-term benefits, but for long-term development…”

He shook his head as he said this.

The current British royal family, due to the Blair government, was in a precarious position. But as the FA had shown during the competition between Ronan and the Abu Dhabi Group for Manchester United, no one could ignore the influence of the Windsor family.

“So…” Anne Hathaway asked, “Are you giving up on this project?”

Ronan said, “I’ll think about it some more.”

Anne Hathaway came over and sat next to Ronan: “Alright, don’t think about these troublesome things. I’m leaving London tomorrow. Let’s make the most of our time and do something fun. I’ve prepared a new program for tonight.”

“Oh?” Ronan became interested.

Anne Hathaway went back to the room and brought out a pair of exquisite cat ears: “I bought this at an adult store while you were handling work. It’s said that Brad Pitt and Jennifer Aniston always go to that store to buy handcuffs when they come to London…”

That night, Anne Hathaway fully demonstrated what it meant by “Catwoman never serves, unless it’s all-inclusive.”

The next morning, Ronan had someone take Anne Hathaway to the airport. Anne Hathaway was returning to Venice to attend the closing ceremony and awards ceremony of the film festival.

Ang Lee’s “Brokeback Mountain” had been highly praised at this year’s Venice Film Festival. With the promotion of Embassy Pictures, “Brokeback Mountain” had become the biggest favorite for the Golden Lion.

Ronan took time in the morning to visit the hospital to see the injured Arjen Robben.

Manchester United Football Club had always done well in logistics support. After Ronan took over the club, he repeatedly emphasized the importance of the players’ health.

Robben had already undergone an MRI. The injured area was quite troublesome—the meniscus in his right leg.

This was a part of the body that professional athletes often injured and was very difficult to heal.

In fact, many players’ careers had been ruined by meniscus injuries.

“Arjen, you are an indispensable member of Manchester United.”

In the hospital room, Ronan said to Robben, who was lying in bed, “I’ve already contacted the world’s top experts.”

Robben, speaking in somewhat broken English, said, “Thank you. I will come back.”

Ronan shook his hand and said, “We will all be waiting for your return.”

Not wanting to disturb Robben’s rest too much, Ronan stayed for only about ten minutes before leaving Robben’s hospital room.

Robben’s injury was a significant loss for Manchester United, but it wasn’t as if the team had no one else to use. Iniesta could also play that position.

As for Leo Messi, when Ronan discussed it with Ferguson, the Scottish old man clearly stated that Messi still needed time to adapt to the Premier League.

Moreover, he was too young, and playing too many professional matches was also a kind of harm.

Ferguson also saw Messi’s talent and would gradually give him playing time, but he also told Ronan that it would mainly be in less important competitions like the League Cup and the FA Cup.

For a football club at Manchester United’s level, having immense performance pressure was inevitable. The use of young players had to be cautious.

Compared to Chelsea’s Mourinho, Ferguson had done a good job in nurturing young players.

Messi also needed to prove himself to Manchester United and needed time to fulfill his potential.

Coming from La Masia to Manchester, with a completely new growth environment, no one could guarantee Messi’s future achievements.

That afternoon, Ronan’s private jet took Robben directly to Berlin, Germany. A world-class sports therapy team was waiting for Robben in Berlin.

Ronan also hoped that when Robben returned, he would still be the Little Flying Dutchman.

But he also knew that if Robben didn’t change his playing style, such injuries would happen again.

After Manchester United defeated Chelsea, they firmly held the top position in the league table, leading from the start of the season.

In the evening, good news came from Venice. At the closing ceremony and awards ceremony of the Venice Film Festival, Ang Lee and “Brokeback Mountain” became the biggest winners, taking home the Golden Lion!

Although there were no other awards to be tense about, one Golden Lion completely achieved the purpose of this trip.

This would also be the beginning of “Brokeback Mountain” and Ang Lee’s charge towards next year’s Oscar Awards.

The “Brokeback Mountain” crew, without stopping, after participating in the Venice Film Festival, would immediately rush to Canada to attend the Toronto International Film Festival.

After all, North America was the final battleground.

Ronan didn’t leave the UK for the time being but arranged a face-to-face meeting with Harvey Weinstein.

Chapter 840: The Ruthlessness of Capital

Early Monday morning, Harvey Weinstein woke up early, had breakfast, and changed into a proper suit. He glanced at the woman still sound asleep in the bedroom, left a note on the coffee table in the living room, and hurried downstairs to meet Ronan Anderson at the place they had agreed upon the day before.

He had deliberately left early to show respect for Ronan Anderson.

From their early days of mutual sabotage to their later equality and now, Harvey Weinstein had witnessed firsthand the rise of a super-rich tycoon.

Reflecting on the past, Harvey Weinstein also felt fortunate that he had chosen to endure during films like Hero and had not clashed with Ronan Anderson.

This had also given him and Ronan Anderson a good personal relationship.

Harvey Weinstein had done so many things, yet he had not suffered too many negative consequences. Instead, he had developed in the industry for over twenty years and become one of Hollywood’s big shots, which had its own survival principles.

Actors and stars, Harvey Weinstein had never taken seriously, but producers and bosses, under normal circumstances, he would not easily provoke.

Unless it was someone like Michael Eisner, who had an irreconcilable conflict of interest with him.

As for Ronan Anderson, Harvey Weinstein had some expectations. There were no major conflicts of interest between them, and their styles were similar.

Just as he was about to leave the hotel, Pete Morgan, whom he had seen two days before, and another middle-aged man suddenly appeared.

“Good morning, Mr. Weinstein.” Pete Morgan greeted first and got straight to the point: “How are you considering that project?”

Harvey Weinstein frowned slightly. Although he was very optimistic in his heart, his words were different: “It’s average. I still need to consider it.”

Pete Morgan knew a thing or two about the thoughts of Hollywood producers and investors. He specifically pointed to Andy Harris and said, “This is the producer who initiated the project, Andy Harris.”

“Hello, Mr. Weinstein.” Andy Harris took the initiative to extend his hand.

Harvey Weinstein lightly shook it and said again, “Your project is too risky. I need time to weigh it.”

This was his consistent principle: to drag or placate first, and when the time was right, to get it at the smallest cost.

Andy Harris was not a newcomer to the industry. He said, “Mr. Weinstein, I hope you can make a decision as soon as possible. I saw Mr. Ronan Anderson yesterday, and he expressed strong interest in this project.”

This caught Harvey Weinstein’s attention. Ronan Anderson was in London!

Moreover, such a topical project, he could see the potential value in it, and Ronan Anderson would certainly see it too.

Next, he was going to meet Ronan. Harvey Weinstein remained composed: “You wait. I will consider it.”

With that, he left the hotel, got into the car without looking back, and drove away.

“Ronan Anderson only said he would consider it.” Pete Morgan was a bit worried: “Is it okay for us to say that?”

Andy Harris said, “If we don’t create a sense of competitive tension, how can we secure the most favorable conditions?”

Pete Morgan nodded and said, “That’s true. I hope they don’t communicate privately.”

Andy Harris added, “They usually don’t.”

As far as he knew, Miramax and Relativity Entertainment had no cooperation.

Ten minutes later, Harvey Weinstein met Ronan in a reception room at the Ritz-Carlton Hotel.

“That day was too rushed. Many things were not said.” Harvey Weinstein smiled and said, “Congratulations, Ronan. Your team is leading the Premier League again.”

Ronan had someone bring coffee and said, “Thank you.” He waved his hand: “Harvey, we are old friends. Let’s not say these polite words.”

Harvey Weinstein smiled warmly and brightly: “Because we are old friends, you called, and I left the beautiful woman in the room and came right over.”

Ronan was a bit curious but did not ask who the so-called beautiful woman was. In Hollywood, at their level, beautiful women were too numerous if one wanted them.

“To be honest, I was originally going to find you for a chat.” Harvey Weinstein was a good, honest person in front of Ronan: “I didn’t expect to meet you in London.”

He chuckled: “It seems we are destined.”

Ronan asked directly, “Do you have something to discuss with me?”

In fact, he had a rough idea. Because a team from Robert Iger had been keeping an eye on the entire Walt Disney Company. Many things happening at Miramax, a subsidiary of Walt Disney, had been summarized and sent to him and Robert Iger.

According to the plan, Ronan was supposed to wait a while longer before meeting Harvey Weinstein, but since they met in London, it was fine to talk first.

Harvey Weinstein said, “There are some things I have wanted to tell you for a long time, but out of face, I have been enduring. However, the situation is different now. The internal problems at Walt Disney are getting more and more numerous, and the contradictions are becoming sharper.”

Ronan nodded slightly: “I have heard something.”

Based on Robert Iger’s understanding and judgment as a former Disney employee, there was an over eighty percent chance that this year’s Disney shareholders’ meeting would become the decisive battlefield between Michael Eisner and Roy Disney.

Harvey Weinstein continued, “Last year, you told me not to give up the foundation I built with my own hands…”

Ronan remembered clearly. At that time, he had only hinted at a few things. Was Harvey Weinstein trying to shift the responsibility to him?

“I and Bob were also thinking of continuing to persist, but today…” Harvey Weinstein first sighed deeply, then shook his head: “We really can’t hold on anymore. Continuing to be caught between Michael Eisner and Roy Disney, Bob and I will be finished sooner or later.”

Ronan asked directly, “Harvey, what are you and Bob planning?”

Harvey Weinstein said, “Leave Miramax and start a new film company.”

Ronan said, “That is a way.”

“But it’s very difficult, really very difficult. Many things at Miramax belong to the company.” Harvey Weinstein intentionally or unintentionally played the victim: “Apart from a few close people, Bob and I can’t take much. But starting a new company means starting from scratch. Funding is the most realistic problem in front of us.”

He looked at Ronan: “To be honest, Ronan, I came to you to ask for help.”

Ronan had been thinking continuously and had gradually formed an idea based on Harvey Weinstein’s words.

“Are you planning to pull me into investing in your new company?” Ronan asked.

Harvey Weinstein smiled: “It would be best if you are willing to invest.”

Ronan shook his head: “I have a production company. Investing in your new company is not wise.”

“A loan then?” Harvey Weinstein said: “Provide me with a loan, just forty million dollars. I can pay it back in at most three years.”

Ronan smiled: “That is possible, but I need collateral.”

Harvey Weinstein showed a bitter smile: “Apart from people, Bob and I can’t take anything valuable from Miramax as collateral. We two don’t have much property to mortgage.”

Due to certain events, Ronan had seen related reports and remembered them quite clearly. The Weinstein Company, later established by the Weinstein brothers, was invested in by multiple companies and individuals. The largest shareholder was not Harvey, nor Bob, but the former beach boyfriend of Li Zao.

The financial strength of these brothers was not as great as their power in Hollywood suggested. The largest investor in the earliest Miramax was also not the Weinstein brothers.

Even at their peak, Harvey Weinstein only had a net worth of ten million.

Once separated from Disney and Miramax, the Weinstein brothers would have to find new partners and investors to maintain their status as Hollywood big shots.

Ronan smiled and said, “Harvey, Relativity Entertainment can provide you with a low-interest loan.”

Harvey Weinstein’s spirits were greatly lifted. This was also the main reason he had spoken up, relying on good connections to pull in funds at the smallest cost.

“Collateral loan is a must.” Ronan emphasized: “I also need to account to the others in the company.”

Harvey Weinstein smiled: “I understand.”

Ronan began the first probing condition: “You and Bob have more than just Miramax.”

Hearing this, Harvey Weinstein’s expression changed.

Ronan said directly, “Using the shares of Dimension Films or the copyright of the film library as collateral, Relativity Entertainment will provide you with a fifty million dollar low-interest loan. You only need to settle it within three years.”

Harvey Weinstein’s chubby face showed a bitter smile: “Ronan, I am only a manager of Dimension Films. This needs to be decided by the shareholders’ meeting.”

He took a cold breath. Ronan Anderson said they were old friends, but when it came to business, he was not just ruthless!

Harvey Weinstein deeply felt that the ruthlessness of capital was fully manifested in Ronan Anderson!

If he really mortgaged the copyright of Dimension Films’ film library, with Ronan Anderson’s ability and Relativity Entertainment’s strength, he and Bob might not be able to repay the loan, and then…

The horror and thriller film assets accumulated over the years, including the copyrights of successful series like Scream, Scary Movie, and Spy Kids, would change hands!

Harvey Weinstein realized that talking about relationships and connections with a capitalist in front of capital was as naive and laughable as the actresses who went to his room to discuss scripts and roles.

“This…” Harvey Weinstein tactfully refused: “I can’t decide.”

Ronan was not surprised. It was just a probe. He immediately said, “It seems Harvey, you have reservations about me.”

Harvey Weinstein said, “How could that be? Who doesn’t know you have the best reputation in the industry?”

Ronan pretended to think for a while: “Let’s talk about a condition we can both accept. When Walt Disney acquired Miramax, they paid you and Bob cash and a small amount of Disney shares.”

Harvey Weinstein nodded: “That is true, but over the years, Disney has merged with ABC, and those shares have been diluted again and again. There isn’t much left.”

Chapter 841: Rejection

Upon hearing Ronan’s words, Harvey Weinstein instinctively asked, “What do you want with Disney’s shares?” He was taken aback. “Ronan, don’t tell me Relativity Entertainment is planning to…”

Ronan raised his hand to stop Harvey Weinstein from continuing. “Relativity Entertainment doesn’t have the capacity to swallow Disney.”

Harvey Weinstein smiled, though he didn’t truly believe it. After Netflix went public, Relativity Entertainment had the full capability to acquire any major Hollywood film company.

“Roy Disney once asked me to support him at Disney’s shareholder meeting,” Harvey Weinstein said, looking troubled. “And I promised him.”

Ronan took a sip of his coffee and said, “From what I know, the Disney shares you and Bob hold together are worth over forty million dollars in the market. With that kind of money, you could easily break away from Miramax.”

The confrontation between Michael Eisner and Roy Disney was becoming increasingly apparent. At this point, Harvey Weinstein continuing to stir trouble within Disney wouldn’t be of much use.

He set down his coffee cup and continued, “You two brothers could start a new company, and this money would ensure you have enough shares in it.”

Harvey Weinstein touched his ear. “Ronan, why don’t you just invest in Bob’s and my company?”

He wanted to borrow a hen to lay eggs.

“I have a flaw,” Ronan said with a smile. “I won’t hide it from you—I have a strong desire for control. Any company I’m involved in must be under my command. Harvey, if you let me invest, aren’t you afraid your new company will be swallowed by Relativity Entertainment?”

“This…” Harvey Weinstein’s heart skipped a beat. Even if the new company had a capital of several hundred million dollars, it would still be just a delicious cake compared to the behemoth that was Relativity Entertainment.

How did the man across from him rise to power? Harvey Weinstein knew all too well—by continuously acquiring other companies.

Harvey Weinstein forced a smile. “Ronan, I trust you.”

Ronan just smiled and said no more.

To be honest, he didn’t even trust himself to remain a mere major shareholder when faced with The Weinstein Company.

“Think about my proposal, Harvey,” Ronan said. “Since you’re leaving Miramax, why bother getting involved in Disney’s mess?”

Harvey Weinstein fell silent. He was a true Hollywood big shot when it came to stars and actors, but when faced with companies worth hundreds of billions of dollars, he was just a small fry.

He and Bob together were barely worth over a hundred million, which meant he had no place in Disney’s capital games.

Even if he went, he would be nothing more than a spectator.

Harvey Weinstein remained silent, pondering for a full ten minutes before slowly speaking. “I agree.”

Ronan nodded slightly and asked, “What about Bob…”

Harvey Weinstein immediately replied, “I can make the decision. Bob won’t object.”

Ronan had heard a bit about how these two brothers worked together. It was probably Harvey Weinstein’s way of handling things that led to their eventual falling out, with Bob Weinstein delivering the final, fatal blow.

Decades of brotherly bond were likely eroded bit by bit in such daily interactions.

It had to be said that more often than not, brothers were harder to get along with than sisters or brothers and sisters.

Ronan said, “Harvey, once your new company is established, if you need it, Embassy Pictures can handle overseas distribution.”

Harvey Weinstein was shrewd enough to know he would take Miramax’s distribution department with him, so North American distribution wouldn’t be a problem for the Weinstein brothers’ future company.

However, without Disney’s Buena Vista International, overseas distribution would be much more difficult.

Harvey Weinstein was well aware of his strengths and weaknesses. “I hope Relativity Entertainment can lend a helping hand then.”

Ronan smiled. “No problem.”

But Harvey Weinstein wasn’t finished. “Ronan, I have one more condition.”

“What condition?” Ronan frowned slightly.

“Weren’t there two British screenwriters and producers who approached you to pitch a film project?” Harvey Weinstein knew this was the only chance to make Ronan back out voluntarily. “About the reactions of Diana’s ex-husband’s family after her car accident in 1997.”

Ronan recalled what a producer named Andy Harris had told him. “Yes, there was. The script is in my hands. Harvey, did they pitch it to you too?”

Harvey Weinstein said, “Just as I was leaving the hotel, screenwriter Pete Morgan and producer Andy Harris specifically came to the hotel to find me.”

Ronan wasn’t stupid; he immediately understood his implication. “Harvey, it seems you’re very interested in this project.”

“I am somewhat interested,” Harvey Weinstein admitted, knowing he couldn’t hide it. “Topics about Diana have always been quite attention-grabbing. You must have heard how much Vanity Fair and Tina Brown have profited from Diana’s death over the years.”

Ronan said, “Tina Brown has advantages others don’t. Diana publicly referred to her as her close friend more than once during her lifetime.”

Harvey Weinstein laughed. “I’ve been in Hollywood for many years and have seen enough of the friendships among female celebrities. For them, the most terrifying existence in this world is actually a close friend.”

This remark made Ronan think of Lewinsky. Originally, the secret between Linton and Lewinsky was tacitly understood, but Lewinsky shared it with her close friend more than once.

It was said that after the first time, the close friend had an idea and specially prepared recording equipment. From the second time onward, she secretly recorded Lewinsky, then sold the recordings…

This later evolved into the globally infamous “Zippergate.”

Beware of fire, theft, and close friends—this wasn’t just a saying.

Especially among celebrities, plastic sisterhood was all too common.

Harvey Weinstein continued, “Ronan, the new company is in urgent need of film projects. Do you think you could…”

The rest of the words lingered in his mouth, but the meaning was clear.

Ronan had been hesitating. After all, William had provided a lot of help in acquiring Manchester United Football Club.

If it weren’t for William, Ronan would have already had someone discuss the script project with Andy Harris.

This also prompted Ronan to make up his mind. “Alright, Harvey, for the sake of our cooperation, I’ll make a concession.”

Harvey Weinstein breathed a sigh of relief. “We are partners, never competitors.”

“Right, we should work together,” Ronan said, not about to let Harvey Weinstein off so easily. “In the future, all overseas distribution for this film must be handled by Embassy Pictures.”

Harvey Weinstein stood up and shook Ronan’s hand. “No problem.”

After the new film company was established, with years of accumulated capital, North American distribution wouldn’t be difficult, but overseas distribution would still be quite challenging for several years.

Previously, Miramax’s films had always relied on Buena Vista International for overseas distribution.

Since they were breaking away from Disney, Harvey Weinstein naturally wouldn’t cooperate with Disney’s Buena Vista International anymore.

As for the promise to Roy Disney, it was just a verbal commitment and hardly an issue.

Moreover, Ronan clearly intended to stir things up at Disney, so Roy Disney probably wouldn’t have the time or energy to hold him accountable for such a small matter.

After Ronan and Harvey Weinstein agreed on the general direction, their respective staff would negotiate more specific details in Los Angeles.

After parting ways with Harvey Weinstein, Ronan first called Connie, who was staying in Los Angeles, to coordinate.

Then, he notified Robert Iger to be prepared.

Returning to his hotel, Ronan had just entered the lobby when he saw Andy Harris approaching.

“Good afternoon, Mr. Anderson,” Andy Harris greeted, then asked, “What’s the status of the script?”

He said, “Harvey Weinstein of Miramax has expressed strong interest in collaborating, but I haven’t agreed. I still want to work with a top-tier Hollywood company.”

Ronan shook his head. “Mr. Harris, I can only say I’m sorry. You should collaborate with Miramax and Harvey Weinstein.”

He politely smiled. “Goodbye.”

Andy Harris was first stunned; this was completely different from the plan. He hurried to follow Ronan. “Mr. Anderson…”

Finch suddenly appeared in front of him. “Mr. Harris, please stay.”

Seeing several security personnel suddenly appear around him, Andy Harris had to stop, watching as Ronan entered the elevator to the presidential suite.

Just like that, he was rejected? Andy Harris shook his head with a bitter smile.

Finch seemed to have received a notification. “Mr. Harris, please wait a moment.”

Andy Harris’s heart couldn’t help but race. Was this a change of heart?

Finch continued, “Please wait two minutes. Mr. Anderson has already sent someone to return the script.”

Andy Harris’s last hope was dashed. After waiting to receive the script, he left the hotel.

Though somewhat disheartened and disappointed, he wasn’t overly anxious. After all, there was still Harvey Weinstein to pitch to.

It just wouldn’t be as easy to sell at a high price.

That afternoon, Mansour and the Abu Dhabi Group held a press conference in Manchester, officially announcing the full acquisition of Manchester City Football Club.

First, there was Roman Abramovich, then Ronan, and now another Arab tycoon with deep pockets.

The Premier League had truly entered a golden era of money!

Ronan accepted Mansour’s invitation and attended the celebratory banquet held by the Abu Dhabi Group in the name of Manchester City Football Club that evening.

Starting this winter, Manchester City would wave oil checks, setting off a buying spree in professional football.

Ronan left the UK the next day after the banquet.

But he didn’t return to Los Angeles; instead, he went to Berlin, Germany, to meet with Tony Koch.

Chapter 842: New Collaboration

Germany, Berlin. After touring Tony Koch’s luxurious apartment in the city, Ronan followed him into the study. A tall, long-legged blonde woman brought in two cups of tea.

“Thank you,” Ronan said politely.

Tony Koch introduced her, “Diane, you’ve been working in Hollywood too, so you should be familiar with this man.”

Diane Kruger greeted Ronan, “Hello, Mr. Anderson.”

Ronan smiled and nodded in return, “No need to be formal, call me Ronan. Tony and I are old friends.”

“Alright,” Diane Kruger, perceptive as ever, took the initiative to leave. “You two chat. I’ll go prepare lunch.”

Watching Diane Kruger leave and close the door behind her, Ronan asked, “Tony, are you serious this time?”

Tony Koch replied, “I’m not young anymore. I’ve had my fun. It’s time to think about settling down.”

Ronan was puzzled, “I remember Diane Kruger is married, isn’t she?”

“Married people can get divorced,” Tony Koch said confidently. “You’re underestimating my charm.”

He then asked, “Ronan, when do you plan to settle down?”

Ronan casually replied, “No rush.”

Tony Koch deliberately said, “Your billions will need someone to inherit them someday. You’re not planning to donate them to charity, are you? I couldn’t do that.”

“I’m not even thirty yet,” Ronan remained composed. “What’s the hurry?”

Tony Koch couldn’t help but envy him, “True, you’re younger than me, but your wealth far exceeds mine. With your financial resources, even if you become an old man, you can still find outstanding women. Worst case, you can always use surrogacy to avoid the complications of divorce.”

Ronan shook his head, “You’re overthinking it.”

“I have to think ahead,” Tony Koch seemed deeply affected. “We’re not kids anymore. We need to consider things thoroughly. For example, Diane and I have been having some disagreements lately over the prenuptial agreement.”

Ronan shrugged, “That’s something you two need to work out yourselves.”

Tony Koch agreed, “Exactly. I really like Diane, but the prenuptial agreement must be signed. It’s beneficial for both of us…”

Ronan didn’t want to continue this topic and asked, “What about your mother?”

“Traveling the world,” Tony Koch replied. “She sold the meat processing company and is now free as a bird. She says she wants to see the world, experience different lives.”

Ronan commented, “That’s enjoying life.” He then got to the main point, “You mentioned on the phone that Germany’s policies might change?”

“There’s a possibility,” Tony Koch said. “Several members of parliament have jointly proposed that the current tax rebate policy has limited benefits for the German film industry and instead allows many foreign films to evade taxes. They’re calling for the abolition of this policy.”

Ronan asked, “Can they succeed?”

Tony Koch was honest, “It’s hard to say. There’s a woman who might win the general election in November. If she pushes for it, it’s likely to pass in the Bundestag, but her stance is unclear at the moment.”

This was Germany, after all. Ronan said, “I can’t do much about this. It’s up to you.”

If the film tax rebate policy were abolished, most German film companies would see a sharp decline in revenue, and some might even go bankrupt.

Like Koch Films.

It rarely participated in actual film production. Most of its income came from its collaboration with Relativity Entertainment under the tax rebate policy.

“We won’t stand by and let this happen,” Tony Koch said. “Including Constantin Film, German film companies have united to face this crisis.”

Ronan nodded slowly, “Hopefully, there will be a favorable outcome.”

Germany had tried to terminate this film industry tax rebate policy more than once, but until Ronan’s last year, they hadn’t even managed to suspend it.

German film companies must have played a significant role in this.

After all, this was one of the biggest advantages German film companies had in attracting investment.

Tony Koch said, “Just in case, besides the film industry, I plan to expand into other industries.” He smiled at Ronan, “That’s why I invited you here. I also want to hear your opinion.”

Ronan asked, “Do you have a specific target?”

Tony Koch didn’t answer directly but instead said, “A couple of days ago, I watched Manchester United play against Chelsea. It was fantastic. Ronan, I heard that after winning both the Premier League and the UEFA Champions League last season, your investment in Manchester United has already seen a nearly thirty percent increase in asset value?”

Ronan roughly understood Tony Koch’s choice and seriously said, “Manchester United’s asset appreciation isn’t just because the club won championships. It’s also related to the overall environment of the Premier League. The entire Premier League is appreciating.”

Tony Koch said, “Football is a good business.”

Ronan asked, “Are you planning to buy a football club?”

“That’s right. I already have a target,” Tony Koch said. “Hertha Berlin hasn’t been performing well these past two years, and the club’s operations aren’t great. I plan to fully acquire Hertha Berlin.”

With Tony Koch’s financial resources, acquiring a mid-tier Bundesliga club wasn’t difficult.

Even though mid-tier teams in the Premier League might not be able to compete with those in the Bundesliga on the field, their commercial value far surpassed that of Bundesliga clubs.

Ronan reminded him, “Tony, Hertha Berlin can’t follow Manchester United’s operational path. Before I acquired Manchester United, the club already had a strong foundation. It only needed some reinforcement to return to the top. But Hertha Berlin…”

Tony Koch smiled, “I know. Hertha Berlin is nothing like your Manchester United. It won’t be aiming for championships. How much investment would it take to challenge Bayern Munich’s dominance in the Bundesliga?”

“That’s true,” Ronan agreed.

Over the years, although there had been occasional challengers, Bayern Munich had essentially maintained its dominance in the Bundesliga.

Many people said that Bayern Munich’s status as a top European club was because it had drained the life out of the entire Bundesliga.

Bayern’s excavator was as famous as the Blue Sky excavator.

Tony Koch said, “My plan is similar to Bordeaux. Bring in new players from Eastern Europe, develop them, and then sell them. Many players from Eastern Europe are excellent and inexpensive. Spending five million dollars there could get you a decent young player. If just one of them succeeds, the club can recover its costs.”

Ronan understood, “So you’re planning to run a black shop.”

“Huh?” Tony Koch was taken aback for a moment, then understood what Ronan meant and said, “Something like Porto.”

Ronan directly said, “You need to find a way to defend against the excavator in the south.” He also reminded, “While developing players, you must ensure the team stays in the Bundesliga. Otherwise, its appeal will greatly diminish.”

“This is also one of the reasons I’m talking to you,” Tony Koch didn’t stand on ceremony with Ronan. “After I acquire Hertha Berlin, can Manchester United and Hertha Berlin reach a cooperation agreement, making Hertha Berlin a base for Manchester United to loan players? This way, Manchester United’s players can get training, and Hertha Berlin can use some of Manchester United’s players to ensure they stay in the Bundesliga.”

Ronan thought for a moment and said, “That’s possible, but we’ll have to wait until you acquire Hertha Berlin before we can discuss the specifics.”

Although Ferguson was indeed skilled in developing young players, Manchester United’s first team couldn’t give many opportunities to young players.

After all, the first team of a top club had never been a place to develop young players.

Therefore, talented players in Manchester United’s youth teams, to ensure their growth and playing time, would be loaned out for training.

Even the Class of ’92 had mostly been loaned out.

Antwerp in Belgium had been the main loan destination for Manchester United’s young players, but their cooperation agreement was about to expire.

Hertha Berlin was also a good choice. According to Ferguson, there were many talented young players in Manchester United’s second team.

But it was too difficult for them to get playing time in the first team.

“However, I have one condition,” Ronan didn’t hold back when it came to business. “If all of this can be realized, in the future, if Hertha Berlin has any players that Manchester United is interested in, they must be sold to Manchester United first.”

Tony Koch said, “No problem.”

He had already done a lot of preparation, such as establishing contacts with agencies and training institutions in Bosnia and Herzegovina, Poland, Czech Republic, Croatia, and Serbia to find young players.

Eastern Europe, including Southern Europe, had always had poor economic conditions. Often, it only took a small amount of money to bring young players to Germany.

Many young people from Eastern Europe also hoped to play in Germany, where conditions were better.

Moreover, if Hertha Berlin could form a strategic cooperation with Manchester United, it could somewhat prevent the southern excavator.

Not all young players developed in the Bundesliga could be sold to the southern king.

Often, the southern king didn’t even pay transfer fees, letting players wait out their contracts and then move to Munich for free.

“Can you secure Hertha Berlin?” Ronan asked concernedly.

“No problem,” Tony Koch said. “It’s just a matter of money, which isn’t an issue for me.”

Over the past few years, through his cooperation with Relativity Entertainment and investing the income from that cooperation, Tony Koch had become a billionaire in every sense of the word.

The two chatted about football and films for a while. After another half hour, there was a knock at the door.

Diane Kruger said, “Lunch is ready. Tony, Ronan, shall we go to the dining room?”

Tony Koch said, “We’re coming.” He made a gesture of invitation, “Ronan, let’s go try Diane’s cooking.”

Ronan followed Tony Koch out of the study and into the dining room.

The lunch was a delightful affair for both host and guest.

Ronan left Tony Koch with the phone number of Manchester United’s Chief Executive Officer, David Gill. Before returning to Los Angeles, he personally called David Gill and briefly explained the situation.

The specific cooperation would have to wait until Tony Koch could finalize his acquisition intentions.

Chapter 843: Bulgaria

Although Germany was no longer the only country where Relativity Entertainment operated its tax rebate policy, its advantages far surpassed those of the UK, Canada, and Australia. Ronan also placed great importance on it, deliberately staying in Germany for several days to meet with high-ranking figures in the German film industry, including those from Constantin Film.

Some members of parliament wanted to abolish Germany’s film tax rebate policy, which would undoubtedly affect the interests of these individuals.

In fact, it wasn’t just them—it also involved attracting investments and financial operations, making it a situation where pulling one thread could move the entire fabric.

From certain perspectives, this had a positive effect on the German economy.

Otherwise, the world would have known for a long time that Germany’s film tax rebate policy had legal loopholes that could be exploited, yet the German government remained indifferent.

After meeting these people, Ronan had a general understanding and, combined with his past memories, predicted that this policy would continue in Germany.

However, Relativity Entertainment couldn’t concentrate its tax rebates solely in Germany. As Shai Entertainment initiated more film projects each year, the quotas secured in Germany were far from meeting Relativity’s needs.

Hollywood’s greatest advantage, beyond its industrial assembly-line production, was undoubtedly its internationalization.

Relativity Entertainment was also increasingly taking an international approach. Many film projects were being produced far beyond the confines of the United States, with locations in Mexico, Canada, the UK, Australia, and more, all while utilizing local policies to operate tax rebates.

The rebate amounts varied by country, but overall, Canada, being close to the United States, was particularly attractive.

Film tax rebates, as a relatively new tax incentive, were considered an optional extra in production costs as late as the late 1980s.

But as countries outside the United States, primarily Canada and the UK, gradually increased their tax rebates and subsidies for film production, more and more American companies chose to shoot films and television overseas to reduce costs.

Hollywood had evolved to the point where more than half, or even two-thirds, of a film’s production budget could be covered through international financing, presales, and tax rebates.

For Shai Entertainment’s films, the production costs were almost entirely funded by the Pacific Film Foundation.

The production teams treated the tax rebates as part of the company’s revenue rather than deducting them from the film’s cost.

The benefit of this approach was that it inflated the film’s cost.

For film companies, regardless of how much was actually spent, the higher the legal cost of the film, the better.

Under Hollywood’s system, members of the Guild had industry-mandated profit-sharing requirements that had to be met.

For example, after the 1988 Hollywood writers’ strike, the Writers Guild signed a new twenty-year agreement with the Producers’ Guild, which included a requirement for production companies to pay writers a percentage of videotape revenue.

Although the percentage was low, when the revenue was calculated in billions, the figure was still substantial.

In addition to traditional regions like Germany, Relativity Entertainment was actively developing new tax rebate markets. For instance, Shai Entertainment had a Vice President of Puerto Rican descent who had returned to Puerto Rico several times to emphasize the economic stimulus that film production could bring to the upper echelons of society.

After years of lobbying and with the strong support of Relativity Entertainment, Puerto Rico introduced a new policy this month aimed at attracting global film and television projects.

If a film or television project was shot in Puerto Rico, upon completion, it would receive tax rebates and subsidies, with the amount depending on how much of the project was filmed there. The maximum rebate could reach up to forty percent of the expenditure!

This amount was considerable, and Relativity Entertainment, being in a favorable position, immediately applied for projects that could be filmed in Puerto Rico.

However, due to significant differences in local customs, Puerto Rico, despite its advantageous policies, could not become Hollywood’s main overseas filming base.

In comparison, the vast region east of Germany, traditionally known as Eastern Europe, was better suited to Hollywood’s filming needs.

For example, through Uwe Boll’s BloodRayne, Shai Entertainment had established a connection with the Bulgarian government.

With Uwe Boll acting as an intermediary, Ronan also took the time to visit Bulgaria to inspect the relevant policies and supporting facilities.

The Bulgarian government attached great importance to Ronan’s visit. The prime minister personally met with him, made many promises, and accompanied him on a tour of a film and television production base in the suburbs of Sofia.

Previously, Uwe Boll had told Ronan that Bulgaria was a good choice for filming, with tax advantages, strong government support, low labor costs, supporting facilities, and a guaranteed quality of personnel.

Especially with its rich topography—beaches, forests, plains, and a mix of European, British, Soviet-era, and modern architecture.

After personally visiting Bulgaria, Ronan agreed with Uwe Boll’s assessment.

In particular, after visiting many castle-like ancient buildings, Ronan had an idea: this place seemed very suitable for filming A Game of Thrones using real locations.

Some places could be used directly for filming without the need for set construction.

However, with local policies in place, Relativity Entertainment also needed suitable personnel to respond.

This required ensuring that Shai Entertainment’s production managers or executive producers had sufficient professionalism.

Ronan specifically called George Clint and Jessica Felton, requesting that they strengthen their professional training.

Relativity Entertainment’s film and television production projects would become increasingly international in the future.

While the production team’s producers oversaw the overall situation, the production managers or executive producers needed to be well-versed in the complex tax rebate and funding policies of various countries. They also needed to be familiar with the English proficiency and professional levels of local practitioners to make the most cost-effective choices for different projects.

For example, Hollywood blockbusters with extensive indoor filming, heavy use of special effects, and featuring well-known British actors were best suited for production in the UK.

If a film required extensive European ancient or modern exterior shots, a large amount of set and prop production, and a large number of related workers, then the UK would not be cost-effective due to high personnel costs. In this case, Bulgaria would be a good choice.

Although Ronan only stayed in Bulgaria for two days, he received treatment befitting a state guest. The Bulgarian government clearly regarded him as a financial deity.

Moreover, since the two sides had collaborated before, the Bulgarian government naturally had certain expectations for continued cooperation.

Before leaving Bulgaria, Ronan signed a letter of intent with the Bulgarian government.

The Bulgarian government promised to provide Relativity Entertainment’s film and television projects with the most favorable policies. In return, Relativity Entertainment guaranteed that at least eight film and television projects would be filmed in Bulgaria over the next ten years, including at least two top-tier Hollywood productions.

For example, if Uwe Boll’s BloodRayne were to have a sequel, Bulgaria would undoubtedly be the first choice for filming.

Uwe Boll’s BloodRayne was about to be released. Since early August, this German director had been using Netflix sharing as a platform, continuously conducting self-marketing under the guidance of Embassy Pictures professionals, attracting a lot of attention to BloodRayne.

Speaking of which, Uwe Boll was a star-level celebrity. Years ago, he had punched a film critic, earning not only the titles of “Film Critics’ Public Enemy” and “Film Critics’ Nemesis” but also a great deal of fame.

In traditional media, Uwe Boll was naturally portrayed as a villain, a super bad director.

But on the internet, there were many supporters of Uwe Boll.

Times had changed, and so had movie audiences. It was no longer unusual for a bad director to attract a group of loyal fans.

In a few years, such situations would become even more common.

Even many directors, no matter how bad their films were, would win the cheers of their fans.

These situations were slowly emerging around Uwe Boll.

Ronan returned to Germany, where in Berlin, many film companies and financial institutions had formed a formal alliance of interests to deal with potential industry crises.

However, Ronan had no need to participate.

After all, he was still an outsider, and his relationship with the German film industry was primarily commercial.

Even if the German government truly abolished the tax rebate incentives, Relativity Entertainment had other markets to operate in.

Bulgaria was also a very good alternative.

On Ronan’s last day in Berlin, Tony Koch and the shareholders of Hertha Berlin formally reached an agreement to fully acquire Hertha Berlin.

This Bundesliga team from Berlin would gradually transform into a player black market according to the plan.

Tony Koch had long been prepared, such as his plan to bring Eastern European players to Germany.

He showed Ronan a list, which included target players for the winter transfer window, most of whom were around twenty years old or even younger.

Ronan also saw a familiar name: Luka Modrić, who had been named Bosnian Footballer of the Year at the age of eighteen and was currently playing for Dinamo Zagreb in Croatia, having just turned twenty.

The attached materials included a photo of the player, and Ronan confirmed that he had recognized the right person.

Of course, Modrić was still very young. If Tony Koch could bring him to Hertha Berlin, it would also mean entering Manchester United’s sights.

If Tony Koch couldn’t manage it, then Manchester United could buy the player and loan him out for development.

Although Giggs had successfully transitioned, he was getting old.

Scholes was no longer young either, and he had been frequently injured in recent years.

This could be seen as finding a replacement for the two in advance.

After Tony Koch acquired Hertha Berlin, Ronan did not stay in Germany or Europe any longer and returned directly to North America, stopping in New York for a day.

Martin Scorsese was leading the The Departed crew in filming in New York.

Chapter 844: Minor Role

New York, Brooklyn.

The sky had just begun to brighten when the crew of The Departed, stationed in an old hotel, started their busy day. Ronan, who had only arrived in New York the night before, took a car to the set to report for duty.

Martin Scorsese was busy preparing for the day’s shoot, and an assistant producer was already waiting at the door.

“Mr. Anderson.” The assistant producer led the way. “This way, please.”

Ronan nodded slightly and followed him toward the makeup room, casually asking, “Where are Tom and Will?”

The assistant replied respectfully, “Mr. Cruise and Mr. Smith went to their respective makeup rooms half an hour ago.”

Upon arriving at the makeup room, Ronan took off his coat and sat in front of the vanity mirror.

He looked at the female makeup artist, who appeared to be in her forties, and asked, “What do you need me to do?”

“Just relax.” The professionalism of the crew’s makeup artist was beyond question.

Ronan said, “You’re in charge here. I’ll cooperate.”

The makeup artist secretly sighed in relief. After all, the man sitting here was the boss of bosses, a top power player in Hollywood, the mastermind behind this production.

She had been worried—what if he made unreasonable demands for the shoot?

But now, it seemed she had overthought it.

Ronan Anderson’s attitude was excellent.

The assistant makeup artist made final adjustments to Ronan’s costume while the makeup artist bustled around him.

This was a rather novel experience for Ronan.

Being an actor with lines in a film shoot was a first for him.

This was also part of his agreement with Tom Cruise and Will Smith, and director Martin Scorsese had no objections.

As she worked, the makeup artist said, “Mr. Anderson, your facial contours are clear, and your features are well-defined. With just a little touch-up, you’ll look great on camera.”

Ronan joked, “I’m worried I’ll steal Tom’s scene.”

The makeup artist laughed. That was impossible. The role settings and camera angles ensured that Tom Cruise was the lead in today’s shoot.

After makeup and costume changes, Ronan looked in the mirror. He seemed to have transformed into a street thug from the seventies or eighties.

He could probably go sell detergent now.

Ten minutes later, Ronan followed the assistant producer to the set.

It was an old-style bar, decorated in a very retro fashion.

Tom Cruise and Will Smith had already arrived and were talking to director Martin Scorsese.

Ronan walked straight over.

It was work time, so there was little conversation. Tom Cruise and Will Smith merely nodded at Ronan.

Martin Scorsese got straight to the point, saying to Ronan, “Next, we’ll be shooting your scene with Tom.”

Ronan nodded lightly and asked, “What do you need me to do?”

Martin Scorsese said, “First, walk through the scene with me.”

He went to the bar entrance and pointed toward the counter. “You come in from outside with your people. When you see Tom sitting there, go straight over and attack. Use the bottle on the counter to break Tom’s arm.”

“Got it.”

Under Martin Scorsese’s guidance, Ronan walked through the scene twice to familiarize himself with the process.

Martin Scorsese, satisfied, returned to his position and had the crew prepare for the shoot.

Tom Cruise and Will Smith came over.

“Don’t be nervous.” Tom Cruise said, “Ronan, you’ve seen plenty of film shoots. It’s really not a big deal.”

Will Smith said, “Aren’t you supposed to be a great actor?”

Ronan replied, “Is that the same as acting in a movie?”

Will Smith laughed. “More or less.”

Tom Cruise encouraged Ronan, “Even though it’s a long shot, it’s not difficult, and there’s no dialogue. You can do it.”

Ronan, of course, wasn’t nervous. Though he had never personally participated in a film shoot, his years as a producer had given him extensive knowledge of the process.

This scene wasn’t particularly difficult.

“Ready.” The assistant director came to notify them.

Ronan positioned himself correctly and immediately followed instructions, going outside the bar to meet up with the other young actors.

In this scene, he was the leader of a group of young street thugs selling detergent, who had a conflict with Tom Cruise’s protagonist. This time, they met again and fought.

A few minutes later, the shoot began. On cue, Ronan took a few steps forward, pushed open the bar door, and walked in.

Tom Cruise was sitting in a conspicuous spot at the counter.

Ronan felt something unusual to his left and instinctively glanced that way.

“Cut!” Director Martin Scorsese called a halt to the shoot and said directly, “Ronan, you looked at the camera.”

Ronan raised his hand. “Sorry…”

Though he had participated in many film productions and had absolutely rich experience, Ronan had never undergone any professional acting training. Inevitably, he made a common beginner’s mistake.

This was human nature.

Ronan returned outside the bar. A few minutes later, the shoot resumed.

Entering the bar, Ronan went straight to the counter area, glaring at Tom Cruise. “Billy, you’re hiding here.”

Tom Cruise first said a word starting with “F,” then cursed, “You bastards, get lost!”

Ronan, following the shoot’s requirements, didn’t say much. He picked up the prop bottle from the counter and smashed it over Tom Cruise’s head.

Tom Cruise raised his right hand to block, and the bottle shattered against his forearm. The liquid splashed out, landing on both of their heads and bodies.

“Ah…” Tom Cruise cried out in pain.

Ronan kicked Tom Cruise to the ground and called to the people behind him, “Beat him up!”

A group of detergent-selling thugs surrounded him, and Tom Cruise cooperatively covered his head.

“Cut.” Martin Scorsese called a halt to the shoot and said, “That’s a wrap.”

Ronan wiped the alcohol-scented liquid from his face and reached out to Tom Cruise on the ground.

Tom Cruise grabbed Ronan’s hand and stood up, saying to Ronan, “Don’t wipe it off. We still have to shoot.”

This reminded Ronan that there was more shooting to come.

“Are you okay?” Ronan pointed to Tom Cruise’s arm.

Tom Cruise swung his arm. “It’s fine, not broken. Ronan, aren’t you settling a personal score? You hit too hard.”

Ronan defended himself, “I was worried the bottle wouldn’t break.”

Tom Cruise said helplessly, “Aren’t you worried about breaking my arm?”

Ronan added, “I tested the prop when it was first made. There’s no problem.”

The shoot quickly resumed. Tom Cruise lay on the ground again, and Will Smith entered the scene as a police officer, bursting into the bar with his partner.

This scene was also straightforward and didn’t require Ronan’s minor role to showcase any acting skills.

Will Smith rescued Tom Cruise from the thugs, then handcuffed Ronan and took him out of the bar, completing the scene.

Tom Cruise and Will Smith were in excellent form. Ronan was merely the backdrop for the two characters’ first real meeting and didn’t need to do much. Everything was completed step by step according to director Martin Scorsese’s requirements.

Regardless, apart from the initial low-level mistake, Ronan, relying on his years of experience as a producer, completed two scenes in just three takes.

After the shoot, Ronan specifically went to Martin Scorsese to check the footage.

In both scenes, the camera focused on Tom Cruise or Will Smith. His minor role, first stepping on someone and then being stepped on, was barely noticeable.

His face was barely visible.

Ronan understood why only two scenes required just three takes to complete.

It wasn’t that he acted particularly well; the camera’s requirements for this role were relatively low.

After all, this was a role that wasn’t even a minor supporting character.

With the two scenes completed, Ronan’s part was entirely shot. He then returned to the makeup room to remove his makeup and watched the shoot on set.

As with other crews, during the shoot, Ronan never expressed any opinions on set to maintain the director’s absolute authority during filming.

Even if there were issues, he would discuss and resolve them privately with the director.

Moreover, Martin Scorsese’s professionalism and ability as a director far surpassed his own as a producer.

Martin Scorsese was very strict in his demands. Tom Cruise and Will Smith were in excellent condition, and most scenes were completed in one or two takes.

Frankly, at the Oscars, some actors don’t win acting awards not because of their acting skills.

Prejudice often influences many judges’ choices.

Since he had already won the Best Actor statuette at the previous Oscars, and given their excellent relationship, Will Smith didn’t compete with Tom Cruise for the lead role. Instead, he voluntarily took on the slightly lighter role of the second male lead.

Tom Cruise was also working hard. He began preparing for his role even before the crew was assembled. The extremely vulgar man who frequently started sentences with the “F” word in the footage didn’t look like Tom Cruise at all.

In the past, Tom Cruise had played too many cool and handsome roles. In the eyes of those middle-aged and elderly white people, he was also a representative of the “milk-scented” generation. Even if his performances in some films were good, they were still ignored.

Tom Cruise had always wanted to win an Oscar for Best Actor, even though winning or not wouldn’t have much impact on his status in Hollywood.

Previously, Tom Cruise had a falling out with Pat Kingsley, and the trigger was the Oscar campaign.

The Departed’s goal was very clear: the future awards season and the Oscars. Ronan had set three main targets: Best Picture, Best Actor, and Best Director.

This year, Relativity Entertainment’s focus was on Brokeback Mountain, so The Departed would naturally be pushed to next year.

Chapter 845: The Changing of the Guard

“You actually did pretty well.”

In the restaurant, Will Smith, eating his steak, said to Ronan, “Your acting is impressive. Of course, that’s among extras.”

Ronan put down his knife and fork and said, “Can’t you give some real encouragement? I plan to continue acting and even play a superhero someday.”

Tom Cruise asked, “Want to play a superhero? Better bulk up first.”

Ronan asked, “Not all superheroes are muscle-bound. Take Tony Stark, for example.”

Will Smith, interested, asked, “When is Iron Man coming out?”

Ronan picked up his glass, took a sip of water, and said calmly, “Next summer season.”

“Summer season?” Will Smith said, “These past few years, you seem to have a lock on the first weekend of summer.”

Ronan smiled and said, “In the future, I plan to make the start of summer season Relativity Entertainment’s exclusive weekend. Every summer season, there will be a major Relativity production released.”

Tom Cruise chimed in, “Relativity will face a lot of competition.”

Ronan seemed relaxed as he said, “Business can’t avoid competition.”

“Let’s not talk about that,” Will Smith suggested. “The weekend is coming up, and the US Open final is about to start. Are you two going to watch the match?”

Tom Cruise shook his head. “I have something at church this weekend. I probably won’t have time.”

Ronan had received a call from Connie last night when he arrived in New York, so he said, “I’ll have to see. I can’t be sure right now.”

Will Smith sighed. “You two don’t know how to enjoy yourselves. I’m telling you in advance, after the US Open, there will be a champion’s night party. All the players, including those from the junior competitions, might show up. There are plenty of beautiful women in tennis.”

Tom Cruise said directly, “Like the Williams sisters?”

Ronan couldn’t help but laugh. The so-called beautiful women in tennis needed to be backed by their competitive achievements. If they didn’t reach a certain level, they wouldn’t attract attention.

Maria Sharapova wouldn’t have been called the “Russian beauty” if she hadn’t won a Grand Slam.

And Anna Kournikova, despite all the mockery about her competitive level, had an undeniable fact—she had near-top-tier skills, which was why she drew attention.

As for the Williams sisters, they were absolute powerhouses.

Dennis Rodman had mentioned in a recent interview that he had once taken on the Williams sisters and been thoroughly beaten. Together, their combat power was comparable to Madonna’s.

“You managed to walk away from the Williams sisters,” Ronan said admiringly. “Will, you really are gifted.”

Will Smith, rarely modest, said, “It’s nothing.” He added with a hint of exaggeration, “There’s a Black director in San Fernando Valley who also acts part-time. Now that’s what you call gifted. The films he makes are like a massacre.”

Tom Cruise suddenly asked, “Is Relativity not entering that industry? I’ve heard more than once that the market there is even bigger than Hollywood’s.”

“That industry is even more closed off,” Ronan knew a thing or two. “Behind every company, you can see the shadow of big conglomerates. Right now, Relativity is facing fierce competition in Hollywood. It’s not the right time to open a second front in San Fernando Valley.”

Will Smith checked the time. “It’s about time. We should head back and prepare for this afternoon’s shoot.”

Tom Cruise stood up. “Let’s talk another time.”

The two of them had work to do and quickly left the restaurant, returning to the makeup room to touch up.

Ronan also left the restaurant but didn’t leave the set immediately. He went to the filming location and started chatting with Martin Scorsese.

Their topic wasn’t the shoot but the future awards campaign for the film.

“You should start mobilizing your connections early,” Ronan reminded in a low voice. “People like George, Steven, and Frank can be asked for help. I believe they’d be willing to lend a hand for an old friend.”

Martin Scorsese said, “They’ve already done a lot for me.” But he understood that winning awards wasn’t just about the film itself; otherwise, he would have won the Oscar for Best Director or Best Picture long ago. “I’ll have to ask them for one more favor.”

Ronan said, “Relativity will start preparing for this film full force after this year’s Oscars. Embassy Pictures is also applying for The Departed to be in next year’s Cannes Film Festival competition section.”

Martin Scorsese calculated, “May next year, no problem. I’ll definitely finish on time.”

“Regardless of whether we win at Cannes,” Ronan added, “we need to make The Departed famous.”

Frankly, Martin Scorsese’s gangster film was very American, but the reception in Europe would surely be better than in Asia.

As for Asia, especially East Asia and Southeast Asia, the Hong Kong Infernal Affairs trilogy came first. Ronan didn’t expect The Departed to receive high praise there.

It might even face a lot of criticism, more than the “f” words in Tom Cruise’s lines.

A romantic and melancholic protagonist being portrayed by Tom Cruise as a rough, foul-mouthed man would surely draw disapproval from many original fans and East Asian media.

First impressions were always good, like first love.

For example, some of Ronan’s classmates had seen The Island first because of the actors’ fame and then watched The Sixth Sense, only to find The Sixth Sense mediocre, thinking its twist was overused by The Island.

But the reality was the opposite.

Preconceived notions were common among people.

Given Martin Scorsese’s achievements, fame, and status, the Academy and the Oscars couldn’t ignore him. It was just that The Aviator had been too messy.

Returning to his roots in gangster films might earn Martin Scorsese the recognition he deserved from the Academy.

Because this wasn’t about winning with one film but, like Julia Roberts, winning after years of accumulation.

Relativity needed to prepare early, and Martin Scorsese’s side was no exception.

After decades in the industry, Martin had many old friends.

Perhaps these people felt uncomfortable voting for The Aviator, but for Martin’s signature gangster film, it would be easier.

Among the four great directors of the 80s, George Lucas had long left the Directors Guild and was no longer an Academy member, so he couldn’t win.

Spielberg and Francis Ford Coppola had already won so many awards they were tired of them.

That left only Martin Scorsese.

Moreover, in terms of age structure and Hollywood’s development, the group of around sixty-year-old white men, like Spielberg, were gradually replacing the older generation and becoming the core of the Academy.

However, the generational shift in the film academy was particularly difficult because Academy membership was lifelong. As long as they didn’t die, they remained members.

So, many actors who weren’t favored by the Academy had to wait it out, hoping that the old men who discriminated against them would die, and their situation at the Oscars would improve.

But Ronan had never expected the Oscars to become more open-minded. When the old guard died, the middle generation, who were slightly more progressive, would take over and also grow old.

Once people got old, their thinking tended to become conservative.

Ronan was certain of one thing: when he got old, he would also find the younger generation intolerable, with thoughts like “the lost generation” or “the decadent generation” popping up.

To avoid becoming ultra-conservative, one had to spend more time with young people.

That’s why rich old men always liked young, beautiful girls.

Ronan didn’t delay Martin Scorsese’s work. After the crew members arrived one by one, he went to the lounge area on set.

Next, they were to film a scene between Tom Cruise and Jack Nicholson.

Jessica Chastain, who had a scene to shoot in the afternoon, also arrived on set and went to the lounge to greet Ronan first.

“Hello, Mr. Anderson,” Jessica Chastain said. Her skin was very fair, and with her red hair, she bore a resemblance to Nicole Kidman.

In Hollywood, she was the type that could be described as “glowing white.”

Ronan nodded in greeting. “Hello, Jesse.” He asked, “Is everything going smoothly on set?”

“Very smoothly,” Jessica Chastain said with a smile. “Tom and Will have been very helpful to me.”

Some things Jessica Chastain didn’t say out loud. Many people in the crew knew that she had come to audition through Ronan and assumed she had a deep relationship with him.

Even Tom Cruise and Will Smith thought the same, treating her as Ronan’s lover.

Thus, the various messy conflicts on set didn’t involve her.

Ronan casually said, “They’ve given you very high praise for your performance.”

Jessica Chastain, not realizing this was just flattery, said, “Being able to work with Tom, Will, and Director Scorsese, I cherish it and will work even harder.”

Ronan, as the boss, always liked hardworking employees. “Keep it up. Relativity has many film projects.”

“Okay,” Jessica Chastain said earnestly. “I definitely will.”

Jack Nicholson arrived on set at this time and, seeing Ronan, came over to greet him.

He was a famous character actor in Hollywood and also a notorious playboy, rumored to have been with countless actresses.

Of course, Jack Nicholson was also undeniably talented.

In the 1989 version of Batman, Jack Nicholson had created a classic Joker.

But once, the spokesperson for the Joker quickly changed to someone else.

Later, there was another Joker who received even more praise.

This was the normal changing of the guard.

It could also be said that the Joker was a role that naturally lent itself to outstanding performances.

Chapter 846: Please Show Some Self-Respect

Over the weekend, the film crew was on their regular break. Since Connie wasn’t around, Ronan didn’t have to deal with related matters for the time being. He had time to attend the 2005 US Open men’s singles final with Will Smith.

As one of the four Grand Slam tournaments in tennis, the US Open final was a gathering place for celebrities from all walks of life.

For instance, Ronan spotted the Hearst sisters, Paris Hilton, the famous New York real estate tycoon surnamed Tang, and his burly daughter.

“Hello, Ronan.” Paris Hilton shook Ronan’s hand in the VIP section of the main stand. “Long time no see.”

Behind her stood a short, stocky female assistant who looked somewhat familiar.

Ronan smiled. “Paris, you’re even more beautiful.”

The videotape scandal that broke out last year had made Paris Hilton famous worldwide.

However, after not seeing her for a while, Ronan noticed that Paris Hilton’s uneven eyes had become even more pronounced.

Could it be related to her excessive nightlife?

Paris Hilton tried to invite him. “Ronan, since you’re rarely in New York, how about joining me for a party when you have time?”

Ronan knew a little about this phase of Paris Hilton’s life. She seemed to be in a self-destructive mode for publicity, and he didn’t want to be used as a stepping stone.

“I’ve got a lot of work lately.” Ronan replied vaguely. “Let’s talk when I have time.”

Hearing this, Paris Hilton immediately shifted her target to Will Smith beside her. “Will, do you have time?”

“For a party…” Will Smith seemed quite interested.

The two leaned in and whispered, looking like they had hit it off instantly.

Paris Hilton’s female assistant quietly moved to Ronan’s side, smiling broadly. “Mr. Anderson, it’s an honor to meet you.”

Ronan nodded slightly, his attitude quite cold. “Hello.”

In public, Ronan usually paid great attention to etiquette, but facing someone from this family, he couldn’t muster any goodwill.

The female assistant suddenly reached out, slipping a note to Ronan. Seeing that he wasn’t taking it, she quickly whispered, “Whatever Paris can do, I can do too. I am…”

Before she could finish, Paris Hilton, noticing the commotion, turned her head and said, “Kim, remember your place!”

“Sorry, Ronan.” Paris Hilton then smiled at Ronan. “She’s so rude.”

The female assistant didn’t dare to disobey Paris Hilton. Not only did she shut her mouth, but she also obediently moved aside.

“It’s fine.” Ronan said casually, then called Will Smith. “Let’s go to the private room.”

Will Smith, however, was quite interested in the female assistant. He gave her a look before accompanying Ronan to the private room in the stands.

Paris Hilton coldly stared at the female assistant, berating her fiercely.

The female assistant didn’t dare to say a word.

Inside the private room, Ronan shook hands with Bloomberg from the next box and exchanged a few pleasantries.

Although it was their first meeting, both were top figures in their respective industries, so they weren’t complete strangers.

“Was that Paris Hilton’s assistant just now?” Will Smith asked in a low voice after sitting down.

Ronan casually replied, “Seems like it.”

Will Smith muttered, “That assistant is not bad, much better than Paris Hilton.”

Ronan was speechless. “Will, you’re not interested in her, are you?”

Will Smith said, “Curvy in all the right places, great figure…”

Ronan didn’t know what to say. Perhaps Black people’s appreciation of beauty was different from the mainstream.

“I’ll give you a word of advice.” Ronan didn’t want to see Will Smith jump into a pit. Putting aside the joke, he said seriously, “I’ve heard about this woman. For your safety and reputation, it’s best to stay away from her.”

This female assistant had initially learned everything from Paris Hilton.

Ronan believed that if Will Smith got involved with her, it wouldn’t take long before videos of the two of them would spread worldwide.

Later, her family members would probably come out one after another to ride the wave of fame.

This was a family that thrived on scandals.

Some had once called them a socialite family, but perhaps changing the last character of that term would be more appropriate.

If the male lead in the video was replaced with Will Smith, the impact could be imagined.

Others might have reservations, but they would definitely do it.

Will Smith wasn’t a fool. Ronan’s serious warning caught his attention. He glanced at Paris Hilton and said, “Don’t worry, I won’t lose my head. With my status, what kind of woman can’t I find? I won’t go looking for trouble.”

Seeing that Will Smith had taken his words to heart, Ronan didn’t say more.

He didn’t care what that family did, nor would he interfere, but there was one condition: don’t provoke him.

The match began soon.

This men’s singles final was a clash between the most representative figures of the new and old forces in tennis.

The future Swiss king Federer faced off against the American veteran Agassi.

Ronan didn’t know as much about tennis as he did about football, but he could understand the basic rules.

Tennis matches, especially men’s singles in the best-of-five Grand Slam format, often turned into marathons.

The natural law of new replacing old in professional sports could never be broken. Despite Agassi’s tremendous effort and home-court advantage, he ultimately lost 1-3 to Federer.

This also marked another cow for the Swiss king to add to his collection.

After the match, Ronan left the stadium. When he came out of the bathroom, Paris Hilton’s assistant approached him again.

But this time, without Paris Hilton, Finch immediately blocked her.

“Mr. Anderson…” The female assistant put on her most charming demeanor.

But in Ronan’s eyes, over ninety percent of the women in the stadium were better-looking than her.

Ronan waved to Finch and left directly.

“This lady.” Finch warned coldly, “Please show some self-respect.”

Unfortunately, the women of this family were the least concerned with self-respect and dignity.

With the bodyguard blocking her, the female assistant could only watch disappointedly as Ronan disappeared.

Although the woman’s fierce expression looked quite intimidating, Finch, who was used to dealing with important figures, didn’t care about the looks and expressions of such small fry.

The female assistant was seething with a kind of wicked energy—partly from the oppression of being Paris Hilton’s assistant, partly from everyone’s attention being on Paris Hilton while ignoring her, and partly from her desperate desire for fame and fortune…

Honestly, she had had enough of Paris Hilton. It was time to leave.

Should she fabricate some news for publicity?

She looked in the direction where Ronan Anderson had left, but all she saw were the cold stares of several bodyguards, sending a chill down her spine.

Even if she wanted to create a scandal, it had to be with celebrities like Will Smith. Someone like Ronan Anderson was not to be provoked—she couldn’t afford to offend him!

As a woman who had once dared to release scandalous videos for publicity, she wasn’t a fool. She had this basic understanding.

Otherwise, she wouldn’t have come running to be Paris Hilton’s assistant and punching bag.

The day after the men’s singles match, Ronan attended the “Champions’ Night” party hosted by the United States Tennis Association. With Will Smith, a veteran of the tennis industry, leading the way, he didn’t have to worry about getting lost.

For example, through Will Smith’s introduction, Ronan met the famous Anna Kournikova and the Swiss princess Hingis.

Anna Kournikova had her boyfriend with her, while Hingis was easy to talk to.

“Didn’t expect a billionaire to be so young.” Hingis, true to her style, directly invited, “Mr. Anderson, how about we find a quieter place to chat?”

Ronan politely declined. “Sorry, I have something to attend to. I can’t leave.”

Due to his connection with Manchester United, he had heard some things about the Premier League. Hingis was currently dating Arsenal’s towering defender Sol Campbell.

As a globally renowned playgirl, the number of men rumored to be involved with Hingis was countless.

Hingis, always bold in her approach, didn’t press further. She politely excused herself and went elsewhere. Before long, Ronan saw her leave the banquet hall with Australia’s flying fish, Ian Thorpe.

Ronan also saw Maria Sharapova, who was extremely tall and robust, with broad shoulders and a sturdy back—truly a powerhouse among female players.

Sharapova’s physique was exactly what one would expect from a typical power player.

Ronan chatted with Bloomberg, who had also come to the party. Although Bloomberg had switched from Democrat to Republican, many large corporate groups commonly invested in both sides.

Bloomberg wasn’t considering joining the donkey and elephant competition game in the short term.

In January of this year, Little Man began his second term. Ronan and Relativity Entertainment had focused their investments on Black Carbon, who had already started preparing for the next donkey and elephant competition game.

As one of the earliest large corporate groups to invest in Black Carbon, if Black Carbon successfully entered the White House, Relativity Entertainment would launch a series of plans during his term.

They didn’t seek much support, only hoping to minimize resistance as much as possible.

As for how much struggle and interest exchange lay behind this game, Hollywood could only be considered small fry.

Due to certain indescribable reasons, even if Ronan were to participate, he couldn’t speak about it to avoid provoking the divine beast.

Relativity Entertainment had already established a team directly responsible to Ronan, dedicated to liaising with Black Carbon or other political figures and handling matters directly related to politics.

Most large companies had such departments internally.

After chatting with Bloomberg, Ronan began to mingle in the banquet hall, occasionally greeting people. Another major purpose of such parties was to expand one’s network.

The day after the party, Connie arrived in New York from Los Angeles, and Ronan returned to work.

Chapter 847: Money is the Greatest Capital

For the sake of work confidentiality, after Connie arrived, Ronan left the set of The Departed and moved into the presidential suite of a Manhattan hotel.

“Is it confirmed?” Ronan asked Connie in the study. “Is the information from Disney reliable?”

Connie replied, “Completely reliable. Roy Disney has arrived on Wall Street. The news was personally gathered by Robert Iger.”

Ronan nodded. “He’s seeking Wall Street’s support.”

Connie glanced at her notebook. “Over the past twenty years, Michael Eisner has continuously raised funds, expanded shares, and engaged in mergers and acquisitions for Walt Disney, absorbing a significant amount of capital from Wall Street. Many firms, including Goldman Sachs, hold Disney shares. Individually, each may only have a little over one percent, but combined, the amount is considerable.”

Ronan was not surprised. Hollywood and Wall Street had established business ties long ago, and Wall Street’s capital had repeatedly infiltrated Hollywood.

Like other investments, Wall Street institutions did not seek to control a company; their investments were purely for profit.

Profit was Wall Street’s eternal pursuit.

Connie continued, “Additionally, the headquarters of many major banks across the U.S. are in New York. They have had numerous business dealings with Walt Disney in the past, and some may hold small amounts of Disney shares. According to Robert Iger’s analysis, another major purpose of Roy Disney’s visit is to cut off Michael Eisner’s connections with the banks as much as possible, preventing him from raising substantial funds in the short term.”

Ronan understood the underlying intent. “While Roy Disney and Michael Eisner compete for shareholders, they are likely secretly acquiring shares to secure majority support.”

Roy Disney’s plan was actually quite simple and, under normal procedures, would be very effective: unite the majority of the company’s shareholders and propose a resolution at the shareholders’ meeting to oust Michael Eisner.

In the eyes of many Disney shareholders, Michael Eisner was now the villain of Walt Disney.

But similarly, those who supported Michael Eisner were not few.

Under Michael Eisner’s leadership, Walt Disney’s market value had grown from two billion dollars at the time of its IPO to nearly forty billion dollars, transforming it into a comprehensive entertainment and media conglomerate.

“There’s one more thing,” Connie added. “Under Roy Disney’s push, several Disney shareholders have united to sue the Disney board of directors, led by Michael Eisner, in the Delaware Court of Chancery.”

Ronan interjected, “Michael Ovitz’s resignation?”

“Yes,” Connie said. “According to the information Robert Iger received, Michael Eisner acted unilaterally in Michael Ovitz’s resignation, committing a procedural error. He signed and paid an unapproved severance package of one hundred and forty million dollars. They are demanding that Michael Eisner compensate for this amount, including interest, totaling two hundred million dollars.”

This marked a turning point in Michael Ovitz’s life.

The once-brilliant agent who left CAA for Disney lacked the ability and experience to manage a giant like Disney. He also lacked the creativity and coordination skills needed in the Disney world, resulting in a lose-lose situation for both sides.

From then on, Michael Ovitz found it difficult to return to the forefront of Hollywood.

After some thought, Ronan said, “Don’t worry about the lawsuit. If Michael Eisner can hold onto his position, he has enough power to dismantle the litigation group. Otherwise, he will have to step down in disgrace.”

In reality, the ultimate goal of the lawsuit was not to make Michael Eisner pay two hundred million dollars but to force him out of office.

This would not only divert the energy of Michael Eisner’s team but also damage his reputation among shareholders.

Roy Disney was relatively upright, but in business competition, one could not rely solely on upright means.

Similarly, Ronan considered himself upright, but when facing Walt Disney, he certainly would not limit himself to upright methods.

Frankly, he didn’t care who ultimately won at Disney. He only cared about what benefits Relativity Entertainment could secure from this once-in-a-lifetime opportunity.

Ronan remembered clearly that Michael Eisner had once failed at a Disney shareholders’ meeting and had to step down. Then, Roy Disney had promoted Robert Iger to take over Disney.

This led to the later creation of Disney Baby.

According to Walt Disney’s rules, if more than half of the shareholders voted no confidence, Michael Eisner would have to step down.

Ronan vaguely recalled that around sixty percent of the shareholders had once voted no confidence.

This showed that the gap between Michael Eisner and Roy Disney was not as large as imagined.

Michael Eisner would not easily step down.

One of the biggest characteristics of the competitive arena was that when you stood in the spotlight, money and connections came flooding in; when you were unknown, your doorstep became desolate, and no one cared.

Hollywood was a jungle world. Carving out a bloody path from the chaos was not easy, and giving up was even harder.

Achieving all this was not easy either.

Money was the greatest capital in the competitive arena.

Roy Disney had come to New York to cut off Michael Eisner’s financing channels.

After some thought, Ronan said to Connie, “Contact Roy Disney later today. I want to meet with him.”

Connie replied, “Alright, I can reach Roy Disney’s personal assistant.”

Ronan and Robert Iger had devised a special Disney plan, but the plan was not set in stone; it could be adjusted at any time according to reality.

As Connie was about to leave, she suddenly remembered something and reminded him, “BloodRayne premiered last weekend. I’ve sent the specific data to your email.”

Ronan nodded slightly. “I’ll take a look.”

Ronan didn’t want to comment much on Boll’s new film in terms of content, but he still had certain expectations for its commercial progress.

Uwe Boll had been very active on the internet lately, seeking attention everywhere.

For example, on the eve of BloodRayne’s release, Uwe Boll declared through Netflix sharing and other media platforms that BloodRayne could accept normal film criticism, but if someone insulted him, he wouldn’t mind issuing another challenge.

Of course, there were always people who liked to argue.

Uwe Boll naturally got into another heated argument with film critics.

Large numbers of supporters from both sides used Netflix sharing as a platform to attack each other.

Both sides had clear opinions and firm stances.

The supporters of the film critics generally had one message: directors should ultimately let their work speak for itself.

Boll’s fans countered just as strongly: real men don’t talk nonsense; don’t curse like a woman. If you have the guts, meet me in the ring!

With the precedent of the previous film critic, no critic would dare to come forward to pick a fight. Although the proportion of critics who schemed to become famous was not lower than that of Hollywood actors, the facts had proven that Boll’s fists really could beat people!

The title of “Critic’s Nemesis” was not given in vain.

At the mention of Boll’s fists, critics trembled in fear.

In addition to continuing to angrily confront critics, Boll’s other major move was to take advantage of the popularity of World of Warcraft and repeatedly express his love for Blizzard.

Articles like “Warcraft, My Love” and “The Story I Must Tell About Blizzard” frequently appeared on Boll’s Netflix sharing.

As a result, many movie fans knew that Boll was a die-hard fan of Blizzard.

Blizzard noticed that the number of World of Warcraft users in North America and even Europe had recently grown more rapidly.

It seemed that the reputation of World of Warcraft had spread beyond the gaming world.

And it wasn’t the negative reputation associated with internet addiction and electroshock from the other side of the Pacific, but a genuine fame that could attract attention.

According to the latest news, Blizzard’s attitude toward Uwe Boll seemed to have changed.

Although Blizzard insisted on a premium game strategy, after experiencing Blizzard’s repeated retcons and reheating, and the Lich King’s repeated anger, how could people not see the true face of a commercial company?

At the end of the day, Blizzard was also a commercial company, and its first pursuit was always profit.

Naturally, their attitude toward those who could effectively bring in profits would be different.

As the saying went, the butt determined the head, but what ultimately decided which side the butt sat on was commercial profit.

Moreover, under Boll’s long-term harassment, Blizzard gradually gained an understanding of Hollywood and the film industry, and also realized the simplest truth of film operations.

The film itself didn’t have to make money, but the film had to drive related industries to make money.

Boll had already embarked on the path of a viral director, and the effect was generally good.

Some movie fans had said on the eve of the film’s release: Want to see a classic bad movie? Boll’s films were not to be missed! BloodRayne was not to be missed!

Other fans, in media interviews, stated: There were many directors in the world who could make good films, and many who could make bad films, but there was only one Boll!

With public opinion heat and a certain fan support, BloodRayne would have a harvest.

Although it did not win the North American box office crown in its opening week, the film earned fifteen million five hundred and ten thousand dollars in North America over its first three days.

In just three days, Relativity Entertainment had recouped its entire investment in BloodRayne.

If one included the tax rebates and subsidies that Uwe Boll had secured from the Bulgarian government, BloodRayne had already made a profit of over one million dollars.

As for the film’s various abysmally low ratings, Ronan didn’t care, and no one at Relativity Entertainment cared either.

Facing such a high-quality director who could continuously bring in profits and had opened the door to the Bulgarian market for Relativity Entertainment, Ronan naturally attached great importance to him.

After seeing the box office data, Ronan specially called Uwe Boll and also notified Embassy Pictures to continue prioritizing the promotion and distribution of Uwe Boll’s new film, Dead or Alive, next year.

As a man of conscience and integrity, even if Uwe Boll could no longer make films one day, Ronan would arrange for him to take on other management positions in the group.

For example, he could go to Eastern Europe to showcase his talents.

Chapter 848: Striving for the Future

Los Angeles, in the home in West Hollywood, Uwe Boll was packing his luggage. His new actress girlfriend, Kristanna Loken, leaned against the porch, quietly watching him bustle about.

“How long will you be gone?” Kristanna Loken asked.

“At least a week,” Uwe Boll replied. “There’s a lot to handle in Eastern Europe.”

Kristanna Loken complained, “Can’t you take me with you?”

“I’m not going to Eastern Europe for a vacation,” Uwe Boll said, rubbing his bald head. “This time, I’m representing Ronan, representing Relativity Entertainment, to negotiate a new round of cooperation with the Bulgarian government.”

Though these two had been together for a while, they had only recently confirmed their relationship. Kristanna Loken understood the importance of Relativity Entertainment to Uwe Boll and didn’t press further.

Instead, she said, “Alright, I understand. Don’t worry about me. Focus all your energy on work. I’ll be here waiting for you.”

In some ways, Brother Bao had been assimilated by Hollywood, but he did have real feelings for Kristanna Loken. “If all goes well, I’ll be back in a week,” he said.

Being able to represent Ronan in negotiating a new round of cooperation with the Bulgarian government, Uwe Boll could clearly feel his weight within the entire corporate group increasing.

The important tasks he undertook were also multiplying.

Uwe Boll’s mind wasn’t as coarse as his appearance suggested. After directing several films, even if he was somewhat slow in certain aspects and reluctant to admit it, he could see that he truly lacked talent in directing.

This intangible quality was real and determined the upper limit of his potential.

At this point, even if Uwe Boll was truly reckless, he realized that the success of his films had little to do with the films themselves. It was mainly due to the operations of Relativity Entertainment.

Moreover, he wasn’t a brainless brute. Otherwise, he wouldn’t have cooperated with Embassy Pictures to pull off so many stunts.

Even the best plans required a competent executor.

Uwe Boll was well aware that, under the chain reaction, the commercial success of the next few films might not be an issue, but this model couldn’t last forever.

What about the future? Should he return to Germany in disgrace?

He had been proving to Ronan that he was more than just a director, that his abilities in other areas were just as strong, if not stronger, than his directing skills.

Clearly, Ronan had seen this and valued it.

Uwe Boll was confident that even if he couldn’t continue as a director, staying at Relativity Entertainment wouldn’t be a problem.

This trip to Eastern Europe, besides the planned visit to Bulgaria, he also intended to go to Croatia and Seville in Southern Europe to establish initial contacts.

The landscapes in Southern Europe were quite good, and the labor costs and price levels were extremely low. In the future, it could also become a location for Relativity Entertainment’s outdoor shoots.

As a pioneer, Uwe Boll’s plan was to secure the best cooperation terms.

In the afternoon, after meeting up with the assistance team from Relativity Entertainment, Brother Bao boarded an international flight at Los Angeles International Airport, flying directly to Germany, and then transferring to Sofia, the capital of Bulgaria.

This German director, who appeared coarse and fierce, was using a meticulous mind contrary to his appearance to strive for a better future.

New York, Wall Street, Roy Disney was also working hard for the future of Walt Disney.

As a representative figure of the Disney family and the only Disney to enter the Disney board of directors, Roy Disney, after years of entanglement and struggle, finally made up his mind to expel Michael Eisner, whom he had personally invited to join Disney years ago, from Walt Disney.

In his eyes, Walt Disney had reached a critical moment of life and death.

Having been in New York for two days, Roy Disney had visited investment and financial companies such as Goldman Sachs, Credit Suisse, and Citibank to lobby their leaders.

These companies didn’t hold a large number of Disney shares, but they could sell them at any time. At this critical moment for Walt Disney, Roy Disney had to ensure that Disney could maintain a relatively stable stock price.

He needed to give investors confidence.

Additionally, the Disney shares held by large and small companies on Wall Street added up to a significant number. As shareholders, their support at the annual shareholders’ meeting at the end of the year was equally important.

Increasing investor confidence, maintaining smooth and stable communication, and establishing a relatively solid cooperative relationship…

Roy Disney’s efforts had paid off. Most investment companies had expressed their support for him, believing that Michael Eisner was no longer suitable to lead Disney.

After all, these people were all pursuing profits.

Stepping into the doors of Credit Suisse, someone was already waiting at the entrance to greet him. Roy Disney followed the guide to a luxuriously decorated reception room, where he met Davis, the head of Credit Suisse in the United States.

“Hello, Roy,” Davis greeted Roy Disney warmly, shaking his hand. “Long time no see.”

Roy Disney’s slightly aged face showed a proper smile. “It hasn’t been that long. The last time you were in Los Angeles, we went fishing together.”

Davis said, “Yes, that grouper I caught tasted really good.”

Roy Disney smiled and said, “The fish on the West Coast always taste different from those on the East Coast.”

Davis nodded. “One side is the Pacific, the other is the Atlantic. Different water bodies give birth to fish with different flavors.”

Roy Disney got to the point. “Yes, different environments can change even the same fish.”

This was clearly not about fish. Davis didn’t respond, looking curiously at Roy Disney.

Roy Disney picked up his coffee and took a sip, then said directly, “If I remember correctly, according to the current market price, Credit Suisse holds about three hundred and eighty million dollars’ worth of Disney shares.”

“More or less,” Davis said vaguely. “When Michael Eisner led Disney to acquire ABC, they once sought financing from Credit Suisse. Credit Suisse believed in Disney’s strength, and even though Disney hasn’t been doing well these past two years, they haven’t sold or liquidated their shares.”

Roy Disney continued, “Because Credit Suisse believes that Disney’s business situation will improve, right?”

Davis smiled. “You could say that. After all, Disney is one of the top entertainment companies in Hollywood, a leading provider of family entertainment.”

“But now, do you, or Credit Suisse, still have confidence in Disney?” Roy Disney asked.

Davis politely replied, “Of course.”

Roy Disney pressed further, “Really?” He didn’t hesitate to expose his own shortcomings. “Since 2000, Disney’s performance has been declining every year, and the stock price and market value have been steadily decreasing. Even the once world-leading animation production hasn’t had any notable works since ‘Tarzan,’ and the animation studio is now in name only.”

Davis didn’t speak. He was somewhat aware of Disney’s situation and knew that Roy Disney’s words were not false.

But Disney was still Disney. With just one opportunity, it could return to the right track.

Even if it was a fabricated positive opportunity, it could boost Disney’s stagnant stock price.

Then, Credit Suisse could liquidate or find someone else to take over.

“Disney is one of the Big Six in Hollywood,” Davis said slowly. “Globally, it’s one of the top entertainment and media groups. Credit Suisse has always believed that Disney has a bright future.”

Roy Disney said, “But it can’t be achieved under Michael Eisner!”

Davis had heard about the internal struggles within Disney and probed, “It’s because of Michael Eisner that Disney has what it is today.”

Roy Disney said, “I’ve never denied Michael Eisner’s outstanding contributions to Disney. But that’s in the past, not the present. Now, Michael Eisner is acting arbitrarily, making consecutive decision-making errors, leading to continuous mistakes in Disney’s film operations and merchandise channels, and abandoning Disney’s hand-drawn animation, causing the animation studio to be in a dilemma, seriously affecting Disney’s most important source of income…”

Listening to Roy Disney’s endless list of Michael Eisner’s crimes, Davis realized that the two factions within Disney had reached a point of no return.

Walt Disney’s problems were more serious than imagined.

In that case, Credit Suisse had to ensure its investment interests!

But with Disney’s current situation, what was the best way to ensure investment returns?

Roy Disney finally finished. Davis picked up his water cup and took a slow sip, then asked calmly, “According to you, Roy, what should Credit Suisse do to ensure its equity and investment returns?”

“The annual shareholders’ meeting at the end of the year,” Roy Disney stated his ultimate goal. “We work together to expel Michael Eisner and replace Walt Disney with a new Chief Executive Officer.”

Davis asked, “Do you have a suitable candidate?”

Roy Disney very much wanted Disney to return to the Disney family, but he knew that this would only make investors lose confidence.

He said, “The current co-chairman of Disney Pictures, Alan Horn, although he hasn’t been with Disney for long, has outstanding abilities. He has achieved excellent results at Warner Bros in the past, but due to conflicts with Warner Bros’ Chief Executive Officer Kevin Tsujihara, he was forced to resign.”

Davis nodded. “I’ve heard of him. He is indeed capable.”

Roy Disney looked at Davis and asked, “I hope we can become allies on the same front.”

Davis stood up and shook his hand. “Credit Suisse must ensure its investment interests.”

In Roy Disney’s view, expelling Michael Eisner was the best way for Credit Suisse to ensure its own interests.

Chapter 849: Outsiders and Insiders

After leaving Credit Suisse, Roy Disney went to Citibank, leveraging his years of personal connections to meet with the Vice President in charge of credit services.

While lobbying to secure more shareholder support, Roy Disney was also working on another task—cutting off Michael Eisner’s funding sources.

“Word is you’re preparing to offer Michael Eisner a loan of several hundred million dollars?” Roy Disney exchanged pleasantries before quickly getting to the point. “Donovan, I assume this news is accurate?”

A shrewd middle-aged white man named Donovan shrugged slightly. “Roy, your information is as reliable as ever.”

Roy Disney asked, “Are you certain you want to lend to Michael Eisner?”

“Why not?” Donovan replied naturally. “Michael Eisner is the Chairman and Chief Executive Officer of Walt Disney, with an impeccable credit record—an excellent client.”

Roy Disney smiled. “Impeccable credit? What if he’s no longer Disney’s Chairman and Chief Executive Officer?”

Donovan spread his hands. “But the man sitting in those two positions is still Michael Eisner.”

Roy Disney sighed. “For the sake of our long-standing friendship, I’ll share something with you. Several Disney shareholders, including the Disney family, have united to sue Michael Eisner in the Delaware Court of Chancery.”

This was new information to Donovan, who had not heard it before, and it immediately caught his attention.

Roy Disney continued, “You must have heard about the dispute between Michael Eisner and Michael Ovitz years ago. Disney paid a severance of one hundred and forty million dollars to get Michael Ovitz, who was completely unqualified to be Chief Executive Officer, to leave.”

“Is this the reason you’re suing Michael Eisner?” Donovan asked.

Roy Disney nodded slowly, half-truthfully. “The entire matter was decided solely by Michael Eisner without proper corporate procedures, a serious procedural error—and I have direct evidence.”

Donovan’s expression turned serious. “Is this your backup plan for today?”

Roy Disney steeled himself. “So, this lawsuit will inevitably fail for Michael Eisner. He will have to pay at least two hundred million dollars in compensation. Donovan, if that happens, are you sure Michael Eisner will still be able to repay? Won’t your loan to him become a bad debt?”

Roy Disney reminded him, “Don’t forget, Michael Eisner is just a professional manager at Disney, not an owner. Disney’s funds belong to all shareholders, not him personally.”

Donovan became cautious. Though he didn’t fully believe Roy Disney, if the situation were true, the consequences would be severe.

Roy Disney added, “Just wait for the news. By this Friday at the latest, the Delaware Court of Chancery will accept the lawsuit.”

There weren’t many days left, and Donovan could afford to wait. “Roy, I hope Disney can resolve its internal issues soon.”

Roy Disney said, “It will be resolved within the year. I will give all shareholders and investors an answer. Disney will have a brighter future, and all shareholders and investors will receive their due returns.”

After Roy Disney took his leave, Donovan immediately made a call, instructing his subordinates to investigate the situation while having the credit department delay Michael Eisner’s loan under the pretense of procedural requirements.

Leaving Citibank, Roy Disney got into his car and had the driver return to the hotel.

“Have we covered all the first batch of targets?” Roy Disney asked the secretary in the passenger seat.

“No,” the secretary replied, looking at the list in his hand. “We’ve already met with all the initial targets.”

Roy Disney, after all, was getting older and had expended too much energy. Feeling drained, he closed his eyes and leaned back in his seat. “What about the afternoon schedule?”

The secretary said, “Ronan Anderson from Relativity Media has arranged to meet with you.”

Roy Disney’s eyes instantly snapped open. “Ronan Anderson, an interesting young man.” He seemed to be asking the secretary, but it was more like talking to himself. “He’s looking for me? Does he want to get involved in Disney’s internal affairs?”

Robert Iger had already contacted him, expressing Relativity’s friendly stance.

Though he disliked outsiders meddling in Disney’s internal matters, Disney and Relativity had never been in direct conflict, so Roy Disney held no ill will toward Ronan.

To Roy Disney, a traditionalist, Ronan was more like a stranger on the street.

He didn’t feel any particular dislike.

But neither did he feel any particular fondness.

Like actors who had struggled for years to make a name for themselves, he looked down on overnight stars.

Walt Disney had taken nearly a century to reach its current scale, yet Relativity had achieved in just a few years what Disney had taken decades to accomplish.

How could the older generation accept this?

Ronan had risen too quickly—so quickly that Roy Disney, a traditionalist, hadn’t even figured out how to face him before he was already standing at the very top of the industry.

Back at the hotel, after lunch and a short nap, Roy Disney’s fatigue eased. He changed into a proper suit and arrived at the club Ronan had arranged, meeting the young man whose reputation had already spread throughout Hollywood in a private room.

This was a young mogul that even he, and the entire Disney family, had to take seriously.

“Good afternoon, Mr. Anderson.” Roy Disney gathered his energy and shook Ronan’s hand firmly. “Today, I’ve met a Hollywood legend.”

Ronan modestly replied, “You flatter me.” He flashed a warm smile. “Roy, you’re a veteran in the industry. Just call me Ronan.”

Roy Disney didn’t dwell on formalities. “Ronan, you specifically asked to meet me. What’s the matter?”

“A few days ago, I visited Goldman Sachs and heard from Lloyd Blankfein that you had come to New York.” Ronan spoke, and nine times out of ten, what he said was true. “Lloyd Blankfein mentioned some things about Disney, which struck a chord with me, so I arranged to meet you.”

Roy Disney’s actions weren’t secret, so he wasn’t surprised. “Disney’s situation is no secret in Hollywood, and certainly not to you.”

Ronan nodded slightly. “So, you want to end Disney’s internal strife and get it back on track, right?”

“This is the responsibility of every Disney!” Roy Disney seemed somewhat pained. “Disney can’t sink any further.”

Ronan probed, “Perhaps we can cooperate on this.”

Roy Disney looked at Ronan, his eyes instantly filling with vigilance. “Disney’s internal struggles are Disney’s problem. Outsiders don’t need to interfere.”

The meaning was clear—Ronan was an outsider with no right to meddle in Disney’s affairs.

Ronan understood. “Outsiders indeed shouldn’t interfere in Disney’s matters.”

The wariness in Roy Disney’s eyes lessened somewhat. Ronan Anderson, this young man, was at least somewhat sensible.

But Ronan immediately added, “Roy, I’m not an outsider! Your fight with Michael Eisner directly affects my interests!”

“What?” Roy Disney was quite surprised. “What do you mean?”

Ronan spoke softly, “I’m a Disney shareholder. Relativity holds nearly one point five percent of Walt Disney’s shares.”

Roy Disney looked at Ronan, seemingly unwilling to believe it.

Ronan took a stack of photocopies of share certificates and placed them on the coffee table, pushing them across.

Roy Disney quickly flipped through them and immediately realized Ronan was telling the truth!

The shares weren’t many, but they weren’t few either. Combined with Relativity’s reputation, they might even carry significant weight at shareholder meetings.

Ronan said, “Relativity is still in talks with others about share transactions. We’ll increase our holdings in the future.”

Roy Disney put down the photocopies and looked at Ronan. “Why?”

Ronan candidly replied, “For Disney, with its many subsidiaries, complete industrial chain, and ABC Television and ESPN, the current stock price is unreasonable. I think this is a good opportunity to buy in at a low point. Once Disney gets back on track, the stock price will surely rise sharply.”

This was specifically tailored to Roy Disney.

As a representative of the Disney family, Roy Disney had deep feelings and confidence in Disney.

He believed that once this dispute ended, Disney would return to its proper path.

“You’re speculating?” Roy Disney said.

“You could say that.” Ronan put away the photocopies. “If Disney does well, Relativity will increase its investment and seek long-term returns.”

He emphasized, “But all of this can only happen if Disney gets back on track and ends this dispute quickly.”

Since it directly involved Relativity’s business interests, Roy Disney’s guard lowered further. With hundreds of millions of dollars in investment returns at stake, Relativity’s concern was inevitable.

Roy Disney asked, “You’ve looked into Disney’s situation and sought me out. I assume you have a plan?”

“It’s not much of a plan, just a preliminary idea.” Ronan spoke directly. “I learned at Goldman Sachs about your activities in New York, especially on Wall Street. Relativity, due to its relationship with Netflix, also has some connections on Wall Street and in financial institutions. We can assist you. For example, using our company’s reputation to help you rally shareholder support and lobby financial institutions to refuse credit loans to Michael Eisner, and so on.”

Roy Disney was somewhat tempted. After all, he hadn’t been at Disney’s forefront for a long time, and some of his connections had faded. If Relativity could help…

But he wasn’t sure how far Relativity could go. After a moment’s thought, he suddenly asked, “What if I refuse?”

Chapter 850: Who to Cooperate With?

“Relativity Entertainment’s primary concern is investment returns,” Ronan stated frankly, adopting a purely business-oriented stance. “Therefore, what I want to see is a stable Walt Disney.”

He smiled. “As for who holds the power, it’s not particularly important to Relativity Entertainment.”

With someone like Roy Disney, a seasoned veteran of the business world, appealing to emotions or relationships would be futile—it would only make him suspicious. Approaching the matter purely from a business investment perspective, weighing the pros and cons, would likely yield better results.

Given the hundreds of millions of dollars in investment involved, Relativity Entertainment’s interference seemed entirely justified.

Roy Disney asked coldly, “In other words, if I refuse you, you wouldn’t mind cooperating with Michael Eisner?”

Ronan replied, “For Relativity Entertainment’s investment to bear fruit, Disney must remain stable. Although Michael Eisner may not be the best choice, he is a hundred times better than continuing this internal strife. Moreover, no one can ignore the contributions Michael Eisner has made to Disney’s current success.”

His voice grew colder. “Personally, I don’t like Michael Eisner, but…”

He left the rest unsaid, though the implication was clear.

Roy Disney looked at the ugly face of capitalism before him and knew in his heart that for business interests, Relativity Entertainment would indeed do such a thing.

After all, Relativity Entertainment and Ronan Anderson had no deep ties to the Disney family.

Besides, even if their relationship were good, could it outweigh hundreds of millions of dollars?

Roy Disney also pondered in silence whether Relativity Entertainment’s shift in support to Michael Eisner would sway some of the neutral factions toward him.

It was truly hard to say.

Ronan then added, “Of course, this is a less favorable choice. Michael Eisner is no longer the man he once was.”

Roy Disney wholeheartedly agreed. “Michael Eisner no longer has the ability to lead Disney forward. Disney’s performance over the past few years proves that under his leadership, the company is shrinking.”

Ronan nodded in agreement.

But in his mind, he knew it wasn’t that simple. The primary reason for Disney’s decline was internal strife, which was more damaging to a company than any external crisis.

Another factor was the emergence of Relativity Entertainment.

Though Relativity Entertainment had never directly clashed with Disney over interests, projects like Pixar and Pirates of the Caribbean had impacted Disney.

Ronan said, “Roy, as someone who has been with Disney for so long, no one understands the company better than you. Relativity Entertainment’s first choice is you.”

“I doubt you’re being this generous,” Roy Disney saw through the nature of these business groups. “Supporting me isn’t just about investment returns—there must be other demands.”

Ronan smiled. “It’s always a pleasure to speak with someone intelligent.”

Roy Disney put on a serious face. “Go on.”

Ronan composed himself and said seriously, “Relativity Entertainment wishes to acquire the copyrights to all past animated features from Disney Animation Studio. We will offer Disney a satisfactory price…”

Roy Disney thought he had prepared himself, but upon hearing this, he could only describe his reaction as shock.

He stared at Ronan, as if gaining a new understanding of the ugly face of capitalism.

Ronan paid no mind. This first condition was merely a probe. If there was any possibility, Relativity Entertainment would press forward relentlessly. If not, they would move on to other matters.

“Absolutely not,” Roy Disney said, his anger barely contained. “Unless the Disney family is no more, Disney will never sell the rights to its animated films. Don’t even think about any related copyrights.”

He stood up abruptly, seemingly ready to leave.

Of course, Roy Disney was also making his stance clear—this was not up for discussion.

Disney would rather sell all its theme parks than part with the rights to its animated films.

Those rights were the foundation of Disney, the very essence of what made Disney, Disney.

“Other authorizations…” Ronan probed again.

Roy Disney enunciated each word clearly. “I said any copyrights.”

Ronan understood and gave up. “Roy, we are here to negotiate. Cooperation is about finding common ground while respecting differences.”

Roy Disney sat back down and reiterated, “No member of the Disney family will ever allow such a thing.”

Ronan could hear the determination in Roy Disney’s voice and knew that such a condition was absolutely unacceptable to him.

“In that case, I won’t force the issue,” Ronan said calmly.

Though Roy Disney was furious, his guard against Ronan returned to a normal level. A person with clear goals seeking substantial benefits was more reliable than someone who tried to build relationships based on emotions.

The latter often hid more sinister intentions and greater demands behind the facade of sentiment.

Business cooperation was never based on emotional factors.

Roy Disney said, “Ronan, though some things are difficult, the Disney family’s strength should not be underestimated. Ending Disney’s internal strife is a win-win for us.”

This was Roy Disney’s way of telling Ronan that he wasn’t desperate for Relativity Entertainment’s cooperation. Any conditions or demands should not be excessive.

Ronan seemed to understand Roy Disney’s meaning. After a moment’s thought, he said, “Fair enough. It’s not difficult to achieve.” He spoke softly, “Relativity Entertainment will seek to join the MPAA at the appropriate time. I ask for Disney’s full support in this endeavor.”

Indeed, this young man’s ambitions were not small. Roy Disney sighed inwardly and said, “You want to stand on equal footing with the Big Six?”

Ronan replied, “Relativity Entertainment already has the strength to do so.”

“The Big Six’s structure has been maintained for many years and has never been broken,” Roy Disney said. “The MPAA is actually a key point. Disney’s support alone is far from enough; the other five must not oppose it.”

Ronan smiled. “There’s always a way.”

Roy Disney said gravely, “Breaking the established structure of the Big Six is not that simple.”

Ronan said, “With Disney’s support, we’ve at least taken a big step forward.”

Roy Disney considered for a moment and said, “Fine. As long as Michael Eisner steps down, Disney will fully support Relativity Entertainment’s entry into the MPAA.”

Ronan stood up and extended his hand first. “I hope for a pleasant cooperation.”

Roy Disney shook his hand firmly. “I hope your side will send someone with sufficient influence to quickly get involved in the actual work, cutting off Michael Eisner’s personal financing channels and bringing other shareholders into our alliance.”

The latter point was particularly important. Given Relativity Entertainment’s current reputation in the industry, it was very likely to influence the choices of many neutral shareholders.

Ronan said seriously, “Robert Iger will arrive in New York soon. Our Chief Executive Officer will personally participate in the operations.”

Roy Disney said, “Agreed.”

Ronan said, “Agreed.”

The two chatted for a while longer before parting ways.

Leaving the club, Roy Disney felt that the sunlight in New York was also brilliant, and the towering skyscrapers were pleasing to the eye.

Though his mood was good, feeling as though he had taken a big step toward his goal, Roy Disney reminded himself to maintain a certain level of vigilance toward Relativity Entertainment.

Back at the hotel, he had someone investigate and learned that Relativity Entertainment was indeed increasing its shareholding, such as acquiring the Disney shares held by the Weinstein brothers. This somewhat reassured Roy Disney.

Combining the actual situation with his thoughts, cooperating with Relativity Entertainment was indeed in their best investment interests.

That evening, Robert Iger and his team arrived in New York from Los Angeles.

“How did the talks go?” Robert Iger asked Ronan.

“Roy Disney is eager to end this conflict,” Ronan explained the details. “Overall, it went smoothly, but we can’t let our guard down. Bob, you should personally meet with Disney’s shareholders to stabilize Roy Disney.”

Connie asked, “Aren’t we cooperating with Roy Disney?”

Ronan smiled. “We are cooperating with Roy Disney, but we are also cooperating with others. We choose to work with those who best meet our needs.”

Connie understood and didn’t ask further.

Robert Iger said, “I’m ready on my end, but the first few major institutions will require you to step in personally.”

Ronan nodded. “No problem.” He asked, “Bob, how confident are you? Are you sure these shareholders can be swayed?”

“They invest not to develop the film industry, but to profit from their investments,” Robert Iger said. “As long as we can create a good opportunity, they can escape Disney’s vortex and still make a profit. Don’t overestimate Wall Street’s foresight. When they smell an opportunity, their eyes will only be on the profits.”

Ronan suddenly thought of the once-top investment bank on Wall Street, Lehman Brothers. Did they not foresee the severe consequences of their reckless operations?

But with massive profits within reach, how many would care about the future?

Moreover, Ronan and Robert Iger were planning a feast—though not extravagant, it was substantial.

“This matter can’t be rushed; it requires timing,” Robert Iger reminded. “We’ve already waited and planned for several years. A few more months won’t matter.”

Ronan nodded slightly. “I understand.” He asked, “When will Steve Jobs arrive?”

Robert Iger said, “After we have some initial results, he will come to New York personally. I’ve spoken with him twice. As long as we can secure the rights for Pixar, Steve Jobs will cooperate with us. For the foreseeable future, as long as there are no conflicts of interest, Steve Jobs will basically stand on our side.”

Ronan said, “You should also prepare for the possibility of Jobs turning against us in the future.”

He hoped that day would never come, though Jobs was formidable, he didn’t have many years left.

Chapter 851: Resolving the Dispute

Money can prolong life, but when illness reaches a certain stage, it cannot save it.

In the face of terminal illness, the world might seem a bit fairer, as many super-rich billionaires have also died young from such diseases.

However, Steve Jobs continued to believe in the methods of the “Third Brother,” which might not bode well for his health.

Speaking of which, what products of the Third Brother’s are actually reliable?

Ah, perhaps the special market and legal mechanisms make their generic drugs decent.

Ronan wasn’t foolish enough to try and persuade Steve Jobs. Jobs wouldn’t even listen to his wife and children on this matter, so how could he listen to an outsider? Moreover, their relationship had just entered the honeymoon period. Any misstep could lead to irreparable damage.

As long as Steve Jobs could hold on until the second or third generation of the kidney machine was released, that would be enough for Ronan.

Over the years, Ronan’s salary, bonuses, and dividends—most of his personal income—had been invested in Apple and Amazon.

Additionally, he held a small amount of Google stock.

Even without Android, Google remained the absolute dominant force in the search engine industry.

Thus, Ronan’s fallback options were more than sufficient.

Even if Relativity Entertainment and Netflix both collapsed, it wouldn’t take him long to become a billionaire again.

This gave Ronan the confidence to work with Robert Iger on the Disney plan.

As Robert Iger arrived in New York, Ronan accompanied him to visit several major Wall Street investors who held significant Disney shares, showing Roy Disney the attitude of Relativity Entertainment.

However, when Roy Disney refused to discuss any matters related to the copyright of Disney animated films, Ronan and Robert Iger activated their second plan.

It had to be said that the Disney family held deep sentimental value for the animated films created by the Disney brothers.

After meeting with several major investors, Ronan left New York first, temporarily leaving the remaining work to Robert Iger. Once Robert Iger made progress, Ronan would return to New York.

On one hand, with Robert Iger, an expert in business management, handling things, Ronan didn’t need to micromanage everything.

On the other hand, there was film work that required his attention.

In the production of The Dark Knight, director Christopher Nolan and Charles Roven, the producer representing Warner Bros., had a serious disagreement.

As the lead producer of the project, Ronan had the responsibility and duty to resolve the disputes within the crew, especially between these two heavyweights.

This also concerned Shai Entertainment’s investment of hundreds of millions of dollars.

In the screening room of Warner Bros. Studios, Ronan watched the audition tapes. The pale face, eerie green hair, blood-red lips, and tattered purple suit made him recall the Dark Knight of the past.

The Joker, who had stolen the spotlight from Batman, was elevated to godlike status.

Next was another actor’s audition tape. Though dressed the same, in Ronan’s eyes, something was missing.

This was Robin Williams.

His acting wasn’t bad—certainly no worse than Heath Ledger’s.

But watching Robin Williams in the Joker’s attire, Ronan felt a sense of discord. No matter how he looked at it, he didn’t seem as suitable as Heath Ledger.

Ronan knew this was due to preconceived notions, even without anyone pointing it out.

After several audition tapes played, Charles Roven spoke first: “Robin Williams’ audition wasn’t bad, and he has extensive acting experience. Choosing him to play the Joker would be a safer option.”

Christopher Nolan countered: “I don’t think so. Based on the auditions alone, Heath Ledger’s performance was clearly better.”

Charles Roven didn’t want the argument to escalate further and turned to Ronan.

Although he represented Warner Bros., the cooperation agreement between Warner Bros. and Shai Entertainment stipulated that Ronan held the most authority in the production.

“Heath Ledger is indeed good, Chris. I admit that,” Charles Roven said, directing his next words to Ronan. “But those in the know have heard that Heath Ledger has a drug addiction. That’s a significant risk.”

He asked Ronan: “You’ve worked with Heath Ledger before. You should know about this, right?”

Ronan didn’t deny it: “In fact, I’ve even tried to persuade him, but it didn’t work.”

Christopher Nolan, who was very impressed with Heath Ledger’s audition, interjected: “I’ve already discussed this with Heath Ledger. If we cast him as the Joker, the contract will include specific restrictive clauses to minimize the risk.”

Charles Roven said: “There’s still risk involved.”

Christopher Nolan shrugged: “How can making a movie not involve risk?”

Charles Roven had no choice: “Ronan…”

“This is a normal work discussion,” Ronan said slowly. “Charles, I need to remind you of one thing. As far as I know, Robin Williams isn’t any better in that regard than Heath Ledger.”

Charles Roven asked: “Really?”

Ronan replied seriously: “I wouldn’t joke about the work of the production.”

Undoubtedly, Robin Williams was a great actor with a wide range of roles. Most importantly, he and actors like him had made countless audiences feel the magic of cinema, the breadth of life, and the warmth of human nature.

No one had ever thought that Robin Williams would end his life by suicide.

At that time, Ronan had read multiple reports. Both the police and Robin Williams’ spokesperson had mentioned his long-term struggles with drug addiction and alcoholism.

These two vices had destroyed Robin Williams’ body, ruined his life, and ultimately led him to choose self-liberation.

Alcoholism was somewhat manageable, but drug addiction had endless consequences. How many in Hollywood had fallen because of it?

Charles Roven had nothing to say: “Alright, Heath Ledger it is. I hope our choice is the right one.”

Christopher Nolan said: “Charles, this choice is definitely right. It will bring us surprises.”

Ronan remained silent. Since the actor had been decided, Heath Ledger it would be.

This was Christopher Nolan’s personally chosen actor. From the perspective of long-term cooperation, Ronan saw no need to cause problems with Christopher Nolan over the casting of the Joker.

Christopher Nolan would become the banner of original films in Hollywood in the future.

Only those who had experienced the past would understand how difficult it would be for original films to survive in Hollywood in the future.

This dispute between the director and the production manager didn’t escalate further thanks to Ronan’s timely intervention, and it remained within the scope of work.

For the casting of other new characters, such as Two-Face, Charles Roven and Christopher Nolan had no major disagreements.

For example, Aaron Eckhart would play Two-Face, and the thirty-year-old Spanish actress Elsa Pataky would play Rachel Dawes, the police officer bribed by the Joker.

This actress had also signed a long-term contract with Shai Entertainment and would subsequently appear in the Fast & Furious series.

Of course, only in a supporting role.

At the subsequent production meeting, Ronan saw the new actors. Due to his familiarity with the previous Marvel film series, he recognized Elsa Pataky immediately. She was once Thor’s wife.

Unfortunately, since no one knew where Chris Hemsworth was in Australia swinging his hammer, Thor had to be recast.

Perhaps the once highly noticeable Hollywood couple with a significant height difference would now become strangers.

Ronan vaguely remembered that Elsa Pataky had once starred in a very risqué film. There was a scene where an old man taped her private parts with tape, then wrapped her entire body in plastic wrap before clapping.

It had been too long, and Ronan only had a vague memory of it. He couldn’t even remember the title.

Speaking of which, European actresses were much bolder in terms of nudity and exposure compared to their Hollywood counterparts.

After all, it was for the sake of art.

The preparation for The Dark Knight was going smoothly, and the production team had once again signed a contract with the Chicago City Hall. Almost all exterior shots would be filmed in Chicago.

The Chicago side would also cooperate with the film’s promotion, such as holding a Batman parade before the release.

Additionally, at Ronan’s suggestion, Warner Bros., as the distributor, had also developed a viral marketing plan.

They would spread messages that the “Joker” was planning an attack.

Hollywood film promotions didn’t care about whether it affected social stability.

If it could cause panic and stir public curiosity, that would be ideal.

As for other promotional methods, Ronan didn’t say much. They would handle things as they came.

Warner Bros. was currently the top film company in Hollywood. What situations hadn’t they encountered? What promotional methods hadn’t they used?

Within the year, or at the latest by early next year, The Dark Knight would begin filming.

Due to the secrecy of the plot, following Christopher Nolan’s suggestion, the project would not be publicly announced. Instead, they used a fake title—Rory’s First Kiss.

The name came from Christopher Nolan; Rory was Nolan’s son.

Jerry Robinson, the comic artist who created the Joker character in 1940, was invited by Ronan and Christopher Nolan to join the production as a special consultant.

According to Christopher Nolan, the design of this version of the Joker followed the original image Robinson had conceived in the comics.

Additionally, Christopher Nolan specifically asked Ronan to help him contact IMAX Corporation. He wanted to shoot the entire film in IMAX format.

However, due to cost concerns, both Ronan and Warner Bros. rejected this, so Christopher Nolan could only present some scenes in IMAX.

After handling the production work and receiving feedback from Robert Iger, Ronan returned to New York.

Chapter 852: Wait a While

Just as Ronan was handling the dispute between Charles Rowan and Christopher Nolan, Hollywood was rocked by a scandal that sent shockwaves across the United States.

Led by Roy Disney, the Disney family, along with several Disney shareholders, held a press conference publicly accusing Michael Eisner, the current Chairman and Chief Executive Officer of Walt Disney, of serious procedural errors. They claimed that Eisner had acted unilaterally in hiring Michael Ovitz as Disney’s Chief Executive Officer and then firing him, resulting in Disney paying Ovitz a staggering one hundred and forty million dollars in penalty fees.

Furthermore, they alleged that Eisner was directly responsible for Ovitz’s excessive spending during his brief tenure at Disney. For instance, Ovitz had spent over five million dollars renovating his luxurious office, and his expenditures on vehicles, private jets, and daily expenses were equally extravagant.

This coalition, led by Roy Disney, formally announced that they were filing a lawsuit in Disney’s registered state of Delaware, taking Eisner to the Delaware Court of Chancery. They demanded that Eisner be held accountable and sought compensation totaling two hundred and fifty million dollars, including interest.

Shareholders suing the current Chairman and Chief Executive Officer was rare even in the United States’ business world. With the press conference, Disney’s internal conflicts and the power struggle between Roy Disney and Michael Eisner were laid bare before the media and the public.

Overnight, discussions about the matter spread from financial circles to the entertainment industry and even among the general public.

This was undoubtedly a well-prepared move by Roy Disney. The Michael Ovitz incident was no secret among the upper echelons, and it was common knowledge that Eisner had made procedural mistakes. Those considering collaborating with Eisner, especially those willing to lend him funds, had to consider the potential consequences if Eisner lost the lawsuit.

“Disney’s slowly declining stock price has stabilized,” Robert Iger remarked to Ronan as they walked down the corridor toward the meeting room. “It’s clear that both Michael Eisner and Roy Disney are trying to secure allies while also using funds to buy up Disney shares to gain more control.”

Ronan replied, “Roy Disney is old but still sharp. This will cut off Eisner’s funding sources.”

Robert Iger nodded. “Eisner doesn’t have much liquid cash. Over the years, aside from his income as a professional manager at Disney, he hasn’t had any other significant income sources. The income tied up in fixed assets isn’t easy to liquidate quickly.”

He sighed lightly. “Eisner controls a lot of funds, but Disney’s money isn’t his. If he dares to embezzle, he’ll face sudden death.”

Ronan said, “Eisner isn’t that stupid. He knows Roy Disney will be watching him.”

Robert Iger added, “Roy Disney has clearly been preparing for years. He probably started thinking about ousting Eisner in the late nineties. If things continue like this, Eisner doesn’t stand much chance.”

Ronan realized that Eisner’s past losses weren’t unjustified. Perhaps Eisner had thought that as long as he held the positions of Chairman and Chief Executive Officer at Disney, he had the absolute advantage and hadn’t taken Roy Disney seriously.

Over the past twenty-plus years, Eisner had indeed diluted the Disney family’s shares in Disney through acquisitions, financing, and stock expansions, making Walt Disney no longer solely belong to the Disney family.

The two men arrived at the meeting room. Ronan opened the door and entered first, followed by Robert Iger.

“Good morning, everyone,” Ronan greeted with a smile.

Those present were mostly familiar faces with direct investment ties to Netflix. There weren’t many people—only five.

Representing Goldman Sachs was the familiar face of Lloyd Blankfein. Steve Jobs was also there, though he hadn’t said a word. His presence alone spoke volumes.

Ronan shook hands with each of them, pulled out a chair, and sat down. After Robert Iger exchanged a few pleasantries, Ronan took the lead. “Everyone, we’ve all worked together before. We’re all shareholders of Netflix.”

At the mention of Netflix, everyone’s mood lifted, and the room filled with laughter and conversation. Since investing in Netflix, they had never regretted it. Netflix’s continuously rising stock price had also increased their investment returns.

Lloyd Blankfein said, “There are still too few Netflix shares in circulation. Ronan, when will Netflix have a second round of financing? We’ve been waiting.”

“Second-round financing will definitely happen,” Ronan replied, knowing that Netflix’s big spending days were still ahead. “Please be patient. We are partners. If Netflix seeks financing again, we will prioritize those present here.”

This statement undoubtedly made the atmosphere in the meeting room even more harmonious.

Steve Jobs remained silent, merely observing. He became increasingly convinced that Ronan Anderson was worth investing in. With his vision, ability, and decisiveness, such a young man often signified a bright future.

After discussing for a while, Ronan skillfully shifted the topic. “Apart from Netflix, we actually share another common identity.”

No one present was foolish; they all understood what Ronan was implying.

Ronan continued, “We are all shareholders of Walt Disney, holding more than one percent, which is worth over three hundred and fifty million dollars in Disney shares.”

Lloyd Blankfein said, “Goldman Sachs probably has the most, close to three percent, totaling one billion dollars.”

A senior president from Morgan Stanley said, “We also have a significant amount. Originally, we thought that Disney’s acquisition of ABC Television would lead to a noticeable rise in Walt Disney’s stock price once the merger was complete. But the results… Disney has been very disappointing these past few years.”

Another person added, “Selling would be a pity, and might even result in a loss. Keeping it doesn’t show any hope in the short term. It’s not a good investment.”

“Among those present, Relativity Entertainment entered the scene the latest,” Ronan said. “But we’ve also invested hundreds of millions of dollars.”

Lloyd Blankfein was puzzled. “I’ve always wondered why Relativity Entertainment suddenly wanted to hold Disney shares.”

Ronan answered directly, “Because I saw an opportunity to profit from Disney.”

These people immediately thought of Roy Disney, who had approached them recently. They exchanged glances, guessing that Ronan might be siding with Roy Disney. Was he trying to use his influence and cooperative relationships to secure allies for Roy Disney?

Lloyd Blankfein, who was most familiar with Ronan, asked directly, “Ronan, it seems you’re preparing to support Roy Disney?”

Before Ronan could respond, someone else asked, “Can Roy Disney turn Disney’s situation around and make our investment worthwhile?”

“Support Roy Disney?” Ronan suddenly asked. “Why support Roy Disney?”

Everyone, including Lloyd Blankfein, looked at Ronan with slight surprise. His words were indeed unexpected.

Ronan specifically asked, “Everyone, have you considered whether Roy Disney has the ability to lead Walt Disney out of its predicament?”

He didn’t wait for an answer. “Who turned Walt Disney from a single studio into the entertainment media conglomerate it is today? Over the past twenty-plus years, Roy Disney has never been involved in Disney’s frontline work. He’s too far removed from the primary markets of this industry. To put it bluntly, he doesn’t have the ability or energy to ensure Walt Disney gets back on track. Of course, he can hire another professional manager for Walt Disney, but what are the chances that someone who has been away from the primary markets and management for twenty years will make the right choice?”

No one spoke, but they all pondered Ronan’s words.

“And, to say something a bit arrogant, Relativity Entertainment and I have set our sights on Walt Disney,” Ronan said, now having the means to make such a statement. “So, as partners, I’m giving you all a heads-up. Maybe Disney’s investment isn’t much to you with your vast resources, but it’s still hundreds of millions of dollars.”

He glanced at Robert Iger. “Bob and I have a plan. If it’s successfully implemented, you won’t just recover your investment; you might even make a profit.”

Lloyd Blankfein smiled. “We won’t invest more resources in Disney.”

“You don’t need to,” Robert Iger interjected. “Relativity Entertainment will handle the specifics.”

He looked at Steve Jobs, who slowly spoke, “I will also cooperate with Relativity Entertainment.”

The Pixar children need to come home.

“Is Relativity Entertainment really targeting Disney?” someone asked.

Ronan replied, “The Disney shareholders’ meeting will reveal all.” He turned to Robert Iger. “Begin.”

These were people who wouldn’t be moved unless they saw a benefit. Ronan didn’t expect a few words to sway them.

Robert Iger personally distributed the relevant plans to them. “These documents must be returned at the end of the meeting. What you see and hear today, once you leave this room, should be as if it never happened. Ronan and I won’t acknowledge it. When the opportunity arises, you can take action then.”

After quickly browsing through the documents and considering Relativity Entertainment’s enormous influence and success rate in Hollywood and the film industry, Lloyd Blankfein said, “Alright, we’ll wait a while.”

Chapter 853: Only Believe in Disney Fairy Tales

The guests at the gathering gradually took their leave, and after seeing them off, Ronan had a brief chat with Steve Jobs.

“You look much better than last time,” Ronan remarked.

Steve Jobs smiled faintly. “I found a new perspective in India. Living another ten years won’t be a problem.”

Hearing this, Ronan was momentarily at a loss for words.

The Steve Jobs he knew seemed to have split into two people.

One was an absolute business elite, sharp-minded and always able to see through the fog to grasp reality.

The other was like a drowning man clutching at the last straw, placing hope and the future in something intangible.

Ronan couldn’t judge, but he knew the illness was affecting and changing Steve Jobs.

“Are you sure you can reclaim the rights to Pixar’s animated features?” This was what Steve Jobs cared about most. “Ronan, I admit your and Bob’s plan is good, but the business world changes in an instant.”

Ronan smiled. “Steve, if we operated through normal channels and methods, how likely would it be to get the rights back?”

Steve Jobs fell silent. Through proper channels, he had made many efforts, but the results were almost nil.

Ronan continued, “Those rights are no longer just about the animations themselves. Disney has built an entire industry chain around them, like the already constructed Toy Story-themed hotel. It’s too hard to make Disney give them up.”

Steve Jobs sighed. “I understand. I can’t handle these Hollywood matters, but you and Relativity Entertainment are different.”

After all, his expertise and main stage had never been the film industry, otherwise he wouldn’t have been led by the nose by Walt Disney all this time.

Ronan said, “Every circle has its exclusive side, and Hollywood is no exception.”

Steve Jobs nodded. “I have to return to San Francisco today. Keep in touch.”

Ronan replied, “Bob will communicate with you promptly if anything comes up.”

Apple still had a pile of matters waiting for him to handle, so Steve Jobs couldn’t stay long in New York. But his appearance today had already shown those people his attitude and stance.

Robert Iger said to Ronan, “Steve Jobs’ ambitions aren’t in the film industry, but because of the events in the eighties, he doesn’t fully trust Apple. This deal with us is also a safeguard for his family.”

Ronan understood. “Assets shouldn’t be tied to one company.”

Robert Iger said, “If the deal with us goes through, Jobs can have shares in the promising Netflix, and use the funds to buy and increase his holdings in Apple and other companies. Even if his illness is terminal, it’s enough to ensure his wife and daughter live without worry, at least not troubled by money.”

Ronan slowly said, “I hope we can smoothly reclaim the rights and complete the deal with Pixar.”

“According to Walt Disney’s internal regulations,” Robert Iger, who had worked at Disney for many years and understood it well, said, “as long as Disney’s board of directors approves, there won’t be any procedural issues, and we won’t have to worry about other troubles in the future.”

Ronan said, “So, that’s the key.” He thought for a moment and added, “And one more thing, we need to keep Disney in as much chaos as possible.”

Getting the shareholders of a company with dispersed shares to truly unite was extremely difficult. Even when Roy Disney had such a significant advantage, he could only just manage to oust Michael Eisner.

There were still many shareholders who supported Michael Eisner.

Frankly, Walt Disney’s transformation from a single production company into today’s comprehensive entertainment media conglomerate was largely due to Michael Eisner. Calling him the primary contributor wouldn’t be an exaggeration.

California, Los Angeles, 500 South Buena Vista Street.

A reddish-brown, Roman palace-style building stood here, with a large stone carving of the seven dwarfs on the front wall.

This was Disney’s headquarters, the land of the dream kingdom.

In Hollywood’s history, Disney was the only major studio that had never been traded.

The first day Hollywood was born was the studio system era. The pioneers opened up Los Angeles, and in a turn, they pulled open the competitive arena of the elite.

Disney was initially insignificant, almost nameless.

Until a mouse was born.

Mickey appeared as a naive and romantic childlike figure, providing children and even adults with a way to escape reality. In 1929, when the American economic crisis broke out, Mickey Mouse was described as “the last ray of sunlight in the capitalist world” and later became a symbol of optimism and positivity across America.

Even with Mickey, Disney was still a small company.

But Disney seized this opportunity.

Its approach in the film business was to avoid clashing with other Hollywood studios on themes and not to compete with emerging European directors on “artistic pursuit.” Instead, it chose a child’s perspective, forging its own path.

As the children’s world grew, so did the stories for adults.

In the process of growing with the audience, Disney continuously enriched Mickey’s family, creating girlfriend Minnie to add a love line, supplementing Donald Duck and Goofy to expand the friendship line, and incorporating current hot topics. Using the story of flight hero Charles Lindbergh flying across the Atlantic to Paris, in the film “Plane Crazy,” they put Mickey in the cockpit.

After Mickey Mouse and Donald Duck, Disney began to have a name in Hollywood.

Then, in 1937, the success of America’s first animated feature, “Snow White,” a super hit animated film, gave Disney a golden calling card in Hollywood.

What followed was well-known to those familiar with the Hollywood film industry. Disney, through its most skilled hand-drawn animation production, acquired the most valuable batch of film IPs.

Someone once said that Hollywood doesn’t believe in tears, only in Disney fairy tales.

Now, the person at the helm of this giant ship was Michael Eisner.

Chairman and Chief Executive Officer of the Walt Disney Company.

During Michael Eisner’s tenure, he adjusted the business strategy. The original Disney team focused on animation and introduced computer animation production systems from Pixar for technological innovation. New teams like Touchstone Pictures and Miramax focused on live-action films.

At the same time, Disney acquired ABC and ESPN for nineteen billion dollars, completing a comprehensive expansion and coverage of communication channels.

This was the largest deal in the American media field at the time.

Robert Iger once evaluated Michael Eisner to Ronan: He was a management genius who turned the tide, but also an autocratic Bismarck-like ruler.

Now, Roy Disney, who had brought Michael Eisner to Disney, was uniting shareholders to try to oust Michael Eisner.

In the competitive arena of the business world, business tactics and capital means must be decisive.

In the luxuriously decorated office, Disney President Dick Cook looked at Michael Eisner across from him and said, “Several institutions have withdrawn their cooperation with us for various reasons.”

Michael Eisner asked, “What about the agencies we established?”

Dick Cook said, “Same. They don’t want to take the risk.”

“Roy Disney thinks he can win like this?” Michael Eisner sneered. “He’s thinking too simply.”

The three highest positions of power at Disney: Chairman and Chief Executive Officer were held by him, the President position belonged to Dick Cook, and the board of directors was under his control.

These were Michael Eisner’s capital and the source of his confidence.

Dick Cook reminded him, “We have many shareholders supporting us, but we also need enough shares completely under our control. Now that funding sources are restricted, our share acquisitions will have to pause soon. As far as I know, Roy Disney is already using the Disney family’s reserve funds.”

Michael Eisner was no longer the Michael Eisner of the past. With a hint of arrogance, he said, “I will make time to personally talk to the major shareholders and remind them who developed Disney to its current scale.”

Dick Cook slightly furrowed his brows. As someone who had worked with Michael Eisner for many years, he could most keenly feel the changes in Michael Eisner.

This was a dangerous signal. He reminded, “Michael, we must take this seriously. The Disney family may have declined, but they still have some reserve funds. This is not something we can resist alone. We must unite more people, otherwise the consequences are unimaginable…”

“I understand,” Michael Eisner said. “I will try to gain shareholder support.”

He thought for a moment and said, “Those guys are all spineless bastards who change with the wind. As long as we can make some major moves beneficial to the company, they will unhesitatingly abandon Roy Disney and support us.”

There was nothing wrong with this statement. Shareholders didn’t care who was in charge; they only cared about whether their investments could bring returns.

Michael Eisner continued, “Don’t forget, Disney’s highest authority and the board of directors are still under our control. We still hold the initiative.”

Dick Cook sighed, “Don’t underestimate the influence of the Disney surname, especially within the Disney Group.”

Michael Eisner confidently said, “Don’t worry, there won’t be any problems.”

Dick Cook didn’t say more. Leaving Michael Eisner’s office, he looked at the building where he had worked for over a decade and suddenly thought of something.

Should he make two preparations?

In the office, Michael Eisner put away his arrogance and confidence, instead becoming somewhat cautious.

Roy Disney’s sudden lawsuit in the Delaware Court of Chancery caught him off guard and made him feel considerable pressure.

Insiders knew the ins and outs. The Michael Ovitz incident, if thoroughly investigated, had indeed violated many procedures.

Chapter 854: Dawn Breaks

Returning to Los Angeles from New York, Ronan accepted Harvey Weinstein’s invitation to attend the premiere of Sin City, produced by Dimension Films.

This film, with its highly distinctive style, had left a deep impression on Ronan—especially its female characters, like Jessica Alba and Eva Green. The former’s iconic dance had catapulted her to fame, while the latter’s nearly nude portrayal had become the epitome of a femme fatale. Though Eva Green’s character had originally been introduced in the sequel.

At the premiere, the most eye-catching actress was undoubtedly Jessica Alba.

As for the fashion world’s darling, Devon Aoki, Ronan paid her no mind.

“That just means my taste is perfectly normal,” Ronan remarked to Connie, who stood beside him in the VIP lounge. “Not the slightest bit distorted.”

Having worked by Ronan’s side for years, Connie knew her boss’s personality well enough to occasionally tease him. “Devon Aoki is a supermodel at the peak of the fashion world. Karl Lagerfeld believes she possesses a rare, high-end beauty that ordinary people can’t match.”

Ronan replied, “Then I’ll stick to my low-end tastes.”

Connie couldn’t help but laugh.

Ronan watched as the elegantly dressed Jessica Alba approached. “See? This is the kind of beauty everyone agrees on.”

Jessica Alba smiled warmly as she reached Ronan. “Good evening, Ronan.”

Ronan shook her hand lightly. “Hello, Jesse. You look stunning tonight.”

“Thank you,” Jessica Alba beamed even brighter.

Unbothered by the envious glances around her, she chatted enthusiastically with Ronan. After all, who in the industry didn’t know she was collaborating with him on James Cameron’s major project?

“The modeling work for the female lead is basically done,” Jessica Alba casually mentioned the progress in Wellington. “But as for filming, I have no idea when it will start. Probably not until mid-next year at the earliest.”

Ronan sighed. “If we can start filming by mid-next year, that would be a miracle.”

This film required an enormous amount of preparation, and James Cameron was a perfectionist. He wouldn’t begin shooting until everything was ready. Rumor had it that during the filming of Titanic, Cameron had halted production because the props lacked the barely visible engraving of “Titanic” on the dinnerware. He had the crew order new sets from the original porcelain factory, costing the production tens of thousands of dollars. The Fox executive overseeing the project had been so furious that he and Cameron had argued on set.

Cameron’s decision to leave Fox and collaborate with Ronan on Titanic had been heavily influenced by Fox’s actions during that time.

“Are you free tomorrow?” Jessica Alba suddenly asked. “My brother’s girlfriend is coming over, and I’m throwing a big party. Would you like to come?”

A few years ago, Ronan would have accepted without hesitation. Now, he had to decline politely. “I’m sorry, I have too much on my plate. I don’t think I’ll have the time.”

“No problem,” Jessica Alba said.

As she took her leave, her little finger brushed lightly against Ronan’s palm during their handshake—whether intentionally or not, he couldn’t be sure.

Ronan acted as if he hadn’t noticed, the picture of propriety.

Some risks simply weren’t worth taking. Better safe than sorry—otherwise, if he fell into a trap, he’d have no one to blame but himself.

Connie reminded him, “Director Rodriguez is coming over.”

Ronan saw Robert Rodriguez, the director of Sin City, approaching.

“Good evening, Ronan,” Rodriguez greeted warmly, as if he were the host. “We’re honored you could attend the premiere.”

Ronan shook his hand with a smile. “No need to be so formal. I came to learn and draw inspiration.”

Rodriguez looked puzzled. “How so?”

“Relativity Entertainment is investing in an adaptation of another of Frank Miller’s works—300. The style is very much in the same vein as Sin City,” Ronan explained.

“Ah, right, I remember now,” Rodriguez said with a laugh. “I had my eye on that project too, but you beat me to it.”

Ronan seized the opportunity. “No worries. If not 300, we can collaborate on other projects.”

Rodriguez wasn’t about to refuse. “It might take some time before I can discuss a partnership with you,” he admitted. “Quentin and I are planning to shoot a grindhouse film.”

“Grindhouse films” referred to the low-budget B-movies of the 1960s and 70s, often featuring explicit content and gore, which had peaked in the early 80s. Though notorious for their shoddy production, they had a dedicated following in North America, particularly in the video rental market.

Ronan was no stranger to the genre—Shai Entertainment, which he had taken over, had specialized in producing grindhouse films for the VHS market.

“Grindhouse films may be a thing of the past,” Ronan said to Rodriguez, “but I think there’s still potential in the DVD market. Shai Entertainment started with grindhouse films, so we have a foundation for collaboration…”

He recalled that after 2010, Rodriguez had teamed up with a distinctive-looking Hollywood actor to produce the Crescent Moon Blade trilogy.

Connie subtly nudged Ronan.

Harvey Weinstein’s voice cut in. “Ronan, how can you poach talent at Dimension Films’ premiere?”

Ronan replied, “I was just discussing grindhouse films with Robert.”

Weinstein shook Ronan’s hand with a laugh. In truth, he didn’t value Rodriguez as highly as Quentin Tarantino—his earlier remark had been in jest.

“We’re glad you could make it to the premiere,” Weinstein said warmly. “Thank you for your support.”

“Harvey, we’re old friends. No need for formalities,” Ronan replied.

Rodriguez, sensing that Weinstein and Ronan had business to discuss, took his leave.

“How’s the new company coming along?” Ronan asked.

“Registration is complete,” Weinstein said. “The deal we made has given me ample funding. Though much of it still relies on financing, Bob and I will retain enough shares to maintain real control.”

Ronan nodded. “Congratulations.”

Weinstein’s smile was genuinely relaxed. “The darkest days are finally behind me. The sky… is brightening.”

Ronan chuckled. “Did you finalize The Queen?”

“We did,” Weinstein confirmed. “After you stepped back, they had no better options. They had to work with me.”

He extended an invitation. “Ronan, are you sure you don’t want a stake in my new company?”

Ronan shook his head. “No, Harvey. My habits would only cause conflicts in management. Besides, aren’t we already collaborating on distribution?”

With the deal between Relativity Entertainment and the Weinstein brothers finalized, the international distribution for Weinstein Company’s films would be handled by Embassy Pictures for the foreseeable future.

“I heard you’ve been busy in New York, lobbying for Roy Disney,” Weinstein probed. “Are you backing him?”

Ronan answered seriously, “Yes. Michael Eisner embarrassed Relativity Entertainment over Pirates of the Caribbean. Roy Disney promised that if Eisner steps down, Disney will fully support Relativity’s entry into the MPAA.”

Weinstein agreed. “No one likes that tyrant, Eisner.”

Ronan smiled. “Relativity is a minor shareholder in Disney. A stable Disney aligns with our interests.”

Weinstein mused, “I’d love to see Eisner’s face when he’s ousted.”

Ronan laughed. “You’ll get your chance, Harvey. Just be patient—it’s only a matter of months.”

Weinstein nodded. Ronan’s stance was clear; Roy Disney could rest easy.

Thinking about how to report this to Roy Disney after the premiere, Weinstein said to Ronan, “We might end up competing at the Oscars.”

“That’s inevitable,” Ronan replied.

Weinstein knew that after leaving Disney, he couldn’t afford to offend Ronan. “Ronan, I can assure you—no matter how fierce the competition gets, it will stay within the bounds of normal business.”

He didn’t want rumors to ruin his good relationship with Ronan.

“I can promise the same,” Ronan said.

Both men laughed.

For now, Relativity Entertainment and Weinstein Company would be partners.

But in the long run, business relationships shifted with the market and time. Who could guarantee eternal alliances?

Weinstein then glanced toward a corner of the VIP lounge. “Ronan, let me introduce you to someone—a major investor and shareholder in the new company.”

Ronan asked curiously, “Do I know him?”

“Probably not,” Weinstein said, leading him over. “He’s new to the Hollywood scene.”

Ronan had assumed it might be Li Zao’s beachside boyfriend, but the man before him was younger than expected—even younger than himself.

Weinstein made the introduction without delay. “Ronan, this is David Ellison.”

Chapter 855: Unexpected Factors

“I never expected to run into you here.” David Ellison came from a distinguished background, but when facing someone who could rival his father, he remained remarkably polite. “You’re the ultimate goal for many of our classmates.”

Harvey Weinstein asked curiously, “David, Ronan, do you two know each other?”

Ronan, of course, knew David Ellison, though their acquaintance stemmed from past connections. This was their first actual meeting.

David Ellison said, “I saw Ronan a few times at USC School of Cinematic Arts events. Oh, right, I used to study there.”

He smiled at Ronan. “We’re alumni.”

Ronan nodded at David Ellison upon hearing this. “USC School of Cinematic Arts has gained another heavyweight in Hollywood.”

David Ellison quickly replied, “I’m just a latecomer. I still have much to learn from you and George Lucas.” He spoke earnestly, “Ronan, you’re my idol. That’s why I dropped out midway to join Hollywood.”

“I had no choice back then,” Ronan responded before shifting the topic. “I didn’t expect you to invest in Harvey’s new company.”

David Ellison smiled. “I met Harvey at a Jewish gathering and reached an investment agreement.”

Harvey Weinstein interjected, “David is ready to make his mark in the film industry.”

David Ellison added, “I’ll need both of your guidance.”

Ronan said, “David, you’re too polite. In Hollywood, USC School of Cinematic Arts is like family.”

The alumni connection was not to be overlooked, even in the fiercely competitive Hollywood. David Ellison was also willing to engage more with Ronan, his fellow alumnus.

After Harvey Weinstein left to attend to other matters, David Ellison turned to Ronan again. “Actually, besides The Weinstein Company, I’ve secured two other significant investments.”

Ronan remarked, “Capital is crucial for establishing oneself in this industry.”

David Ellison agreed deeply. “Ever since I dropped out and entered Hollywood, I’ve faced exclusion. They’re only interested in my money.”

“There’s no helping it,” Ronan said. “Every circle has its exclusivity.”

David Ellison didn’t need to hide anything from Ronan, who was even wealthier than him. He naturally admitted, “Fortunately, money can pave the way.”

Ronan asked, “Can you share the other two investments?”

David Ellison replied, “I invested in a movie about planes. I’m very interested in aerial combat films, but Hollywood has very few of them.”

He continued, “Besides The Weinstein Company, I also invested in another film company.”

Ronan grew interested and asked curiously, “Which company?”

David Ellison said, “Some small and medium-sized investment firms and financiers on Wall Street, led by Ryan Kavanaugh, have established a film production company. They’re also outsiders in Hollywood, and I invested a portion of the funds.”

Ronan said, “I’ve heard of them. In fact, my people have contacted them before.”

This was the former Relativity Entertainment, though now it had to change its name due to its relation to his plans and the company’s past name. When Ronan first heard about it, he had his people reach out to Ryan Kavanaugh.

Although he hadn’t personally spoken with Ryan Kavanaugh, a basic connection had been established between them.

From what Ronan knew, Ryan Kavanaugh was a mathematical genius from a wealthy Jewish merchant family. At twenty-one, he founded his own hedge fund company and dove into the internet stock market wave of the 2000s.

However, the story didn’t unfold as a super-genius success tale.

Ryan Kavanaugh misjudged the situation. Before the 9/11 event in 2001, his fund had already collapsed.

But his good family background allowed Ryan Kavanaugh to quickly bounce back.

Ryan Kavanaugh discovered that cash-rich Wall Street financiers, seeking non-traditional investment opportunities, were willing to enter Hollywood.

This played to Ryan Kavanaugh’s strengths in socializing. He raised a large sum from numerous Wall Street institutions and established a company called Maple Leaf Entertainment. He also heavily acquired Kevin Spacey’s film company, Trigger Street Productions.

David Ellison said, “This company has funds but lacks distribution channels and film projects.”

Ronan probed, “I’ve heard Ryan Kavanaugh has raised several billion dollars on Wall Street?”

With the alumni connection and Ronan’s consistently good attitude, David Ellison didn’t overthink it. Besides, it wasn’t particularly secret information. He said, “Ryan Kavanaugh has a ten-year plan to raise a total of twelve billion dollars from Wall Street.”

He smiled. “Of course, that’s a long-term plan. He doesn’t have that much money now, but he does have over ten billion dollars in funds.”

Ronan made a rough estimate. With David Ellison’s involvement, Maple Leaf Entertainment could likely mobilize twenty billion dollars.

No wonder the former Relativity Entertainment, with money paving the way, quickly made inroads in Hollywood.

Such a scale of funds could accomplish so much.

Hollywood also needed external funds to maintain high investments.

However, the former Relativity Entertainment ended in bankruptcy, ultimately failing to shake Hollywood’s traditional factions.

Ronan said, “Don’t rush, David. Money can open doors.”

David Ellison said, “We can only take it step by step. Before entering Hollywood, I thought I could invest in the Big Six, but after coming in, I realized it’s really difficult.”

Ronan smiled. “The Big Six aren’t always so powerful. There’s always a chance.”

David Ellison said, “I hope there will be an opportunity.”

He was smart enough not to bring up any investment in Relativity Entertainment.

He had researched before; Relativity Entertainment rarely accepted external investments.

David Ellison thought it was better to use his alumni connection with Ronan to find and wait for other opportunities rather than make a request Ronan wouldn’t accept.

The two chatted a bit more about films. The USC School of Cinematic Arts alumni identity seemed to bridge the distance between them.

Bob Weinstein came over to greet Ronan, who then left with Connie to another place.

David Ellison watched Ronan leave, a smile appearing on his young face, somewhat reminiscent of his madman father.

Alumni? This connection might become his stepping stone to quickly break into Hollywood!

Originally, David Ellison hadn’t planned to attend the premiere, but upon hearing that the boss of Relativity Entertainment might attend, he immediately changed his mind.

The education he received from a young age told him that to achieve success, he must utilize every available condition around him.

As the time drew near, Ronan headed toward the theater. Seeing no one around, he said to Connie beside him, “Continue gathering information on Maple Leaf Entertainment and Ryan Kavanaugh.”

Connie softly replied, “Yes.”

Ronan continued, “Check Ryan Kavanaugh’s schedule. I want to meet him once in public.”

“Understood,” Connie said. “After Maple Leaf Entertainment was established, Ryan Kavanaugh has been very high-profile in Los Angeles, constantly seeking investment and cooperation opportunities.”

Ronan nodded slightly. “I see.” He then reminded, “Also, pay special attention to David Ellison’s movements.”

David Ellison’s appearance was an unexpected factor, but not necessarily a bad one.

Connie softly said, “David Ellison has also been very high-profile recently.”

Ronan added, “The relevant information and data on these two should also be promptly fed back to Robert Iger.”

“Understood,” Connie responded.

The situation in Hollywood was never static. As long as the overall trend didn’t go wrong, new changes were inevitable.

How to utilize these changes was also an important condition for achieving one’s goals.

After entering the theater, Ronan had little interest in watching the premiere of Sin City. He was almost entirely preoccupied with thoughts about David Ellison and Maple Leaf Entertainment.

These Hollywood outsiders had pockets full of money.

Ten to twenty billion dollars, raised through Wall Street financing, was something no Hollywood film company could match in the short term.

The former Relativity Entertainment had tried to buy a future with money.

The result was basically a failure.

The money stayed in Hollywood, and Relativity Entertainment went bankrupt.

However, that Relativity Entertainment had lasted over a decade before going bankrupt.

Sin City achieved remarkable success, especially with its explosive reputation. Media and film critics were full of praise, and audience reception was also impressive.

The facts proved that Frank Miller’s comic-style imagery could be accepted by the film market and bring certain commercial value.

The film’s North American opening weekend grossed twenty-eight million one hundred thousand dollars, which, while not extraordinary, was still impressive.

After all, the film’s production cost was only forty million dollars.

Sin City debuted at the top of the North American box office chart, which also relieved the Weinstein brothers, who had just formally parted ways with Disney.

Everything seemed to have a good start.

However, Sin City’s performance wasn’t very stable. In the second week, it lost its box office crown.

The parody comedy Death Has Left, produced by Shai Entertainment and distributed by Embassy Pictures, officially landed in North American theaters. Riding on the massive influence of the Final Destination trilogy and the successful imitation of the Scary Movie series, Death Has Left performed quite well after its release.

When Death couldn’t kill the person he wanted to kill no matter what, the audience left not only laughter but also wads of cash.

In the opening weekend, this large-scale comedy, which primarily parodied Final Destination, grossed thirty-two million one hundred eighty thousand dollars.

Just like the Scream and Scary Movie series, Final Destination and Death Has Left would continue to be produced as a series.

Chapter 856: Sequels First

At this point, Final Destination, which had played a crucial role in the creation and development of Relativity Entertainment, had already reached its fourth installment. Final Destination 4 was set to release next year, and director James Wong had already informed Ronan that Final Destination 5 would be his last film in the series.

No one could endure directing the same series year after year without growing weary.

If it weren’t for his failed attempt to leave Relativity Entertainment in the past, James Wong would never have remained the director of the Final Destination series for so long.

As time passed and the series continued to succeed, James Wong’s long-dormant ambition began to stir once more.

This was only natural. Directors were creative thinkers, and any ambitious director would never be satisfied with the status quo.

“I can’t spend my entire career directing Final Destination.”

In the reception room of Relativity Tower, James Wong said to Ronan, “I’ve exhausted all my ideas for this series. All I can do now is repeat the same formula. Changing directors after the fifth film won’t make much difference.”

Ronan couldn’t bring himself to persuade James Wong to continue directing the Final Destination series—it was clearly impossible. Instead, he said, “Well, breaking out of the current mold might not be a bad thing.”

James Wong replied, “Thank you for understanding, Ronan.”

Ronan waved his hand dismissively. “You gave me two years’ notice, which shows how much you value me and Relativity Entertainment as a partner. It also gives me time to find a suitable replacement. No need to be so polite.”

James Wong added, “If it weren’t for you, I wouldn’t have succeeded. Without you, after my setback, I might not have found another opportunity in Hollywood.”

Ronan knew that as contracts expired, directors and actors who had worked with Relativity Entertainment would inevitably move on. For stars and renowned directors, collaboration was always a mutual choice.

Like those who had left before, Ronan wouldn’t make a fuss over the end of a partnership.

Business collaborations had beginnings, and naturally, they had endings.

But James Wong had stood by Shai Entertainment and Relativity Entertainment through their most difficult times. Ronan held him in high regard. Just as he had during their first parting, he reminded him, “James, breaking away from the Final Destination series might be a good thing for you. You’ll have a whole new world to explore. But when choosing your next project, be cautious.”

Frankly, he didn’t want to see James Wong directing another bizarre live-action adaptation of a Japanese manga, like Dragon Ball.

James Wong said, “I plan to develop a new horror-thriller film.”

Ronan nodded. “Send me the script once it’s finished.”

If possible, James Wong would have liked to continue working with Relativity Entertainment. He quickly agreed, “No problem.”

After a short visit, James Wong took his leave. Final Destination 4 was still in post-production, and he needed to return to oversee the work.

Even if James Wong no longer directed the Final Destination series, Ronan would still invite him to serve as a producer for future sequels.

For many film sequels, Ronan had completely delegated authority to the respective producers.

Other series like Resident Evil, Deadly Curve, and Saw were also managed by their own producers. Ronan rarely interfered, only participating in the final review of the edited versions once production was complete.

In the afternoon, the latest distribution plan for 2006 from Embassy Pictures arrived at Ronan’s desk.

Since Shai Entertainment’s TV series were primarily distributed through Netflix Streaming Media, Embassy Pictures’ distribution operations focused mainly on films.

This distribution plan perfectly embodied the principle of prioritizing commercial interests and profits, with a heavy emphasis on sequels and adaptations.

Strictly speaking, sequels to blockbuster films dominated the majority of the lineup.

Resident Evil 3, Saw 4, Minions, Shrek the Third, Final Destination 4, Night at the Museum 2, Pirates of the Caribbean 3, Fast & Furious 3, and more.

Non-sequel films were mostly adaptations: Iron Man, 300, The Departed, The Prestige, and The Da Vinci Code, among others.

Original films were extremely rare, with only two exceptions: Juno, discovered by Jessica Felton, and The Hangover, which had already completed production.

This trend reflected the broader state of Hollywood, where original films were struggling, and any studio approached original material with extreme caution.

Additionally, the distribution plans for two major works remained uncertain.

Pixar’s The Incredibles and Cars were still in production, though the delay in The Incredibles was purely to avoid distribution by Disney. As long as Relativity Entertainment could reach an agreement with Pixar, the film could be completed at any time.

Cars was nearing the end of production and would be finished by March of next year at the latest.

Due to confidentiality, Ronan directly called Garcia-Rodriguez regarding Cars. Even if an agreement with Pixar was reached this year, Cars would still be delayed until 2007 to give Embassy Pictures more time to prepare for distribution and promotion.

This was an extraordinary animated film. Even without Disneyland, the overall merchandise operations couldn’t compare to Disney’s, but Embassy Pictures, having handled Peppa Pig and multiple animated features, had already established offline channels.

With proper distribution and promotion, Cars could still generate massive commercial value under Relativity Entertainment.

Some had once asked which of Pixar’s animated features, as the leader in computer animation, was the most commercially successful.

The answer was surprising.

It wasn’t Toy Story, nor Finding Nemo, and certainly not WALL-E.

It was Cars!

While its box office performance was only average, the revenue it generated in the toy market was staggering.

Even without Disneyland, Relativity Entertainment could still license the property to other theaters or theme parks, generating substantial profits from amusement rides.

As for toys, dolls, and related licensing, Embassy Pictures, after years of development, might not match Disney, but it was the second-largest distributor in Hollywood after Disney.

Peppa Pig had already brought in nearly six hundred and fifty million dollars in revenue for Relativity Entertainment in just the first eight months of the year—a testament to their success.

Under Embassy Pictures’ management, Peppa Pig was steadily approaching Ronan’s goal of one billion dollars in annual revenue within three years.

Of course, at its peak, Peppa Pig had once generated nearly twelve billion pounds in annual revenue.

Once an animated film or series achieved massive success, its revenue often far surpassed that of even the hottest live-action films.

Even the Pirates of the Caribbean series, with its fanatical following, couldn’t keep up with Peppa Pig.

The offline impact of Cars far exceeded that of Peppa Pig.

Ronan remembered how some had once tried to scam subsidies by slightly altering the name—turning “Lightning McQueen” into something else—and blatantly releasing it in theaters.

Even at their most shameless, neither Hong Kong nor Hollywood had ever sunk to such levels.

Copying and bootlegging were understandable—Hollywood and Hong Kong had done their fair share—but could such things really be explained away so easily?

Due to confidentiality, details about these two animated films were known only to Ronan and a few top executives. Embassy Pictures would not yet have direct involvement with them.

Moreover, nothing was set in stone. Until the contracts were signed, everything remained uncertain.

Ronan was well aware that despite Steve Jobs’ apparent alignment with Relativity Entertainment, it was only because Pixar, as a pure content producer, needed strong distribution channels to realize its value. Additionally, Jobs himself had a need for Netflix’s cash…

And Ronan’s plan genuinely seemed capable of helping Pixar reclaim its rights.

If the plan failed, Steve Jobs would undoubtedly cut ties with Relativity Entertainment and turn to another company.

He might even betray them.

Thus, Ronan treated external support as nothing more than a fair-weather advantage. The true key lay within Relativity Entertainment itself.

In mid-September, Scott Swift brought Ronan good news.

“We’ve reached an investment agreement with the Indians. The Mountain Fund’s new investment is in place, totaling four hundred million dollars.”

Scott Swift looked exhausted, clearly having come straight from the airport to Relativity Tower. “The agreement with the Falchi Foundation has also been signed. Although the Falchi Foundation is larger than the Mountain Fund, their recent failures in Wall Street investments have made them more cautious. Their first investment with us is only three hundred and fifty million dollars.”

Ronan nodded slightly. “More than I expected.”

Scott Swift continued, “Our new round of financing in Japan and South Korea has also seen preliminary results. Several investors have expressed interest. By December, we expect to secure over two hundred million dollars in additional funding.”

“Of course, some of the participating film companies have conditions.” Scott Swift said somewhat awkwardly. “They want some of their actors to appear in Hollywood films—not as leads, just supporting roles.”

Ronan replied, “No problem.”

This was clearly about prestige. It wasn’t just actors from the Eastern markets—many countries’ film industries did the same. A stint in Hollywood, even in minor roles, could turn them into so-called “international stars” back home.

Chapter 857: Gilding

In addition to Japan, South Korea, and India, new investments had also come in from South Africa and Germany.

Scott Swift also specifically mentioned the Eastern markets.

“I went over there again last week. Those who got rich from natural resources are desperately looking for stable and high-end investment channels,” Scott Swift seemed to be reminiscing. “That group is really extravagant beyond belief.”

Ronan had encountered some fringe figures and minor players from that group before. Their wealth was nothing compared to the mainstream of that circle, but when it came to extravagance, it was truly eye-opening.

Not everyone in that circle was extravagant beyond belief. There were also smart people who knew that the violence in this industry was temporary and that the future might change. They used this industry as a basis for capital accumulation and then looked for new investment channels, trying to transform.

Some of these people had a considerable interest in the Pacific Investment Foundation.

Scott said to Ronan, “After the first batch of funds was raised, we contacted another group of people who are also very interested in investing. If we can reach an agreement, the new round of investment could reach three hundred and fifty million dollars.”

Ronan nodded slightly and reminded him again, “Pay attention to a few points. Investments must comply with the laws and regulations there. Focus on the reputation and credibility of the Pacific Investment Foundation. We treat Western investors according to the contract, and we must do the same for them.”

“I understand,” Scott Swift was a bit excited. “After going there several times in a row, I realized that the reports from the American media are outright lies. The development there is faster than expected, and the wealth some tycoons control is quite substantial.”

He clearly had ideas, “That place can become one of the important markets for the Pacific Investment Foundation. I will maintain the reputation and credibility of the Pacific Foundation there, just like in North America, and strive to win the best reputation to gradually attract investments.”

Ronan would not discourage his subordinate’s enthusiasm and said, “These matters are still specifically handled by you.”

Nowadays, the financing of the Pacific Foundation was completely different from when he pulled investments from the Arabs. Investments had fixed returns, and the Pacific Foundation would not default on any investor’s money.

This included the other side of the Pacific as well.

This was normal business cooperation, and there would be no issue of anyone cheating anyone else. Ronan did not need to specifically avoid it.

Then, Scott Swift also mentioned that not only Japan and South Korea, but there were also people from there who wanted to send people over for gilding.

Relativity Entertainment had enough film and television projects to shoot every year, with a large number of supporting roles. The type of actors used did not make much difference.

Since it was beneficial for attracting investments, Ronan would certainly not refuse.

If possible, he could even specially create an actor gilding plan for the East Asian markets and entertainment circles.

Those who came to Hollywood were small actors and small stars. After playing a few small supporting roles, they could go back and boast about becoming international movie stars.

At least within the next five or six years, this operation had quite a lot of room to be used.

Ronan simply had Scott contact George Clint and let them discuss a feasible plan.

Speaking of which, the East Asian market would become increasingly important to Hollywood in the future. Creating some roles that met the needs of the East Asian market was also very necessary.

For example, the broadcast copyright of “Intern Grey,” starring Gianna Quan, was sold in the South Korean market for a sky-high price that Hollywood dramas had never seen before.

Now, Japanese and South Korean actors were entering Hollywood on a large scale. Even if they could only play some unimportant supporting roles, once they returned to their local film and television circles, their status would be on par with the top stars.

The Hollywood effect was particularly obvious in East Asia.

Many smart enough actors did not seek important roles. Even if they were just extras in Hollywood, using the now developed media for hype, they could create momentum for themselves.

For example, Li Zao had been nothing more than an extra in Hollywood for the past two years, but she had been holding on. Occasionally, she would show her face in some medium-sized movies and stir up some scandals with stars and celebrities. In the entertainment market on the other side of the Pacific, her persona as an international superstar remained very stable.

There was also Gianna, who had a close relationship with Ronan. Even in medium-sized Hollywood productions, she could not play the first female supporting role. She was indeed one of the top queens of the South Korean film and television circle.

Speaking of which, this actress’s success was not just luck but also her generous and frank demeanor.

No matter what Ronan asked, Gianna could perfectly fulfill it and was very proactive.

After returning from South Korea to Los Angeles, Gianna immediately made an appointment to see Ronan. Ronan also happily accepted the invitation. After having dinner together outside, he brought Gianna back to the Future World Estate.

The enthusiastic Gianna was like a snake.

“Compared to my peers in South Korea, I am lucky,” Gianna nestled on the sofa, looking at the starry sky outside, and said, “Many times, I want to stay in Hollywood and never go back.”

Ronan handed her a glass of red wine, “Is someone making things difficult for you?”

Gianna said, “They all know that you are behind me. There are some small troubles, but they don’t dare to make unreasonable demands on me.”

Ronan clinked glasses with her, “Then don’t go back.”

“It’s easy to say, but hard to do,” Gianna sipped the red wine. “My income in Hollywood is not even a third of what I make in South Korea.”

She said with a bit of self-mockery, “The so-called international movie star only works in South Korea.”

Ronan pulled over a chair and sat across from Gianna, “Relativity Entertainment will have more and more film and television projects in the future. There will always be roles.” But he would not promise impossible conditions, “Of course, the possibility of you playing the female lead is not high.”

Hearing this, Gianna looked very satisfied, “As long as you think of me, I am very content.”

Ronan lifted her chin with one hand, “How could I forget you?”

Gianna smiled and said, “Ronan, I have prepared a gift for you.”

Ronan was curious, “You also prepared a gift for me?”

Gianna playfully shrugged, “You gave me so many expensive gifts this afternoon. I should at least show some gratitude.”

Although it was already late when they met in the afternoon, Ronan took her around the luxury area of Rodeo Drive. Whether it was Hermès bags, Cartier jewelry, or Chanel’s latest fashion, as long as Gianna liked it, Ronan would directly pay for it.

In this regard, he had always been very generous.

Gianna took her backpack and took out a folded file bag from it. After opening it, she took out a page of ordinary A4 printing paper that clearly contained a photo and handed it to Ronan.

“What is this?” Ronan could only vaguely see the outline of the photo. Could it be Gianna’s artistic photo?

But on second thought, he had taken many himself, and Gianna probably wouldn’t specially give them.

Moreover, the ones he took had very high artistic content.

They were all safely locked in the underground vault.

Ronan was very careful in this regard, eliminating any possibility of them leaking out. If something tragic like Gianna’s incident happened, that would be too careless.

“Take a look,” Gianna urged.

Ronan opened the A4 printing paper, revealing two photos. The photos showed the same girl, who had quite good looks.

One photo was a lightly made-up casual photo, and the other was a work photo with exquisite makeup.

As an experienced producer like Ronan, he could tell at a glance that the photos had not been heavily edited.

As for whether the girl had undergone any cosmetic surgery, it was not something that could be determined just by looking at the photos.

The A4 printing paper contained the girl’s basic information.

For example, her name was Claudia Kim, she was 1.77 meters tall, just twenty years old. Although she was an unknown small actress, she had a high educational background, had received professional-level model training, and had lived in the United States for many years, speaking extremely fluent American English.

Gianna asked, “How is she, Ronan? She’s not bad, right?”

Ronan looked at Gianna in confusion.

“This is someone I specially selected for you. She hasn’t been doing well in South Korea, and before she turned eighteen, she actually lived in the United States all the time, so she’s not very suited to the environment in South Korea,” Gianna specifically said. “Claudia really wants to come to Hollywood to develop, so she found me…”

Ronan was speechless and could more or less guess Gianna’s mindset. She had completely bet her future on him.

Gianna had always been a smart woman and saw some things very clearly. Asians in Hollywood were not in a good position. Not to mention comparing with blacks, they couldn’t even compare with Latinos. Ronan was her only backing.

As long as Ronan could pay a little more attention to her, she might become the true international superstar Gianna Quan.

Of course, as an artist from South Korea, she was even more clear that the entertainment industry and showbiz had no love without reason and no giving without asking for something in return.

Compared to the situation in South Korea, Hollywood was really much better.

“Don’t worry, there’s no problem,” Gianna said with a smile. “I can guarantee that Claudia, like me, has only had minor touch-ups and has not undergone any major modifications.”

Ronan put down these things and shook his head, “You’re thinking too much.”

Gianna moved a little closer and said, “If I don’t think more, how can the future be secure?”

“Rest assured,” Ronan gently patted her. “My promise is always valid.”

There would be many more roles for female Asian characters in the future.

Gianna stood up and walked towards the bathroom, “When the time is right, I should also help my compatriots.”

Ronan said, “I didn’t expect you to be so enthusiastic.”

Gianna Quan suddenly smiled, “I’m a woman with a kind heart.”

The facts also proved that Gianna Quan was very dedicated. For her future, she worked very hard and fought very hard.

Chapter 858: Land of the Dead

As far as Relativity Entertainment’s film projects were concerned, Gianna Quan was currently only involved in one—the Fast & Furious series. Apart from continuing her role in Intern Grey, she had no other work lined up.

A man as honest and reliable as Ronan would never turn his back on someone.

He then gave Will Smith a call.

Some time ago, while Ronan was in New York working on The Departed, he had seen a remake script titled I Am Legend from Will Smith.

Ronan had watched the film before—Will Smith had single-handedly carried its box office. It was also the famous source of the “opening with a dog” trope.

Unfortunately, it was a remake, and the original novel’s film rights, along with related copyrights, had been in Warner Bros.’ hands for decades. Even if Ronan remembered it, there was nothing he could do.

Over the past two years, Will Smith’s star had risen so high that he could now be considered a superstar.

Warner Bros. had gone to great lengths to secure Will Smith, offering him a twenty-five million dollar salary plus a share of the backend profits, and even granting him nearly the same authority as a producer.

The film didn’t have many prominent actors, but Will Smith had significant influence over the casting of the supporting roles.

Ronan didn’t need to be polite with Will Smith. He called him directly to recommend Gianna Quan for the female lead.

Gianna Quan then went to audition for I Am Legend. The Brazilian Latino actress Alice Braga, whom Warner Bros. had initially favored, was eliminated in the final round.

With her strong acting skills and improved English, Gianna Quan smoothly passed the audition and secured the third-largest role in the film, after Will Smith and the dog.

Being able to star alongside Will Smith was enough to keep the entertainment media in the world’s largest superpower buzzing for a year.

Of course, in their eyes, Will Smith might not be a “non-chief,” but rather a “stick.”

Temporarily back in Los Angeles, Will Smith attended the premiere of Land of the Dead at Ronan’s invitation, drawn by the legendary status of George Romero, the father of zombies.

This zombie film, made with a budget of only eight million dollars, was completed by George Romero in less than seven months and then distributed to theaters by Embassy Pictures.

George Romero’s return to directing zombie films became the biggest selling point in the film’s promotion.

Although in the 1980s, George Romero had nearly ruined the zombie genre with films like Day of the Dead, which were so poorly received that they almost destroyed the entire genre, audiences were forgetful, and public opinion was more lenient toward an elderly man. Nearly twenty years had passed, and few people still brought up George Romero’s disastrous zombie films. Instead, his reputation as the father of zombie films had spread widely.

After Dawn of the Dead last year, George Romero had taken the initiative to approach Relativity Entertainment. He had learned from his past mistakes and abandoned many outdated elements of classic zombie films, instead creating a more modern and entertaining take on zombies.

For example, in the test screenings, zombies were instinctively drawn to fireworks, which received high praise from the audience.

Relativity Entertainment also continuously promoted online, emphasizing George Romero’s pioneering and significant contributions to the zombie genre, solidifying his status as the “father of zombie films.”

George Romero’s new zombie film also attracted the attention of countless zombie culture enthusiasts.

The premiere venue was packed with “zombies.” True zombie fans dressed up as the undead.

In addition to these ordinary zombie fans, there were also professionals in attendance.

For instance, Robert Kirkman.

He was the screenwriter of The Walking Dead and had accepted an offer from Shai Entertainment to serve as a special consultant for the adaptation of The Walking Dead.

The series was already in the planning stages, with the script currently being written. Ronan was also searching for a suitable director.

According to the agreement between Netflix Streaming Media and Shai Entertainment, the first season of The Walking Dead was scheduled to premiere in the winter of next year or the spring of 2007.

Of course, the plans were still cautious, with the first season consisting of only about eight episodes.

The series couldn’t be released too late. Once it lost the advantage and prestige of being the first zombie drama, its subsequent impact might be diminished.

The Walking Dead could be called a zombie drama in its early stages, but later on, the zombie setting was merely a backdrop.

Personally, Ronan preferred the type of zombie films where the undead were fought.

Chainsaws and zombies—that was the ultimate romance for a man.

At the theater entrance, Ronan met Will Smith, who said, “All these zombies everywhere make it too easy to get excited.”

Ronan joked, “Has your taste changed again? Or has it gotten even more intense?”

Will Smith’s dark face turned even darker. “How could I possibly be interested in zombies?”

Ronan replied seriously, “Will, I have a project that would be perfect for you. It’s called My Happy Life with a Zombie Girl.”

Will Smith was completely defeated. “I’m just a fan of George Romero!”

Ronan dropped the joke. “You’re about to star in a zombie film too.”

Will Smith nodded. “There aren’t many zombies, but they’re powerful.”

Ronan said, “I read the script. Based on the setting, they should be the most formidable zombies in zombie film history.”

“More or less,” Will Smith thought for a moment before saying, “Except for those mutant zombie monsters in your company’s Resident Evil.”

Ronan shrugged. “Those don’t count as zombies.” He changed the subject. “Thanks for helping with Gianna.”

“Don’t mention it,” Will Smith said earnestly. “Ever since we met, I’ve never said it, but I’ve always known that you’ve been helping me, and I haven’t been able to help you. This role finally lets me return the favor.”

As he spoke, he laughed.

Ronan didn’t continue the topic. After all, it was just a small matter between him and Will Smith.

Later, Ronan met George Romero in the theater lobby.

“I saw the test screening,” Ronan praised the film. “A masterpiece.”

George Romero said, “I think so too. Land of the Dead is the best zombie film I’ve ever made. I probably won’t be able to reach this level again.”

Ronan said, “How could that be? Fans are still waiting for your next work.”

He said this, but Ronan knew George Romero was telling the truth. It wasn’t that George Romero couldn’t keep up with the times or that his abilities had declined—it was his body that was failing.

During the filming of Land of the Dead, Allianz Insurance, which provided insurance for the crew, had repeatedly warned Shai Entertainment about George Romero’s deteriorating health.

Allianz Insurance even stated that if Shai Entertainment collaborated with George Romero again, they would not provide personal insurance for him.

George Romero’s heart hadn’t aged, but his body had.

For the safety of the crew and George Romero himself, Ronan decided not to work with him again.

He had also asked George Clint to speak with George Romero and advise him to rest.

To be honest, George Romero wasn’t short of money.

Ronan loved zombie films and hoped that the father of modern zombie films would live a few more years.

Unfortunately, Nine Uncle had left too soon. Otherwise, having George Romero direct a film where Nine Uncle battles zombies would have been incredibly satisfying.

The zombie genre had successors. Many companies in Hollywood, including Relativity Entertainment, were still developing this type of film, and there would undoubtedly be even better zombie films in the future.

But for the zombie genre, perhaps no one would ever surpass Nine Uncle.

The premiere screening began soon. George Romero had added many new elements to this traditional zombie film.

For example, zombies being drawn to fireworks, and the zombie revolution that ran throughout the entire story!

In this film, zombies were no longer just driven by instinct—they had begun to develop consciousness. George Romero specifically chose a Black zombie as the leader of the undead, leading a revolution against the white-led human settlement.

Thus, the zombies, who were at the bottom of the film’s social structure, under the leadership of “Black Lives Matter,” took politically correct steps, stormed the human settlement, overthrew the evil rule of the white bourgeoisie who exploited the common people and zombies, exiled the indecisive petty bourgeoisie, and became the new masters, establishing a zombie dictatorship.

From then on, the zombies stood up!

This was a zombie film!

Its sole purpose was to give zombie culture enthusiasts a thrilling experience.

Undoubtedly, Land of the Dead achieved this goal.

The most direct evidence was the film’s box office performance.

On its opening weekend, Land of the Dead secured 3,256 theaters through Embassy Pictures and earned fifteen million two hundred forty thousand dollars, ensuring that the North American box office alone would recover the investment.

Although the film’s reception was terrible—Rotten Tomatoes gave it a dismal score, media ratings were a mere 4.5, and even IMDb scores were failing—when had zombie films ever been well-received?

As long as the specific fanbase enjoyed it and the film company made money, it was a success.

Moreover, beyond the big screen, zombie films had always been popular in the rental market.

Just as there were many die-hard fans of Nine Uncle on the other side of the Pacific, zombie films in the West had never lacked an audience.

What other viewers might consider idiotic plots and settings were, in the eyes of zombie enthusiasts, the very elements that sent shivers down their spines.

Nearly twenty years later, George Romero’s influence among zombie fans was even stronger than it had been in the seventies and eighties.

The success of Land of the Dead also proved one thing: the zombie genre still had considerable market vitality.

Chapter 859: The Blacklist Plan

Zombie films had always been a favorite among fans of intense genres. The unique setting of zombies not only satisfied the sensory stimulation of heavy tastes but also attracted audiences with its themes of apocalyptic despair and dark human conflicts.

In the 1980s, George Romero gradually declined. His 1985 film Day of the Dead was not only ridiculed by critics but also performed poorly at the box office. His subsequent films continued to disappoint.

George Romero had no choice but to retreat from the scene.

The box office success of Land of the Dead officially announced to the world—the “Father of Zombie Films” had returned!

This would ignite the nostalgia of many zombie film enthusiasts. In film marketing and promotion, nostalgia was an effect that could never be overlooked.

Thus, despite its poor reception, Land of the Dead performed surprisingly well at the box office.

In North America, the film had already grossed over thirty million dollars in just ten days.

Overseas, in markets like the UK, France, Australia, and Germany, it also performed well.

Compared to its eight million dollar production cost, the overseas first-week box office of ten million and twelve hundred thousand dollars was quite impressive.

The success of Land of the Dead made Shai Entertainment take The Walking Dead even more seriously. Preparations were accelerating, and Netflix Streaming Media was also urging for the first season to be released by next winter.

Since its launch over half a year ago, Netflix Streaming Media had developed rapidly. Without any strong competitors, it attracted a large audience with its rich content.

The second seasons of Prison Break and Wild Survival would also be released in the last quarter of this year.

Next year, new series would also land on the Netflix streaming media platform.

Although the stock price of Netflix had slowed down after rapid growth and hype, it was still steadily rising.

This was the normal development model of a healthy enterprise.

Just like the real estate market on the other side of the Pacific, after explosive growth, there needed to be a brief adjustment period before preparing for the next phase of price surges.

In recent months, Netflix had also been steadily advancing its overseas expansion plans. Except for some special markets, such as Central Africa, it had established subsidiaries in most regions to promote Netflix’s business.

Even in the Arab world, in relatively open countries like the UAE and Qatar, Netflix had successfully entered the market.

In extremely conservative countries like Saudi Arabia, although Netflix Video and other services were blocked, Netflix sharing had opened up the market.

Additionally, there were new developments in the Android sector.

After the establishment of the Open Handheld Device Alliance, the already powerful individual entities united under a common direction, attracting more companies to join. Android had entered a period of rapid development.

In September, Netflix also convened an alliance meeting with major manufacturers, officially announcing that Samsung, BlackBerry, and Motorola phones equipped with the Android system would be launched next year.

This was undoubtedly good news for both Android and Netflix.

However, there was also unfavorable news. Nokia officially announced its acquisition of Symbian Ltd., making Symbian an exclusive system for Nokia.

The two major alliances in the mobile terminal industry had officially taken center stage. Nokia, with its global leading sales, aimed to firmly establish its dominance in the global market.

The relatively closed Symbian and the open Android were about to face their respective different fates.

Ronan wasn’t particularly worried about Nokia and Symbian, even though he had always been a loyal Nokia user.

Netflix had already brought too many mobile terminal manufacturers into the fold with Android, forming a broader alliance.

In comparison, Nokia’s circle was much smaller.

The only slight regret was that Ronan had never managed to persuade Steve Jobs. Apple still insisted on its own system, but fortunately, Netflix’s app had fully entered Apple’s system.

With the success of both Dawn of the Dead and Land of the Dead, aside from The Walking Dead, Ronan had also invested more attention in the zombie genre.

First, he personally reviewed the script library and submitted scripts at Shai Entertainment again. There were many zombie-themed scripts, but almost none had filming value.

This had nothing to do with his memory but was judged based on typical Hollywood review principles. Most scripts didn’t even meet the basic three-act structure, and their content settings were chaotic.

Speaking of which, scripts submitted through the submission route were mostly from newcomers. It wasn’t easy to discover valuable works.

Similarly, it wasn’t easy for those valuable newcomers to make a name for themselves.

Although Ronan periodically reviewed the scripts or projects received by Shai Entertainment, those that ultimately reached him were still a minority of the lucky ones.

Excluding Netflix, the main business of Relativity Entertainment was built on content production.

Although box office revenue accounted for a decreasing proportion of the company’s income, all offline and merchandise operations were based on content.

This was no different from Warner Bros., the highest-performing studio in Hollywood, and Walt Disney, which had once been on the verge of becoming a dominant force in Hollywood.

Content production required scripts, and Ronan needed a broader range of selection.

For this reason, he specifically called George Clint and Jessica Felton to discuss related matters.

“Expanding the selection scope isn’t just about these submitted scripts,” Ronan said, pointing to the photocopies of scripts on the table. “Many scripts might not be submitted to Relativity Entertainment; they could be gathering dust in other companies’ script libraries.”

George Clint said, “Other film companies would rather let scripts rot than allow us to see their script libraries, even if they don’t own the copyright.”

Jessica Felton agreed, “Yes, exactly. For example, I would never let producers from other companies see the scripts in my hands.”

Ronan, of course, understood this. Many scripts submitted to film companies were just trying their luck; the copyright still belonged to the authors. Film companies might disregard the scripts but wouldn’t let outsiders browse them.

“It’s not just newcomers’ works,” Ronan added. “It includes projects within the industry looking for investment or production companies.”

Hollywood had many projects. Even if a producer had initiated a project, it might take years to find investors for filming.

George Clint said, “Hollywood creates thousands, even tens of thousands of scripts every year, but only a small fraction ever reach us. Expanding our vision isn’t easy; we’re constrained by various realistic factors. We can’t allocate too many resources to finding scripts.”

Ronan said, “That’s why I called you both here today—to discuss how we can expand our vision and bring more potentially valuable scripts and projects into our sight.”

“Do you have any ideas?” Jessica Felton asked.

Hollywood gathered the world’s strongest film talents and had a vast talent pool.

These talents came from all over the world, carrying dreams and hoping to succeed with their first attempt.

Scripts provided the initial story model, character portrayals, conflicts, event transitions, and determined the film’s genre and style. To a large extent, they also determined the film’s foundation.

Jessica Felton was no longer the novice she had been when she first collaborated with Ronan. She was very familiar with Hollywood’s industry model and said, “Actually, this isn’t just our problem; all production companies face this. How can we expand our vision with minimal investment and find valuable projects from the thousands of scripts created each year?”

George Clint smiled and asked, “Besides manual screening, is there another way?”

As the Chief Executive Officer of Shai Entertainment, he felt this deeply. For a production company, having a script material library wasn’t difficult, but keeping that library vibrant and regularly updated wasn’t simple.

For aspiring new screenwriters, selling their scripts was also a challenge.

Ronan said, “Finding scripts and selling scripts have never been simple tasks.”

Compared to George Clint, Jessica Felton was more direct: “Hollywood is conservative. Most executives say ‘no, no, no’ all day and then go to lunch because saying ‘yes’ might get them fired.”

Ronan knew she was telling the truth. How many Hollywood executives had been fired due to the failure of a film project?

“I have an idea. If we mobilize more people, won’t more scripts appear on my desk?” Ronan said.

George Clint didn’t quite understand: “Mobilize more people? Do we need to invest more resources in this area?”

Ronan waved his hand: “That’s not what I mean. George, Jesse, Shai Entertainment produces more than ten films a year. The number of directors, actors, screenwriters, and producers we’ve worked with is enormous. They are all frontline professionals in the industry and come into direct contact with a large number of scripts and projects every year…”

Jessica Felton understood Ronan’s meaning. This might be a good idea?

Ronan continued: “We can establish smooth communication channels with those we’ve had good collaborations with, allowing them to use email or other methods to recommend scripts they’ve seen and liked but haven’t been filmed. If we can use them, we can give them a certain recommendation fee.”

“This… seems highly feasible,” George Clint thought for a moment and said. “Given the company’s current development momentum, many industry professionals with good cooperative relationships should respond.”

He added: “We can also mobilize internal staff. After all, they also have many opportunities to come into contact with scripts.”

Jessica Felton said, “I also think it’s feasible.”

Chapter 860: Turning It into a Business

These individuals were all at the forefront of Hollywood’s industry chain, especially directors, producers, actors, and screenwriters, who frequently encountered scripts. Some might have glanced over them without leaving an impression, while others, even if no company was willing to purchase them, had left a deep impact.

The people Ronan intended to mobilize not only had close working relationships with Relativity Entertainment but also possessed rich industry experience. This would increase the likelihood of finding interesting scripts and projects with potential production value.

With more people involved, the reach would be broader, and more scripts and projects would be seen.

Moreover, they were only being asked to make recommendations; the final decision would still rest with Ronan himself.

George Clint and Jessica Felton both agreed with Ronan’s proposal. Given that scripts could not be evaluated without human judgment, this was undoubtedly a good way to expand their options.

“I have some classmates and mentors working in Hollywood,” Jessica Felton said. “We can also target them.”

Ronan nodded slightly. “Alright.” He turned to George Clint. “You’ll handle the specifics. You and Jesse can compile a list and send emails or letters, including my signature.”

George Clint replied, “Understood. I’ll arrange it as soon as I get back.”

Ronan continued, “We’ll establish a project blacklist within Relativity Entertainment. All recommended projects or scripts will be added to this blacklist, and then we’ll select the ones we can collaborate on.”

He specifically emphasized, “The blacklist doesn’t necessarily have to be the best original projects; adaptations or other types are also acceptable. If they can move our collaborators, it means there’s something worthwhile.”

A story that captivates, stimulates, or intrigues a discerning group is at least not bad.

George Clint had been thinking and added, “I think the company can systematize this measure, and future collaborators can be included as well.”

Ronan nodded. “Agreed.”

Capital could bring higher efficiency to the cultural industry.

Jessica Felton said, “If the opportunity arises, we could also host events similar to the Nicholl Screenwriting Competition.”

Ronan replied, “We can consider it when the time is right.”

While recommendations from industry insiders via email could be considered online collection, Jessica Felton’s approach was an offline supplement.

Hollywood also had similar script and screenwriting selection events, which were good opportunities for new screenwriters to emerge.

Generally speaking, there were three main ways for a new screenwriter to make a name for themselves in Hollywood.

The first was common: after creating a script, print many copies and send them to various film companies’ public mailboxes, hoping for luck.

Although the odds of success were dismally low, it wasn’t impossible.

There were lucky ones whose scripts were bought, but non-Writers Guild screenwriters had no chance of selling at a high price. The Writers Guild’s minimum guarantees were for members only, and the entry requirements were quite high.

The second was participating in Hollywood’s script competitions, the most famous being the Nicholl Screenwriting Competition hosted by the Academy of Motion Picture Arts and Sciences. If one could make it to the top twenty, not only would there be prize money, but film companies would likely call.

Compared to the first method, the second was more reliable, with new screenwriters emerging through such competitions every year.

Of course, these “new screenwriters” might have already worked in Hollywood for many years.

The third was to find a part-time job at places frequently visited by Hollywood directors, producers, and film company executives, trying to network and expand one’s circle. Perhaps after getting to know them, one could present their script, and they might take the time to read it.

Hollywood was a closed system.

This ensured Hollywood had a relatively independent creative type, but it also brought about rigid selection patterns.

Ronan’s move did not break Hollywood’s model. As a beneficiary, too much change would be more harmful than beneficial to him and Relativity Entertainment.

This was entirely based on Hollywood’s traditional script selection channels, leveraging the connections Relativity Entertainment had made through its productions to broaden the scope of selection, rather than being limited to within Relativity Entertainment.

In fact, James Wong recommending James Wan and James Cameron recommending his special effects director had already laid the groundwork for this model.

After much discussion, the three of them finalized many specific details, even deciding on the name for the future recommendation list—“Real-Time Blacklist”!

George Clint would be responsible for its implementation. With Relativity Entertainment’s influence, gaining support from some people wouldn’t be difficult.

Moreover, this wasn’t a free recommendation.

After George Clint left, Jessica Felton stayed behind and asked Ronan, “The company has been reallocating funds recently. Is there a big move coming?”

“Mmm.” Ronan nodded slightly. “Some long-planned actions are about to be implemented.”

He wouldn’t go into details, even though he knew Jessica Felton wouldn’t casually disclose information. As the company’s leader, Ronan couldn’t discuss plans with those outside the loop.

Jessica Felton was a smart woman. Seeing that Ronan wasn’t elaborating, she didn’t press further and instead said, “I’ve been discussing with Embassy Pictures about having Juno participate in next year’s three major European film festivals.”

Ronan asked, “When does Juno start filming?”

Jessica Felton replied, “Before the New Year. The Cannes Film Festival timing is a bit tight, so we’ll probably go to Venice.”

The theme of Juno wasn’t suitable for the Berlin Film Festival.

Ronan had never interfered too much with the Juno project and simply said, “You make the decision.” He then asked, “What about Fast & Furious 4? Do you have any plans?”

“Let’s wait until Fast & Furious 3 is released before making a decision,” Jessica Felton said cautiously. “I want to see the market response firsthand and gather audience feedback data to make timely adjustments.”

Ronan agreed, “That’s good. The films we produce are commercial movies aimed at the masses, so market response is crucial.”

Market research, audience testing, reviews, modifications, renovations, and reprocessing were all essential steps in modern commercial filmmaking.

Jessica Felton said, “I recently obtained a market survey about the Pirates of the Caribbean series. The data shows that after the first two films, over seventy percent of fans said they would continue watching Pirates of the Caribbean as long as Captain Jack Sparrow was in it, regardless of the film’s quality.”

She earnestly added, “For any future Pirates of the Caribbean 4, Captain Jack Sparrow is a core element we can’t avoid.”

Ronan understood her meaning. “Don’t worry. Even if we make a fourth film, it won’t be for another five years. By then, Johnny Depp might not be the same Johnny Depp.”

Jessica Felton still felt a bit troubled. “Who would have thought that a fantasy pirate film would almost become a pure fan movie?”

Ronan smiled. “That’s the charm of Jack Sparrow, isn’t it?”

Jessica Felton glanced at her watch. “Let’s talk another time. I have a meeting with Sofia Coppola to check out a location. She should be arriving soon.”

Ronan said, “Keep a tight grip on this project. If everything goes well, Juno will appear in next year’s awards season.”

Jessica Felton replied, “I understand.”

After seeing Jessica Felton off, Ronan finished reading the remaining scripts sent over by Shai Entertainment. As usual, none of them particularly caught his eye.

Ronan didn’t feel disappointed; this was normal. Finding a valuable script was the exception, not the rule.

Relativity Entertainment would establish an internal “Real-Time Blacklist” mechanism, which might bring some surprises.

If this mechanism succeeded, it might even become a successful business like Hollywood’s original “Black List.”

He vaguely remembered that the Hollywood figure who created the “Black List” later established a “Black List” website, truly turning script recommendations into a very successful business.

This “Black List” was far from as simple as it seemed.

Ronan didn’t know much about it, but one thing left a deep impression on him.

When the “Black List” evolved from email information into a website, screenwriters could pay to have their work reviewed by a fixed anonymous professional panel, including scoring, brief evaluations of strengths and weaknesses, and commercial potential.

Highly scored scripts could be promoted to better positions and highlighted in email newsletters.

Most people were probably familiar with this website’s operational model.

This also fit Hollywood’s environment, as it was a commercial circle where everything could be commercialized.

Of course, for Relativity Entertainment, this wasn’t a consideration for now.

Ronan’s goal was to find valuable film and television projects from a broader range.

George Clint acted quickly, drafting an initial plan that afternoon. It could be implemented within the week, with feedback expected to start coming in by the end of the month.

As Ronan was preparing to leave work, he received a call from Harvey Weinstein. Harvey Weinstein asked again about Disney, especially regarding Michael Eisner.

The conflict between the Weinstein brothers and Michael Eisner was well-known in Hollywood, so such questions seemed normal.

Ronan, as usual, seriously told Michael Eisner that Relativity Entertainment was still acquiring Disney shares and even suggested that he attend Disney’s shareholder meeting to see how Michael Eisner would be ousted by Relativity Entertainment in alliance with Roy Disney.

Chapter 861: At Ease

California, Santa Monica dock. A white yacht cut through the water, leaving a long wake as it distanced itself from the shore.

Roy Disney, his hair streaked with silver, sat beneath a sun umbrella on the top deck, watching the coastline fade from view. Soon, a helicopter appeared on the horizon, swiftly catching up before landing smoothly on the rear deck’s helipad under signal guidance.

A large man stepped out of the helicopter.

Before long, the portly Harvey Weinstein made his way to the top deck and sat across from Roy Disney.

“Hello, Roy,” Harvey Weinstein said without hesitation, helping himself to a bottle of mineral water. “You look much better than a few weeks ago.”

Roy Disney smiled. “Is it that obvious?”

Harvey Weinstein twisted off the cap, poured himself a glass, and before drinking, said, “Perhaps because your goal is nearly within reach.”

Roy Disney remained cautious. “Until the very end, victory is never certain.”

Harvey Weinstein finished his water and said, “Roy, you’re too modest. Michael Eisner is arrogant and overconfident, blinded by his own power, and his reactions are sluggish. I’d say you already have the absolute advantage.”

Roy Disney evaded the question and asked, “How did things go with what I asked of you?”

“Same as last time,” Harvey Weinstein confirmed. “Ronan has been subtly and not-so-subtly expressing his opposition to Michael Eisner.”

Roy Disney, never one to take such matters lightly, felt reassured after having Harvey Weinstein probe twice and receiving the same result. “It seems he has no connection to Michael Eisner.”

“No connection?” Harvey Weinstein shook his head. “Don’t joke, Roy. When I first met Ronan Anderson five or six years ago, he already had no good feelings toward Michael Eisner—his words were filled with disgust…”

Roy Disney asked, “Really?”

Harvey Weinstein replied earnestly, “I can guarantee it.”

Hearing this, Roy Disney felt even more at ease.

Harvey Weinstein asked in confusion, “Even if I sell my shares to Ronan Anderson, Relativity Entertainment would only hold a little over two percent of Disney’s shares…”

“You don’t understand,” Roy Disney said simply. “Don’t forget Ronan Anderson’s influence. Relativity Entertainment can help me persuade some people, and Ronan Anderson’s choice will also sway many neutral shareholders.”

Harvey Weinstein thought for a moment and said, “True, this is an industry built on content creation.”

“Now it seems Ronan Anderson won’t be a problem,” Roy Disney said, trusting Harvey Weinstein. The conflict between the Weinstein brothers and Michael Eisner was no less intense than that of the Disney family. “Harvey, thank you for your trouble.”

Harvey Weinstein said, “It’s nothing. You know, in your conflict with Michael Eisner, Bob and I have always been on your side.”

Miramax had been part of Walt Disney for over a decade, and Roy Disney could confirm this. He nodded with a smile. “If you notice any new changes with Ronan Anderson, let me know immediately.”

Harvey Weinstein agreed. “No problem.” He probed further, “Ronan Anderson siding with you—does he have any other demands?”

From what he knew, Ronan Anderson wasn’t that generous.

Roy Disney said, “I promised to help Relativity Entertainment enter the Big Six.”

Harvey Weinstein had an epiphany. “With such a huge benefit, it would be strange if Ronan Anderson wasn’t tempted.”

Without a place in the Big Six, it was hard to break into Hollywood’s upper echelon, meaning they would constantly be at the mercy of the Big Six.

He and Bob Weinstein had struggled for over twenty years, and the Big Six had always been a distant dream.

Given Relativity Entertainment’s momentum, seeking a spot in the Big Six was inevitable.

After chatting for a while, Harvey Weinstein prepared to leave.

Roy Disney couldn’t help but say, “Harvey, you shouldn’t have sold your shares to Relativity Entertainment.”

“I had no choice,” Harvey Weinstein spread his hands. “I need a large sum of money to start a new company.”

He smiled. “Don’t worry, Roy. I’ve always supported you.”

At this point, Roy Disney couldn’t say much more. He had assumed the Weinstein brothers would fully support him and hadn’t considered buying their shares, as his funds were limited and needed to be prioritized elsewhere. Yet, the brothers had quickly sold their shares to someone else.

Harvey Weinstein felt no guilt about breaking his promise—were they supposed to leave themselves with nowhere to go?

But on the matter of Michael Eisner, he genuinely supported Roy Disney, otherwise he wouldn’t have gone to Ronan to gather information.

From what he knew of Ronan, with the enormous temptation of the Big Six, Ronan would definitely side with Roy Disney.

Speaking of which, if it were him and Bob, they would do the same.

The Big Six might be an industry organization, but its influence over the entire film industry was immense.

Harvey Weinstein also noticed that Ronan Anderson and Relativity Entertainment had become much more high-profile in the past two years, actively participating in various Hollywood affairs, their intentions clear.

Could Hollywood really see the rise of a new giant?

Would the traditional Big Six sit idly by?

True, Walt Disney had no energy to spare for other companies’ affairs.

NBC’s acquisition of Universal seemed to be in a digestive phase.

Paramount’s target appeared to be Spielberg’s DreamWorks.

Warner Bros. had multiple collaborations with Relativity Entertainment.

Sony Columbia Pictures… since the new agreement on Spider-Man’s copyright, there had been no further disputes.

Only 20th Century Fox remained at the forefront of suppressing Relativity Entertainment.

But with Relativity Entertainment’s momentum, it wasn’t something one or two companies could hold back.

The Big Six were, after all, separate entities, not subsidiaries of the same group.

In mid-September, the second out-of-court mediation between Marvel Entertainment and 20th Century Fox over the copyright and related profits of Fantastic Four and X-Men completely collapsed. Both sides refused to accept each other’s terms and refused further negotiations.

Marvel Entertainment continued its lawsuit.

20th Century Fox countersued Marvel Entertainment, accusing it of serious breach of contract in the new Fantastic Four comics and demanding $300 million in compensation for project losses.

This copyright dispute had become a marathon.

After the failure of the Fantastic Four movie, 20th Century Fox could only shelve related film plans.

But the development of X-Men and its spin-offs continued. X-Men: The Last Stand was set for release next summer.

The spin-off Wolverine was officially greenlit, with Hugh Jackman signing a new film contract with 20th Century Fox.

Additionally, an independent Magneto film was listed on 20th Century Fox’s agenda for internal discussion.

Unknowingly, Marvel’s superhero movies had come to dominate the genre.

“We initially wanted the first weekend of next summer,” said the distribution director at 20th Century Fox’s internal meeting. “Now we have to push it back.”

Another executive not involved in film operations asked, “Why? Isn’t the best time in May the first weekend of summer and the Memorial Day weekend at the end of the month?”

Jim Prather, chairing the meeting, did not interrupt.

The distribution director revealed a helpless smile. “Both slots are taken. Memorial Day weekend is Warner Bros.’ Superman Returns, which cost $250 million to produce.”

Hearing Superman’s name, the executive sighed. The world’s first true superhero—no one could guarantee whether audiences’ nostalgia for Superman would explode with this film.

“It’s best not to go head-to-head with Superman Returns,” he reasoned. “What about the opening weekend of summer?”

The distribution director continued, “Iron Man, Marvel Entertainment’s first superhero movie.”

The executive said, “A second-tier superhero movie? X-Men is more popular in comics, and ours is a sequel.”

The distribution director said, “Iron Man’s lead producer is Ronan Anderson. He personally chose and oversees this film.”

The meeting room fell silent. The executive had nothing to say.

Even without knowing the film business, being in Hollywood’s circle meant hearing Ronan Anderson’s name.

From past experience, it seemed X-Men: The Last Stand against Iron Man was worse than competing with Superman Returns.

As for releasing on the same weekend, 20th Century Fox’s executives weren’t insane.

Jim Prather said, “Avoid both films. X-Men: The Last Stand has a production budget of $200 million—no room for error. Choose a suitable weekend in mid-May.”

The distribution director said, “That’s the only option.”

Though the executive was somewhat dissatisfied that the company was avoiding a conflict just because of Ronan Anderson’s name, upon reflection, this was the safest measure, and he said no more.

The investment was too high—caution and prudence were the best choices.

X-Men: The Last Stand officially announced its release date, and Ronan received the news immediately. 20th Century Fox had undoubtedly made a very smart choice.

At this time, Ronan received an invitation from David Ellison. The founding reception for Maple Leaf Entertainment was about to be held.

Connie also confirmed that Ryan Kavanaugh, whom they had been watching, would appear at the reception.

Chapter 862: Goodwill

In mid-September, on an otherwise ordinary weekend, the entrance of the Beverly Hills Hilton Hotel was adorned in resplendent gold. The words “Maple Leaf Entertainment Founding Reception” in golden letters gleamed under the spotlight, visible from afar and drawing the attention of many passersby.

Under the night sky, a crimson carpet stretched from the hotel entrance to the edge of the plaza, flanked by vibrant floral arrangements.

The reception was undeniably extravagant in its setup.

Yet, in stark contrast, the atmosphere was chilly, and attendance was sparse.

Not only were there no heavyweight guests on the red carpet, but even the media area had only a scattering of twenty or so reporters.

Though the reception was held at the Beverly Hills Hilton Hotel, the go-to venue for large-scale Hollywood events, an invisible yet palpable barrier separated it from the nearby Hollywood elite.

Ronan arrived at the Hilton Hotel just after noon. After spending the afternoon playing “Daytime Garments Exhausted” with Anne Hathaway, who had returned from Canada, he entered the banquet hall alone as night fell.

Maple Leaf Entertainment was not short on funds. Ryan Kavanaugh had secured substantial financing from Wall Street, and the second-largest shareholder, David Ellison, was a bona fide tycoon. The banquet hall’s decor exuded an unmistakable air of opulence.

When Ronan entered the banquet hall, there weren’t many people inside—just a few dozen scattered about. None of the Big Six Hollywood companies seemed to be in attendance, nor were there many well-known stars or directors. Representatives from the entertainment media were equally few.

Hollywood was a relatively closed circle. It welcomed outsiders’ money but not their direct participation in the game of fame and fortune.

Moreover, this newcomer appeared ambitious.

As soon as Ronan stepped into the banquet hall, David Ellison and a few others immediately came forward to greet him.

“Good evening, Ronan,” David Ellison said, shaking Ronan’s hand first. “Welcome, we’re glad you could come.”

Accompanying David Ellison were two others. One was an unfamiliar middle-aged man with blond hair, and the other was someone Ronan knew—Kevin Spacey, the renowned actor from Hollywood.

Kevin Spacey also came over to shake Ronan’s hand. “Hello, Mr. Anderson. Your presence is an honor for Maple Leaf Entertainment.”

Ronan had met him before and responded with a smile. “Hello, Kevin.”

David Ellison chimed in at the right moment. “Kevin has accepted our offer to serve as the Animation Chairman of Maple Leaf Entertainment.”

Ronan nodded again at Kevin Spacey. It seemed the management of the newly established Maple Leaf Entertainment had done some work, knowing to bring in an old hand to guide them through Hollywood.

He also recalled what David Ellison had mentioned earlier—that Maple Leaf Entertainment’s first move after its establishment was to acquire Kevin Spacey’s film company.

“Let me introduce you, Ronan,” David Ellison said, gesturing to the blond middle-aged man. “This is Mr. Ryan Kavanaugh, the chairman of Maple Leaf Entertainment. Ryan, this is Ronan Anderson, the owner of Relativity Entertainment and Hollywood’s famous top producer.”

Ronan had already suspected as much. Seeing Ryan Kavanaugh approach enthusiastically, he responded with equal politeness.

Perhaps Ryan Kavanaugh’s judgment had been flawed in the past, leading to significant missteps during the internet stock market crash that ultimately destroyed his hedge fund. But someone who could secure billions of dollars in financing from numerous small and medium-sized investment firms on Wall Street was certainly not to be underestimated.

If nothing else, his ability to persuade was undeniable.

After exchanging pleasantries, more guests arrived, and Ronan entered the banquet hall. Finding no familiar faces, he simply found a quiet spot to sit.

The new arrival surprised Ronan—it was none other than action star Sylvester Stallone.

He seemed to have some connection with Maple Leaf Entertainment and Ryan Kavanaugh, as the two appeared quite familiar with each other.

Just as Ronan had gotten himself a glass of water, he noticed Ryan Kavanaugh approaching.

“I’ve prepared the finest champagne,” Ryan Kavanaugh said, eyeing the glass of water in front of Ronan. “Won’t you try some?”

Ronan smiled. “Drinking alone only makes one lonelier.”

Ryan Kavanaugh signaled a waiter, who brought over two glasses of champagne. Handing one to Ronan, he said, “With a friend by your side, the wine tastes even better.”

He raised his glass to Ronan, who responded in kind, and both took a sip.

“How is it?” Ryan Kavanaugh asked.

Ronan nodded slowly. “Not bad. Bright and clean—this is French Perrier-Jouët.”

“Just from that one sentence, I can tell you know your wine,” Ryan Kavanaugh said with a laugh.

Ronan smiled. “I have a collection of fine wines. Occasionally, I enjoy them with friends.”

Ryan Kavanaugh was quite proactive. “I wonder if I might have the chance to sample your collection?”

The pace at which he was building the relationship was swift. If Ronan agreed, Ryan Kavanaugh would have a perfect opportunity to infiltrate Ronan’s social circle.

Ronan did not refuse. “I’ve ordered a new batch of wine. When it arrives, you mustn’t decline.”

“How could I?” Ryan Kavanaugh feigned eager anticipation. “Ronan, I’ll be waiting for your invitation.”

Ronan gave a slight nod. “Alright, it’s settled then.”

It seemed the wine he had ordered required several years of cellaring, as it had only just been produced.

After a brief conversation, Ronan formed an initial impression of Ryan Kavanaugh. While other aspects were hard to judge, his social skills were undoubtedly impressive.

Ryan Kavanaugh had not come to Ronan just to talk about wine. As their rapport grew, he steered the conversation toward the main topic. “By the way, Ronan, though this is our first meeting, we’ve been connected for some time. Not long ago, shortly after Maple Leaf Entertainment was registered, someone from Relativity Entertainment reached out to us. I even personally received that business manager…”

“I’m aware of that,” Ronan said naturally. “The business manager who contacted you is from Embassy Pictures, a distribution company under Relativity Entertainment. Every year, aside from distributing Relativity Entertainment’s films, they also collaborate with other companies. Maple Leaf Entertainment has just been established, and, well, it has attracted a lot of attention in Hollywood. Relativity Entertainment wants to expand its business and needs partners.”

Ryan Kavanaugh said, “Maple Leaf Entertainment is in its initial stages and wants to get on the right track. We also want to collaborate with major Hollywood companies.”

Ronan specifically asked, “Are you planning to develop both production and distribution operations simultaneously?”

“Distribution operations…” Ryan Kavanaugh shook his head. “We have no plans for that in the short term. For now, we will focus on production, investing in other companies’ projects, and quickly launching Maple Leaf Entertainment’s film projects.”

Ronan was not hostile but did not appear particularly friendly either. In a manner consistent with Relativity Entertainment’s needs, he said, “Once a film is produced, it needs promotion and distribution. Embassy Pictures can handle that.”

“Becoming a partner of Relativity Entertainment would be Maple Leaf Entertainment’s fortune,” Ryan Kavanaugh said, seemingly offhand. “Since Maple Leaf Entertainment was officially established, I’ve faced so much disdain in Hollywood. Almost everyone we’ve encountered has given us the cold shoulder. Entering a completely new industry is truly difficult.”

Ronan could hear the underlying meaning in his words. “What Maple Leaf Entertainment is experiencing, Relativity Entertainment has gone through as well. When I first entered Hollywood, wasn’t it the same? Even now that Relativity Entertainment has developed to this point, it still faces numerous difficulties. In the eyes of traditional powers, we newcomers are disruptors of the established order, enemies of the beneficiaries.”

Ryan Kavanaugh had done considerable research on Hollywood upon entering the industry and had heard about the disputes between Relativity Entertainment and companies like Paramount, Sony Columbia Pictures, and 20th Century Fox. Rumor had it that just a couple of days ago, negotiations between 20th Century Fox and a subsidiary of Relativity Entertainment had broken down, and Fox had countersued Relativity Entertainment.

“Rumor has it that Relativity Entertainment is in conflict with companies like 20th Century Fox?” Ryan Kavanaugh probed.

Ronan nodded slowly. “Actually, the Big Six companies are not very friendly toward Relativity Entertainment behind the scenes.” He spoke facts that could withstand scrutiny. “For example, the AA rating, copyright revenue sharing, and so on. It’s extremely difficult for Relativity Entertainment to advance further. Even maintaining the current situation requires finding ways to appease some while resisting the suppression from others.”

This also reminded Ryan Kavanaugh of his recent experiences. “The Big Six companies are truly arrogant. When I went to visit, not even a single high-level manager received me—they just had some mid-level staff dismiss me. The invitations I sent out tonight, and not a single person from the Big Six showed up.”

Ryan Kavanaugh had no reason to hide these facts, as anyone with a bit of effort could find out.

Ronan placed Relativity Entertainment and Maple Leaf Entertainment in the same camp. “The traditional Big Six companies are the established interest groups. They won’t welcome newcomers, especially powerful ones.”

He said earnestly, “Relativity Entertainment has reached a point where it must advance or retreat. To break through the blockade of the Big Six, Relativity Entertainment needs partners, partners who naturally belong to the same camp.”

In this brief face-to-face meeting, both Ronan and Ryan Kavanaugh expressed a degree of goodwill, making it seem as though they could become strategic partners at any moment.

From the moment Ronan learned that Ryan Kavanaugh had entered Hollywood’s competitive arena with Wall Street financing, he had been keeping an eye on them. By the time Maple Leaf Entertainment was established, the initial target was already clear. A few days ago, when he met David Ellison, he fully incorporated them into his plans.

Ronan’s target was, of course, the massive funds behind Maple Leaf Entertainment.

However, Ronan’s intentions were not purely financial, and neither were Ryan Kavanaugh’s.

Chapter 863: Sincerity Overflowing

The day after the cocktail party, Ryan Kavanaugh arrived at Relativity Tower to express his gratitude for the support the previous night and to seek future assistance from an ally.

Accompanying him was Sylvester Stallone, whom Ronan had met at the party.

Ronan was somewhat surprised by how quickly Maple Leaf Entertainment and Ryan Kavanaugh had come. He had also gained a new understanding of Ryan Kavanaugh.

Just last night, they had agreed that they were natural allies, and today, Ryan Kavanaugh was already at his door. He truly did not let any opportunity slip by.

He was full of drive, but perhaps a bit too hasty.

There was no doubt that Ryan Kavanaugh was a decisive man, which was a good quality, but decisiveness needed to be paired with good judgment.

Otherwise, it could lead to another disaster like the collapse of the hedge fund foundation.

But for Ronan and Relativity Entertainment, this was not a bad thing.

In the reception room on the top floor of Relativity Tower, Ronan met with Ryan Kavanaugh and Sylvester Stallone.

Ronan was fairly familiar with Stallone. They exchanged greetings and sat down for a brief chat.

Ryan Kavanaugh quickly steered the conversation to the main topic: “Ronan, I’m here to ask for your help.” He didn’t care much for face; as long as the company thrived, countless opportunities for face would come naturally. “Maple Leaf Entertainment has just been established and is facing many difficulties. To expand our film business, we need Relativity Entertainment’s help.”

Due to his physical condition, Stallone’s face showed no expression.

Seeing Stallone accompanying Ryan Kavanaugh, Ronan already had some guesses. He said, “As long as it’s within Relativity Entertainment’s capabilities.”

Ryan Kavanaugh smiled and said, “Strictly speaking, this is also a business transaction.”

Ronan gestured for him to continue: “Ryan, go ahead.”

“The foundation of a film company lies in its films.” Ryan Kavanaugh maintained a friendly but not overly enthusiastic smile. “This is currently Maple Leaf Entertainment’s weakest link, and precisely Relativity Entertainment’s strongest.”

Ronan did not respond, patiently waiting for Ryan Kavanaugh to finish.

Ryan Kavanaugh cleared his throat: “No one in Hollywood welcomes Maple Leaf Entertainment.” He apologetically smiled at Ronan and Stallone. “Of course, except for you and Silvestre.”

“So, after last night, I had an idea.” Ryan Kavanaugh continued to smile. “We both share the goal of breaking through the blockade of Hollywood’s traditional factions. Why not work together?”

Stallone said, “I like working with new companies. They are not as stagnant as the old ones.”

Ryan Kavanaugh took the opportunity to ask, “Ronan, I heard that the copyright for the Rambo trilogy is in Relativity Entertainment’s hands?”

Ronan saw no need to deny it: “That’s right. By acquiring Artisan Entertainment’s film library copyright, Relativity Entertainment obtained all the rights to the Rambo series.”

“Silvestre has always had the idea of making a fourth film.” Ryan Kavanaugh said, “This series once caused a huge sensation. Making a fourth film should have a chance of success, right?”

Ronan did not answer but instead asked, “Ryan, are you planning to invest in making Rambo IV?”

Ryan Kavanaugh said, “Yes, I hope to co-produce it with Relativity Entertainment or obtain authorization from Relativity Entertainment.” He glanced at Stallone. “Silvestre has already agreed to continue acting and directing this series.”

Ronan looked at Stallone, who said, “I had the idea for a sequel a long time ago. The main plot of the script is almost ready.”

What Ryan Kavanaugh wanted most was to make a name for Maple Leaf Entertainment in Hollywood as soon as possible to establish a foothold: “Relativity Entertainment shouldn’t be short of projects, right? And you don’t have any plans for a sequel, do you?”

Ronan set a precondition: “I cannot transfer the copyright of the Rambo trilogy to Maple Leaf Entertainment.”

The profitability of popular movies and TV series was not to be underestimated. Although the Rambo trilogy was not like Friends, which could still bring in hundreds of millions of dollars annually many years after its completion, Embassy Pictures had been generating net income of tens of millions of dollars annually through offline operations in recent years.

“No, no…” Ryan Kavanaugh quickly stepped back. “Silvestre and I only hope to obtain the sequel authorization from Relativity Entertainment.”

Ronan had already guessed this and was not surprised by the answer: “Sequel authorization…”

Ryan Kavanaugh knew that he could not get the authorization for free and said, “This is, of course, a normal business transaction. Maple Leaf Entertainment can pay the relevant authorization fees for this.”

Ronan seemed to consider it seriously. Perhaps others still had high expectations for Stallone and Rambo, hoping that this famous series could recreate the glory of the eighties.

But Ronan was very clear that Stallone was truly old, and for the main audience of today’s film market, he was outdated.

Not to mention Rambo, even The Expendables, which gathered so many action stars who were once popular, had only a very average commercial response.

Since it did not involve the copyright of the first three films, Ronan thought for a moment and said, “Relativity Entertainment can authorize Maple Leaf Entertainment to make a sequel, but the specific authorization fee will not be low. Ryan, the Rambo trilogy once achieved outstanding commercial success and cultivated a large number of loyal Rambo fans. If the authorization fee for this series is not reasonable, I will have a hard time explaining it to the company.”

Ryan Kavanaugh said, “Don’t worry, Ronan, I won’t make it difficult for you.”

Within a certain range, money could solve problems, and for Maple Leaf Entertainment now, it was not a problem.

Stallone asked, “How much is the authorization fee?”

Ronan said, “It consists of a basic authorization fee and a later share of the profits. The specific ratio can be discussed by the people below.”

Ryan Kavanaugh had a large amount of funds at his disposal. Seeing Ronan so straightforward, he also did not hesitate and said, “Okay, let the people below discuss it.”

The most important thing was not how much the authorization fee was, but that Maple Leaf Entertainment could truly establish itself in Hollywood with a successful film.

Although not directly discussed, Ronan had already set a bottom line: at least a basic fee of twenty million dollars plus about ten percent of the total revenue from one film.

Yes, only one film would be authorized.

Whether Maple Leaf Entertainment and Ryan Kavanaugh would agree, Ronan felt it should not be a problem.

Nowadays, the copyrights of successful films in Hollywood were basically in the hands of the Big Six companies, Relativity Entertainment, and DreamWorks. Under normal circumstances, it was very difficult to obtain the relevant authorization for successful films.

Ronan was very clear that for a type like Rambo, it was difficult to make a comeback in the short term. The sequel authorization would certainly come with a time limit and a limit on re-authorization.

In other words, Relativity Entertainment’s authorization for one sequel was limited to Maple Leaf Entertainment. If Maple Leaf Entertainment did not make a related film within a few years, the authorization would automatically become invalid.

Of course, Maple Leaf Entertainment might not accept this, but if they did not accept it, Ronan would not force it. After all, it was Maple Leaf Entertainment that came seeking help.

Ryan Kavanaugh actually had no better choice. After finally finding a willing partner in Stallone, he naturally set his sights on Stallone’s most successful film series.

Maple Leaf Entertainment had previously contacted the copyright owner of Rocky. Sony Columbia Pictures, which had bought out MGM’s film library, had made exorbitant demands that even Ryan Kavanaugh could not accept.

As for creating new original film projects, even someone like Ryan Kavanaugh, who had just entered Hollywood, knew that the risks were extremely high.

The newly established Maple Leaf Entertainment needed a hit, not a dud.

Just like at the party last night, Ronan and Ryan Kavanaugh had a very pleasant conversation, and the atmosphere was very harmonious.

Especially Ryan Kavanaugh, from the fact that Ronan was willing to authorize Maple Leaf Entertainment to make a Rambo sequel, truly felt the sincerity of Relativity Entertainment’s cooperation.

Compared to other companies in Hollywood, Relativity Entertainment was truly full of sincerity.

After receiving Ronan’s agreement to authorize, Sylvester Stallone took the lead in leaving, saying that he needed to start preparing for the sequel film immediately.

Despite his many flaws, Stallone’s professionalism was undeniable.

Ryan Kavanaugh chatted with Ronan for a while longer and, speaking excitedly about the Rambo sequel authorization, said, “Personally, and on behalf of the entire Maple Leaf Entertainment, we will always remember Relativity Entertainment’s kindness!”

Ronan smiled and said, “No need to be polite. This is a normal business cooperation. Relativity Entertainment’s cooperation philosophy has never changed from the beginning; we always pursue a win-win situation!”

“Right! Win-win!” But the Rambo sequel authorization was far from satisfying Ryan Kavanaugh’s appetite. He probed, “Ronan, if there are suitable investment opportunities, can you include me?”

From these words, Ronan vaguely sensed Ryan Kavanaugh’s ambition and said, “Ryan, with your funds, if you find the right opportunity, you might even make a move on the Big Six companies.”

Ryan Kavanaugh naturally understood that the Big Six companies were the top players in the industry: “Such opportunities are too rare.”

Ronan said, “The Big Six companies are not very stable internally. Be patient and wait.”

Some things were better left unsaid, and now was not the time to say too much.

Ryan Kavanaugh thought that Ronan wanted to join forces with him to challenge the Big Six companies. The funds in his hands gave him some confidence: “As long as the opportunity is right, I won’t miss it.”

He shook hands with Ronan and said goodbye: “Ronan, good luck.”

Ronan smiled and said, “Good luck to you and Maple Leaf Entertainment.”

With the intentions of the top figures on both sides aligned, the actions below were very swift.

The next day, a negotiation team from Maple Leaf Entertainment took the initiative to visit Relativity Tower and began negotiations with Robert Lee’s department regarding the Rambo sequel authorization.

Chapter 864: The Father of Jigsaw

Maple Leaf Entertainment was flush with funds, and likely influenced by Ronan and Relativity Entertainment’s earlier example, Ryan Kavanaugh planned to follow Relativity’s early path of independent production rather than splurging money on investments in various film projects.

These were the intangible influences of Relativity Entertainment.

After all, Relativity’s scale and momentum were undeniable, making it a highly successful model for newcomers to emulate.

To some extent, Ryan Kavanaugh was cautious. With Kevin Spacey serving as the Animation Chairman of Maple Leaf Entertainment, he had likely been advised that as an outsider new to Hollywood’s game of fame and fortune, recklessly investing in other major companies’ projects could easily lead to losses with no return on investment.

Hollywood had far too many famous films that were legally unprofitable on paper.

Independent production, with Stallone as a collaborator, seemed like the best choice.

Maple Leaf Entertainment was willing to invest heavily, and Relativity Entertainment wasn’t clinging to the sequel rights. Negotiations between the two parties progressed rapidly.

Once Robert Lee personally joined the talks, Maple Leaf Entertainment and Relativity Entertainment quickly reached an agreement.

“Truly wealthy.”

In the office, Robert Lee remarked, “In my two negotiations with Maple Leaf Entertainment, they left me with only one impression.”

Ronan smiled and asked, “What impression?”

Robert Lee raised his thumb, seemingly genuinely praising Maple Leaf Entertainment. “Generous! They barely haggled over the conditions we proposed and easily accepted them.”

He shook his head. “This was the simplest and easiest copyright negotiation I’ve ever experienced.”

Ronan wasn’t particularly surprised. “They have money but no projects.”

“It’s not just about having money,” Robert Lee said. “This money belongs to investors. Maple Leaf Entertainment raises funds from Wall Street, and Wall Street raises funds from a vast number of small and medium investors. They’re spending their clients’ money, so they don’t feel the pinch.”

Ronan added, “For us, the film company is a career, but for them, it might just be a financial game.”

Robert Lee nodded. “If I had known this earlier, I would have doubled the conditions on the spot.”

“Achieving the current conditions is already quite good,” Ronan said, having carefully assessed Ryan Kavanaugh’s psychological bottom line. He reminded, “Maple Leaf Entertainment previously discussed the sequel rights to Rocky with Sony Columbia Pictures, but they gave up because Sony Columbia’s asking price was too high.”

Robert Lee said, “They also need to consider the return on investment.”

Ronan agreed. “The renowned Rambo trilogy attracted them, and so did Stallone…”

Robert Lee asked, “You don’t have high hopes for the sequel?”

If they had, Shai Entertainment would have already put the sequel on the production schedule, not licensing it to Maple Leaf Entertainment.

“Pure hard-boiled action films are outdated now,” Ronan said simply. “They might be profitable, but not by much.”

Robert Lee said, “According to the contract, regardless of the film’s success or failure, our earnings are guaranteed.”

The agreement between Relativity Entertainment and Maple Leaf Entertainment granted the latter the rights to produce one sequel to Rambo, with a base licensing fee of twenty-five million dollars, plus ten percent of the total revenue from the film’s first three years of release.

Additionally, Rambo 4 would be distributed by Embassy Pictures, with the distribution revenue share separate from the licensing fee, to be settled independently between Embassy Pictures and Maple Leaf Entertainment.

From what Ronan had learned, Stallone had indeed been preparing for some time. The related preparations were progressing rapidly. David Ellison had previously called Ronan to discuss some details about the fourth installment.

Stallone planned to set the story of the fourth film in Myanmar.

Ronan couldn’t help but think of the old Rambo who could only use a machine gun to mow down enemies. The heavy machine gun fire tore limbs apart, creating a strong visual impact.

But it also made one keenly aware that Stallone was indeed getting old.

In comparison, the power of the firearms in the film was much closer to real-life effects than traditional Hollywood films.

Heavy machine gun bullets could easily tear human bodies apart.

Assault rifle bullets left large holes in the body.

Flesh and blood were no match for the metal storm.

The power of firearms and even artillery in films was ultimately artistically enhanced.

For example, artillery. There were too many scenes in films where shells of 105mm caliber or larger landed just tens or even a few meters away from the protagonist, who managed to avoid danger by lying down in time.

Anyone with even a basic understanding of modern weapons would know the reality.

But without such scenes, how could the protagonist’s heroism be highlighted? If a shell came, even from a distance, the protagonist would be done for, and the film couldn’t be made.

The most typical example was the ending of Rambo III. Without reducing the power of firearms to make the protagonist invincible, how could Rambo survive in such a battlefield environment?

The power of modern weapons—let alone guns and cannons—even firecrackers could be deadly.

Ronan remembered a middle school classmate who learned to smoke at a young age. Near the New Year, he brought some firecrackers to school to show off. He lit a cigarette in the bathroom and tried to blow up feces with a firecracker, but after lighting it, he threw the cigarette into the pit, and the firecracker exploded in his hand, blowing off half of his index finger…

This classmate had quite an eventful life and could have starred in a film titled A Million Ways to Die in School.

He got into a fight with someone from another school and was hit on the head with a brick. In the third year, his school moved from a bungalow to a teaching building. He had developed a habit of jumping out of the back window of the bungalow, and on the first day of the new semester, he jumped out of the back window, fortunately only from the third floor. After recovering from his injuries, he was beaten by his parents and scolded by his teachers. In his frustration, he and two classmates decided to become monks at the Shaolin Temple but nearly starved to death on the way…

Near graduation, he provoked a deaf-mute at a tofu pudding stall and was hit on the head with a stool. The deaf-mute was fine, but he ended up in bed and missed the high school entrance exam.

At the time, many speculated it might have been due to one of history’s greatest controversies—whether tofu pudding should be salty or sweet…

After Maple Leaf Entertainment and Relativity Entertainment signed the licensing agreement, they quickly held a joint press conference with Stallone, announcing the official launch of Rambo 4.

Excluding the licensing fees, Maple Leaf Entertainment had prepared an eighty-million-dollar production budget for Rambo 4.

By Hollywood standards, including the licensing fees, this was undoubtedly a hundred-million-dollar first-tier project.

In addition, Maple Leaf Entertainment had other moves, such as contacting Lionsgate Films for negotiations, seemingly intending to acquire a portion of Lionsgate’s shares.

This was also a way to break into Hollywood.

Due to the emergence and influence of Relativity Entertainment, Lionsgate’s development was far behind what it once was. Across Hollywood, it could only be considered a mid-sized film company. After the latest round of failed financing, it was rumored that Lionsgate’s owner, Frank Gustave, had developed the intention to retire, planning to leave the struggling Hollywood and film industry to focus on his original profession in finance.

However, after several rounds of financing and share expansions, Lionsgate’s shares were quite dispersed. Even if Frank Gustave sold all his shares to Maple Leaf Entertainment, Maple Leaf would not gain control of Lionsgate.

Ronan and Relativity Entertainment showed the responsibility of an ally, specifically sending relevant materials about Lionsgate to Ryan Kavanaugh and David Ellison.

This was also a reminder to them not to waste time and resources on Lionsgate.

Speaking of which, if Maple Leaf Entertainment really acquired Lionsgate, they might lose interest in other companies.

Due to Ronan’s influence, Lionsgate had never developed, especially missing a major opportunity for growth—Saw.

This series now belonged entirely to Relativity Entertainment. James Wong had also signed a long-term directing contract with Shai Entertainment and would continue to collaborate with Relativity Entertainment for a long time.

Of course, Ronan and Relativity Entertainment would ensure James Wong’s earnings. The long-term contract allowed James Wong to continue working with Shai Entertainment, limiting unreasonable demands that didn’t align with market conditions.

The first two Saw films had achieved tremendous success. The first film grossed one hundred sixty-one million five hundred twenty thousand dollars globally, and the second film grossed two hundred twenty-two million one hundred seventy thousand dollars.

In stark contrast, Relativity Entertainment’s total investment in these two films was only twenty-six million dollars.

Including online and offline promotion and distribution.

In the offline market, the two Saw films also performed remarkably.

On Netflix’s rental service charts and North American rental market statistics, Saw and Saw II both ranked in the top three of the horror film rental performance charts for the past two years.

With low investment and tens of times the box office output, it created the largest horror film series myth in Hollywood history.

Correspondingly, as the director and screenwriter, James Wong had earned the title of “Father of Jigsaw.”

This young Asian director was incredibly talented in the horror genre, surpassing James Wong.

Saw III was about to be released. Although the series would undoubtedly continue, according to the agreement between Ronan and James Wong, after completing the trilogy, James Wong would step down from the director’s position for the Saw series and only serve as the producer.

Ronan wouldn’t continue to confine James Wong to the Saw series. The value of this young horror director had only just begun to show.

He believed James Wong would achieve even greater success in the future and would give him more creative freedom within the constraints.

For the new Saw series director, after completing Saw III, James Wong recommended Darren Bousman, his assistant and the film’s associate director, to Ronan and Shai Entertainment.

Ronan knew this person and had met with him twice personally. He agreed to have Darren Bousman take over the directorial reins for the subsequent series.

Although James Wong was stepping down from the director’s position, he would continue as the producer, ensuring the Saw series stayed on track.

Chapter 865: A Godlike Character

The last weekend of September saw the North American release of Saw III. Given the commercial success of the first two films, Embassy Pictures had organized a premiere for the movie.

The first two installments had already garnered a massive following among horror enthusiasts.

Much like the Final Destination series had its “Death” fans, the Saw series now had its own “Jigsaw” fans.

The difference was that the “Jigsaw” fandom was divided into two opposing groups.

One faction believed that Jigsaw was not merely an executioner but a messenger of justice—his actions were not about killing but about punishing those beyond the law or awakening the lost.

The other faction was convinced that Jigsaw was nothing more than a deranged serial killer!

The two sides had been locked in heated online debates, neither able to persuade the other, and to this day, neither had emerged victorious.

The true winner of this argument was Saw itself.

The controversy kept the first two films in the spotlight long after they left theaters, drawing in even more viewers.

With a production budget of only four million dollars, Embassy Pictures couldn’t afford an extravagant premiere, so the event was modest in scale.

Yet, the Nokia Theatre, where the premiere was held, was packed with fans.

The series had already built a substantial and loyal audience.

Embassy Pictures had also put considerable effort into its marketing.

For instance, this was the final chapter of the trilogy, and Jigsaw would face his ultimate judgment in the third film!

There was no doubt that Jigsaw was one of the most compelling villains in recent Hollywood history, and his fate was a major draw for fans.

Of course, as long as the series remained profitable, a new trilogy would follow the first, and then another—there was no end in sight.

The red carpet ceremony was brief, attended only by the film’s key creators and a few executives from Relativity Entertainment. Ronan also made an appearance to show his support for James Wan and the series.

His presence alone was a statement of his stance.

At the premiere, the most anticipated figure was James Wan, followed closely by Tobin Bell, the actor behind Jigsaw.

Bell had become the real-world embodiment of Jigsaw. As he stepped onto the red carpet, his pale, somber face silenced the crowd for a moment, as if they had been intimidated by Jigsaw himself.

As a relatively unknown actor, Tobin Bell would forever be associated with the role of Jigsaw.

For an actor of his caliber, this wasn’t necessarily a bad thing.

At the very least, it gave him leverage to demand higher pay.

In the third film, Bell’s salary had risen to three hundred thousand dollars plus one percent of the North American box office profits.

As sequels were made, it was only natural for the key players’ compensation to increase.

James Wan, for example, who served as both director and screenwriter for Saw III, had no base salary but instead took a seven percent share of the North American box office.

A director of Wan’s stature, who had already caught Hollywood’s attention, couldn’t be bound by a long-term contract that would suppress his earnings.

Ronan met James Wan in the theater lobby.

“James, you’ve done well,” Ronan praised without hesitation. “This film is going to scare a lot of people.”

Wan smiled. “I’ve given it my all.”

Ronan understood the implication. “Going forward, you’ll only need to serve as producer. The first trilogy has already established a successful formula for the series.”

Wan replied, “Darren may not be a brilliant innovator, but he’s a capable executor.”

Ronan nodded slightly. “I’ve spoken with Director Bousman. His talent is more than enough for the next Saw film.”

Wan continued, “I’m ready to move on from this series, Ronan. I have some ideas…”

Ronan said, “I have some thoughts on horror films as well. After the premiere, let’s find time to discuss them.”

“Sounds good,” Wan agreed readily.

Ronan then met Darren Bousman, the young director with a distinctive Mohawk hairstyle, dressed in a suit that seemed to match the style of Billy the Puppet.

Starting with Saw IV, if all went well, Bousman would direct at least three more sequels.

His strong execution skills and experience as Wan’s deputy made him the ideal choice to continue the Saw franchise’s success.

Just like the later installments of Final Destination, Ronan didn’t need the Saw sequels to be groundbreaking or innovative. Commercial success was the priority.

Two years earlier, Saw had quickly gained worldwide attention after its release. Many who saw the film claimed they were genuinely terrified by Jigsaw.

Last year, Saw II continued the legend of the “Jigsaw Killer” and achieved impressive results, earning the title of “most successful horror series in recent years” alongside the first film.

A year later, Saw III made a triumphant return, opening a new chapter in the saga of the “Jigsaw Killer.”

To ensure a strong conclusion to his personally directed trilogy, Wan had repeatedly claimed to have used his “trump card,” guaranteeing that the film would be even more intense and thrilling than its predecessors while offering audiences a close look into Jigsaw’s dark psyche.

The third film immediately gripped viewers from the start: Jigsaw’s life was slowly coming to an end, and he had designed a perfect “final game” for his own death.

Embassy Pictures had put significant effort into its pre-release marketing, even running cautionary ads:

“Not for the faint of heart. We guarantee not everyone has the courage to watch until the end!”

Far from deterring audiences, this only piqued the curiosity of more viewers.

Another marketing angle was elevating Jigsaw to godlike status.

There was plenty of hype surrounding Jigsaw.

“In some ways, he’s a philosopher, a bit of a scientist and artist, but most of the time, he sees himself as a ‘healer,’ always telling his chosen victims, ‘You will thank me for this for the rest of your life.’”

This aligned with the expectations of many “Jigsaw” fans.

In their eyes, Jigsaw was never a murderer but a social physician.

In reality, however, no patient would ever thank such an outstanding doctor.

Who could endure having their legs sawed off, fingers severed, jaws split, or stomachs slit open?

Even if God put people through such trials, his followers would drag him off his pedestal.

In Saw III, Wan intended to portray Jigsaw as a godlike figure.

After this film, even more people might believe that the old man wasn’t a killer—his murders weren’t for ultimate death but for redemption, to make those who were alive yet dead appreciate life anew and be reborn.

Perhaps there would even be a group of fanatical followers singing praises like “Hail to Jigsaw.”

Regardless of whether the film’s plot was twisted, one thing was certain: this installment surpassed the first two in terms of gore and visual shock. Scenes like the craniotomy were so brutal they were hard to watch, perfectly catering to North American horror fans’ appetite for “terror.”

But for someone like Ronan, who preferred Eastern-style horror, Saw III was less terrifying and more grotesquely violent, even nauseating.

All he could say was that the tastes of traditional North American horror audiences were truly unusual.

At the premiere, many viewers were visibly shaken, while others cheered for Jigsaw.

These days, all kinds of bizarre worldviews and values existed.

On reflection, there were indeed real-life figures like Jigsaw—though they were invariably cult leaders.

Some had even joked that if the old Jigsaw didn’t die, he could start a cult, win a Nobel Prize, or even surpass Sherlock Holmes…

Perhaps, after their positive energy “chicken soup” films, Relativity Entertainment now had a cult training film.

Ronan was well aware that with Saw III concluding the first trilogy and Darren Bousman taking over as director from the fourth film onward, the Saw series was hurtling toward B-movie territory with no turning back.

Future sequels would have budgets capped at five million dollars, forcing them to rely on increasingly elaborate killing spectacles to attract audiences.

They would also have to concoct even more absurd justifications for Jigsaw and his disciples to play god.

The film’s impact was powerful. After returning to his estate from the premiere, Ronan looked at the midnight snack Nikita had prepared and lost his appetite entirely.

“This milk was airlifted from New Zealand just this evening,” Nikita said, holding out a glass. “It’s supposed to help with sleep.”

When Ronan saw the white liquid in the glass, he instantly thought of Jigsaw’s pale, exposed brain. Suppressing his nausea, he waved her off. “I can’t drink it. It’s all yours.”

Nikita had no choice but to take it away.

Ronan added, “If there’s any more, give it to the staff. I don’t want to see milk for the next few days.”

Though Nikita found this odd, as the housekeeper, she knew better than to pry.

“James Wan,” Ronan muttered, “you’ve really grossed me out.”

Now that he thought about it, he truly admired those who could stomach brain matter.

“Guess I’m not a real foodie,” Ronan said to himself.

Nikita, ever attentive, brought him a glass of water after taking away the milk. Ronan took a few sips and felt slightly better.

Once the weekend was over, it would be time to have a serious talk with Wan. He shouldn’t have gone down this path of relying solely on gore to scare people.

Ronan had already prepared a lot of material after deciding to collaborate with Wan.

Chapter 866: The Warrens

The first two films had laid a solid foundation, and Saw III aligned well with the aesthetic preferences of North American horror fans. With the appropriate elevation of “Jigsaw,” it catered to the psychological expectations of the fanbase. From the first day of its release, the film’s market response showed a noticeable improvement over its predecessors.

On its opening day in North America, the film grossed $15.22 million across nearly 3,500 theaters, setting a new series record.

However, as the box office soared, the critical reception often took a turn for the worse.

Saw III achieved a new low on Rotten Tomatoes, plummeting to a dismal 28% on its first day.

Film critics launched relentless attacks, some even resorting to personal insults against James Wan.

These critics were classic bullies—when faced with Uwe Boll’s BloodRayne, their criticism, no matter how harsh, mostly stayed within the realm of the film itself.

After all, no one wanted to risk a taste of Brother Bao’s iron fist.

But when confronted with the mild-mannered James Wan, they behaved like shrewish fishwives.

To be frank, far too many film critics had long since crossed the line from reviewing films to launching personal attacks.

This was partly due to Relativity Entertainment’s operations. Among all the medium to large film studios in Hollywood, Relativity spent the least on PR with film critics.

In the eyes of some critics, if they weren’t going to berate these penny-pinching miser, were they supposed to insult the ones who actually paid them?

For horror fans, Saw III was thrilling enough. The negative reviews had some impact, but ultimately, it was limited.

After the first weekend in North America, Saw III topped the box office charts with a series-best $38.77 million.

According to CinemaScore’s predictions based on theatergoer surveys, Saw III’s North American box office would exceed $100 million.

Relativity Entertainment had invested a total of $4 million in production costs and $10 million in global marketing. Relying solely on the North American box office, they would not only recoup their costs but also generate substantial profits.

“Congratulations, James.”

In the reception room on the top floor of Relativity Tower, Ronan shook hands with James Wan. “Another tremendous success.”

James Wan’s face bore a modest, Eastern smile. “I didn’t expect the box office to be this good.”

Ronan had coffee brought in and got straight to the point. “James, what are your plans next?”

James Wan sat upright on the sofa. “I want to break away from the relatively traditional structure of North American horror films like Saw. I aim to better integrate Eastern psychological horror with Western traditional elements, creating a horror film with a completely new style.”

He glanced at Ronan, cautiously adding, “I might even forgo direct depictions of gore, using details and atmosphere to create a sense of terror.”

Ronan said, “So, you’re saying you want to use an appropriate Eastern style to craft Western horror themes. Am I understanding that correctly?”

“Yes! Yes!” James Wan nodded repeatedly. “That’s exactly my idea.”

Encouraged by Ronan’s words, he continued, “By closely grasping human psychology, taking familiar everyday scenes and objects, and treating them with exaggerated and bizarre distortions, combined with camera movements and cuts, the terror effect can be enhanced. It would make people too afraid to look back in the dark after watching the film.”

Ronan understood that after directing the Saw series, James Wan had not taken a wrong turn at the crossroads.

James Wan went on, “I have a theme in mind, though it’s not fully decided yet—just some preliminary ideas.”

Ronan looked at him. “Let’s hear it.”

“How should I put it? It’s somewhat connected to Saw.” James Wan pulled a half-palm-sized Billy puppet from his pocket. “Billy is something I designed and made myself. It’s given me a lot of inspiration. I was thinking, could a horror film be made with a puppet as the main character? With a dark color palette, cold dialogue, and a creepy doll, it could present an eerie and sinister artistic style…”

Ronan glanced at the Billy puppet. “James, if you want to make a horror film with a completely new style, I suggest you completely abandon these connections to Saw.”

James Wan lowered his head, staring at the puppet, seemingly lost in thought.

“From what I know, Eastern horror films usually involve ghosts.” Ronan continued, “The West has similar themes.”

James Wan said, “Ghosts? The supernatural?”

Ronan said, “For example, a family moves into a haunted house and experiences supernatural attacks. Such stories should be common in both East and West.”

“My hometown has such stories.” James Wan said seriously. “After coming to North America, I’ve heard many similar tales. Leigh Whannell and I even visited a few haunted houses in Los Angeles that were rumored to be haunted.”

Ronan picked up the materials he had already had someone collect and handed a portion to James Wan. “Shai Entertainment is creating a series about American horror incidents, collecting many North American supernatural and ghostly events. Some of them, I think, are more suitable for film adaptation. I’ve picked them out specifically. You can take a look—maybe they’ll give you some inspiration.”

James Wan took the materials and began to flip through them. They described a common type of North American supernatural legend: a family happily moves into a new home, only to experience a series of strange events. The son in the family falls into a coma, and for months, no doctor can provide a reasonable explanation for his prolonged unconsciousness.

During this time, the house begins to experience frequent, inexplicable, and eerie occurrences. The family moves again to escape the strange events, only to discover that the problem isn’t with the house. Eventually, they have no choice but to call in specialists…

Ronan said, “This kind of legend is one of the most common supernatural horror stories in North America. There are various versions in folklore, and the public acceptance is very high because such stories happen right in their midst.”

James Wan smiled. “Yes, I’ve heard and seen similar stories. Although not exactly the same, they’re mostly alike.” He put away the Billy puppet. “I need to discuss these with Leigh Whannell carefully.”

“There’s more.” Ronan handed James Wan a second set of materials, which included a book. “This is Andrea Perron’s horror novel The True Story: The Dark House and the Light House. The copyright is already with Shai Entertainment. According to the author, it’s based on a true story.”

He thought for a moment and added, “It’s said to be a true event that happened on the Warrens’ farm.”

James Wan remembered hearing that name. “The Warrens?”

Ronan explained in detail, “Ed and Lorraine Warren, the founders of the New England Society for Psychic Research, are American supernatural investigators and writers. They’ve investigated many famous haunting cases and even have their own Warren Occult Museum.”

James Wan suddenly realized, “Ah, them. I’ve heard of them. They’ve written many books about supernatural phenomena and related private investigation reports, claiming to have investigated over 10,000 cases in their careers. They were also among the first to investigate the controversial Amityville haunting.”

“The Amityville haunting?” Ronan was a bit confused.

James Wan explained, “It happened decades ago. A couple in New York claimed their house was possessed by a violent and evil entity, so severe that they had to move out. Many paranormal experts investigated, some calling it a hoax, but Lorraine Warren always insisted there was an evil spirit in the house. The 1977 book The Amityville Horror and the 1979 and 2005 films of the same name were based on this event.”

Ronan said, “James, we won’t discuss whether it’s true or not, but from a film adaptation perspective, don’t you think the Warrens would make excellent movie protagonists?”

James Wan thought for a moment, recalling what he knew about the couple’s deeds, and said, “They’re practically born movie protagonists!”

Ronan added, “We can treat many of these events as real, and the Warrens as the world’s most outstanding paranormal experts…”

James Wan was clearly inspired. “Combining Western horror film effects, religion, and music with Eastern mystery and suggestion to create an even more eerie and terrifying atmosphere…”

He looked at Ronan. “Are the Warrens still alive? I want to visit them in person!”

Ronan pointed to the materials he had given James Wan. “Their address and contact details are in there. Shai Entertainment has already been in touch with them. They’re very willing to see their lives adapted for the big screen. If you want to visit them, have George Clint arrange for someone to accompany you.”

“Alright.” James Wan seemed restless.

Ronan reminded him, “Don’t rush. Take both sets of materials with you. James, study them carefully and see if they can be adapted into films. If they can, consider whether they can be set in the same background.”

James Wan looked at the two sets of materials, somewhat surprised, and asked, “The same background?”

Ronan simply said, “Meaning, in the film’s background, these events happen in the same world. For example, in the first set of materials, the professionals the family hires for their son could be the Warrens. Or, some of the supernatural and terrifying items collected in the Warrens’ occult museum could be made into separate films.”

James Wan roughly understood. “Seems feasible.”

Ronan reminded him again, “Regarding this, it can be called the same universe or the same Earth. James, do you read superhero comics?”

James Wan embarrassedly smiled. “Basically, no.”

“Then, go find George Clint.” Ronan thought it would be more intuitive for James Wan to see the relevant plans directly. “If you sign a confidentiality agreement, you can see a grand plan for films. Once you see it, you’ll understand what I’m talking about.”

James Wan glanced at his wristwatch, seemingly eager. “I’ll go to Shai Entertainment to find George Clint right away.”

Chapter 867: A Treasure Trove of Horror Material

Upon arriving at Shai Entertainment, James Wan sought out George Clint and briefly explained his intentions. After signing a confidentiality agreement, he entered the most secure archives room in Shai Entertainment and reviewed the outline of Marvel’s “Avengers Movie Plan.”

James Wan was a clever man. Combining what Ronan had told him, he fully grasped the concept of a shared background universe—much like Marvel’s superhero comic The Avengers, where many different characters from various works coexist in the same era.

Looking at the two documents in his hands and considering what he knew about the Warrens, James Wan grew more convinced that this was a brilliant idea. If these two stories were adapted into films and linked together, they would undoubtedly add many exciting elements.

In the future, if he had other horror film ideas, he could set them in the same world. Like Marvel’s superhero comics, when faced with a vengeful spirit or other entity that couldn’t be resolved, they could collaborate. This way, he could build a horror film universe—his very own Wan Cinematic Universe!

James Wan realized why, among so many producers in Hollywood, Ronan Anderson had become a top producer. His abilities and vision were truly exceptional!

“Brilliant!” James Wan exclaimed as he read the “Avengers Movie Plan” outline, nodding repeatedly. “Absolutely brilliant!”

It seemed he would need to maintain a long-term collaboration with Relativity Entertainment.

Perhaps due to his personality or his upbringing in a distant Eastern family, James Wan had not become arrogant after the massive success of the Saw trilogy. Instead, his understanding of Hollywood deepened. He knew that with the backing of a powerful company like Relativity, his future path would be smoother.

James Wan made up his mind. Without lingering in the archives, he greeted George Clint and asked him to quickly send someone to contact the Warrens. Then, he swiftly left Relativity Tower and found his old partner, Leigh Whannell, to discuss the film adaptation of the two documents in his possession.

Creating such a film universe was no easy task. Laying a solid foundation at the beginning was crucial.

James Wan was a director with a strong commercial mindset. Unlike many directors who were often misled by artistic pursuits, he was not easily swayed.

The “Avengers Movie Plan” from Shai Entertainment had given James Wan a great deal of inspiration. It also made him ponder how to approach his own film universe.

In his view, a film universe wasn’t just about having a few sequels. A unique worldview, an infinitely expandable story system, and complex character relationships were all necessary conditions for a film universe.

James Wan was confident that, given enough time, he could definitely accomplish this plan.

Of course, the early stages of the plan would require assistance.

James Wan found Leigh Whannell, and the two engaged in a lively discussion, quickly reaching an agreement. Leigh Whannell would provide support in scriptwriting for this film universe project.

The next day, the two met with the staff sent by George Clint and flew directly to Bridgeport, Connecticut, to meet the Warrens in person.

Ed Warren’s health was deteriorating, as if he might be called by God at any moment. Only Lorraine Warren accompanied James Wan and Leigh Whannell, recounting some of their paranormal investigations and showing them around the Warren Occult Museum.

Apart from the Warren Farm incident mentioned in the novels, Lorraine Warren focused on introducing a doll and a widely known exorcism case from years ago.

According to her, in the 1970s, two roommates living in a certain house claimed that their doll was possessed by the ghost of a girl named Annabelle Higgins. After they sought help, she and Ed Warren performed a ritual to trap the girl’s ghost inside the doll. They told the girls that it was a “manipulated non-human entity” and took the Annabelle doll away, locking it in their “Occult Museum” at home.

Hearing Lorraine Warren’s description, James Wan was greatly inspired. This was an excellent film subject!

He looked at the elderly Mrs. Warren, his eyes gleaming as if he had discovered a vast treasure trove of horror material!

Lorraine Warren then told James Wan and Leigh Whannell about other cases she had personally participated in, such as the “Demonic Murder Case,” “Werewolf Incident,” “Samuel Family Haunting,” “Connecticut Haunting,” and “Terrifying Nun Murder Case.”

James Wan felt that this trip had been worthwhile. Just adapting the stories Lorraine Warren had shared would be enough to support an entire horror film universe.

As for whether these events were real or stories fabricated by the Warrens, it didn’t matter for Hollywood film adaptations. In fact, due to the existence of this couple, related adaptations would undoubtedly add many exciting elements. They could even use the gimmick of being based on true events to create a film series.

It had to be said that after spending several years at Shai Entertainment and collaborating with Ronan on three films, James Wan’s thoughts had unconsciously been influenced by Ronan.

James Wan also inquired about Lorraine Warren’s opinions on Hollywood film adaptations. Lorraine Warren was very interested and expressed strong support.

“Fees and such are not a problem. Free authorization is also acceptable.” Lorraine Warren had a detached air, as if she were a clear stream in this turbid materialistic society. “I only hope that the films can restore some of our reputation. Too many people have slandered Ed and me as frauds.”

She took out many letters from a cabinet and showed them one by one to James Wan and Leigh Whannell. “These are decades of letters from the church asking for our help and assistance. Over the decades of our paranormal investigations, we have received help from many people, including doctors, researchers, police officers, nurses, college students, and clergy.”

James Wan and Leigh Whannell also took a rough look at the letters. They didn’t seem to be forged; they looked genuine.

Lorraine Warren continued, “I know many people doubt and have never believed Ed and me. But evil forces are very powerful and still exist today. For us ordinary people, our fate depends on which side we choose to stand on.”

James Wan said, “I believe you and Mr. Warren. You have helped many people.”

This visit to the Warrens was fruitful. After returning to the hotel, James Wan called George Clint and Ronan, requesting that Relativity Entertainment place greater importance on the Warrens and send professionals to Bridgeport as soon as possible to negotiate and obtain the film adaptation rights to the Warrens’ life stories and all their supernatural investigation reports.

Ronan was somewhat surprised by James Wan’s description over the phone, but James Wan’s emphasis precisely highlighted the immense value of the Warrens in horror film adaptations.

He directly notified Robert Lee, instructing him to personally lead a team to Bridgeport to discuss the authorization matters.

Subsequently, James Wan sent him a written report with multiple photos.

Seeing the setup of the Warren Occult Museum and some of the correspondence between the Warrens and the church, Ronan confirmed that the Warrens were indeed a vast treasure trove.

One major flaw of horror films is their absurdity. However, the supernatural horror material related to the Warrens could be promoted using the gimmick of being based on true events.

Ronan suddenly remembered the film The Conjuring. It seemed that the opening mockumentary segment featured the Warrens…

In this light, James Wan had already mastered the essence of adapting true events.

As for whether the Warrens’ experiences were real or not, it didn’t matter at all. Even if someone publicly questioned them, in Western society, there would still be many who believed in their authenticity.

To a certain extent, the West was inherently an idealistic society where theism was widely spread. The Bible and the church were the best examples.

Robert Lee went to Bridgeport that very day, and news quickly came back.

The Warrens not only had no resistance to film adaptations but were also very supportive. The authorization fees they requested were not high, merely symbolic, but they had two extremely important conditions.

First, any film adaptations or other works must not damage the Warrens’ reputation.

Second, the film company must fund the daily operations of the Warren Occult Museum.

These were not issues. The Warren Occult Museum, despite its name, was essentially a small family workshop. Maintaining its daily operations wouldn’t cost more than a few thousand dollars a year.

Moreover, the existence of the Warren Occult Museum was beneficial for future film adaptations.

According to Lorraine Warren, the museum’s collections came from extremely dangerous paranormal events and the world’s most bizarre exorcism practices. If one carelessly touched any of the exhibits, bad things would happen.

Every night at 9 PM, the museum would open, accompanied by the eerie ancient music played by an old organ. Some paranormal photos, devil masks, and terrifying torture devices would be displayed, while the dolls possessed by evil spirits were locked in the basement by the Warrens. Among them was the most evil and dangerous Annabelle doll.

In the photos James Wan sent to Ronan, there was a doll named “Annabelle.”

Undoubtedly, Relativity Entertainment would gain a wealth of commercially valuable film adaptation material from the Warrens.

For horror films and the planned horror film universe, James Wan paired with the Warrens was like adding wings to a tiger.

According to James Wan’s written report, after initially reviewing the Warrens’ investigation reports, he found at least nine so-called paranormal events with significant film adaptation value.

Since the “Blacklist Plan,” Ronan and Relativity Entertainment had increased their efforts to find film material. This time, they had reaped a bountiful harvest.

While James Wan was making significant gains, the “Blacklist Plan” also began its concrete implementation.

Chapter 868: Quality Recommendations

New York, Brooklyn district. The set of The Departed was bustling with activity.

After a morning of filming and lunch, Martin Scorsese sat on a high stool by the restaurant window, basking in the rare bright afternoon sunlight of New York, his mood quite pleasant.

The filming was going smoothly. Tom Cruise and Will Smith, often looked down upon by their circle of directors, were actually delivering solid performances.

While not quite at the peak level of old comrades Al Pacino and Robert De Niro, their performances were certainly better than the average work of those two in recent years.

Since entering the new century, the two old friends had taken on all sorts of terrible films and roles, seemingly desperate to earn money for retirement. Their performances didn’t even measure up to Tom Cruise and Will Smith in this current shoot.

With filming progressing well and Relativity Entertainment presenting their future awards strategy, Old Martin was naturally in high spirits.

“Director.” An assistant approached with a letter. “This is for you.”

Martin Scorsese took it. The envelope bore only his name, nothing else. “Where’s this from?”

“A staff member from Shai Entertainment asked me to deliver it to you,” the assistant replied.

Martin Scorsese waved his hand, signaling his understanding, then leisurely opened the envelope and began to read.

The letter was jointly signed by George Clint, Chief Executive Officer of Shai Entertainment, and Ronan Anderson, head of Relativity Entertainment.

Seeing this, Martin Scorsese took it seriously and read it carefully.

“So it’s a script recommendation.” He understood the letter’s intent. “Relativity Entertainment, with their string of hit films, is constantly searching for new projects.”

Martin Scorsese pondered. He had been busy with The Departed and hadn’t read many scripts lately, but making a recommendation was a trivial matter.

After all, he only needed to mention any interesting scripts he had seen recently. Everything else was out of his hands.

Martin Scorsese asked for paper and a pen, quickly wrote a letter, and called his assistant over. “Put this in an envelope and give it to Relativity Entertainment’s production manager. Have him pass it to George Clint or Ronan Anderson.”

In the letter, he mentioned a script he had seen from a producer in New York, which had reportedly been circulated among Hollywood stars like Leonardo DiCaprio and Brad Pitt.

It was a purely commercial script, and Martin Scorsese wasn’t particularly interested, but he thought Relativity Entertainment’s production style might find value in it.

This small matter didn’t weigh on Martin Scorsese’s mind. After writing the recommendation letter, he fully immersed himself back into the filming of The Departed.

In California, Los Angeles, Matthew Leonetti, who had served as director of photography for Dawn of the Dead and 300, received an email.

It was from Relativity Entertainment, co-signed by Ronan Anderson and George Clint.

Matthew Leonetti read the email and fell into thought.

Due to his work on the zombie film Dawn of the Dead, someone had previously approached him with a zombie film script, asking for help in promoting it.

But Matthew Leonetti had been too busy lately and hadn’t paid much attention.

Now, seeing the email, he recalled that the zombie film script seemed quite interesting. Unlike Dawn of the Dead, just reading the script gave a sense of its joyful atmosphere.

Matthew Leonetti carefully recollected, found a photocopy of the script in his file cabinet, and decided to mail the entire thing to Shai Entertainment.

A director of photography’s income couldn’t compare to a director’s, but if Shai Entertainment adopted it, that would be a nice bonus.

Though not very famous in the industry, Matthew Leonetti had years of experience in advertising and television film production and had a good eye.

He believed that with Relativity Entertainment’s recent success in zombie films, they might continue with this genre.

John Wilson was a British screenwriter and producer who came to Hollywood in the mid-90s. His career had been lukewarm until a few years ago when he joined the Prison Break team as an executive producer, marking a turning point in his career.

By the time Prison Break 2 was in pre-production, he had become the production manager of the team.

His two collaborations with Relativity Entertainment were the takeoff points for his screenwriting and producing career, propelling John Wilson’s career forward by leaps and bounds.

But a production manager who had never been the lead producer in charge of a team was never a qualified producer.

John Wilson hoped to have a production project truly his own. After the filming of Prison Break 2 ended, he actively sought one.

However, finding valuable projects in Hollywood wasn’t easy.

There were plenty of new scripts from newcomers, but John Wilson didn’t want to gamble with his hard-earned career progress.

Until recently, during a vacation back in the UK, he saw a comedy directed by Paul Albert and suddenly felt that this kind of content, set in an American context, might be even more suitable.

An idea popped into his head: perhaps he could adapt this British TV series into an American one?

The idea was good, but the copyright was a problem. John Wilson didn’t have the ability to purchase the rights, so he had to temporarily suppress the idea, bought the relevant TV series DVDs, and returned to North America.

As soon as he arrived in Los Angeles, John Wilson received an email from Relativity Entertainment.

This was undoubtedly a good opportunity for him, a chance to present his ideas directly to the most powerful person at Relativity Entertainment.

With great anticipation, John Wilson wrote a lengthy letter, packaged it with the TV series DVD, and sent it specifically to Relativity Entertainment.

Although he didn’t immediately meet Ronan Anderson in person, the person who received the mail explicitly stated that these recommendation letters would definitely be delivered to Ronan Anderson himself.

Since the “Blacklist Plan” was launched, within a short week, Relativity Entertainment received over 20 recommendations from past collaborators, including emails from industry luminaries like Martin Scorsese and David Finch.

All of these were compiled and delivered to Ronan’s desk.

Compared to the scripts submitted to Shai Entertainment and spontaneous door-to-door sales, the scripts and projects recommended by these industry professionals were undoubtedly a hundred times more reliable.

Ronan temporarily set aside other work, dedicating a full day to sifting through the recommendations.

Scripts and projects that could catch the eye of professionals and leave an impression were at least not terrible.

Given personal reputation and filming types, Ronan first looked at David Finch’s email.

In addition to the letter, David Finch had directly mailed a script to Ronan.

This was a script David Finch received this year, sent to him by Samuel Hadida, the producer who had left the Resident Evil series.

After the success of Resident Evil 2, due to disputes over profit distribution and creative concepts, Samuel Hadida had an irreconcilable conflict with Paul Anderson and Milla Jovovich, and Ronan and Relativity Entertainment sided with Paul Anderson and Milla Jovovich. Samuel Hadida directly withdrew from the series.

Samuel Hadida invited David Finch to be the director to attract investment for the new project.

After all, David Finch’s reputation in Hollywood was quite effective.

But David Finch was busy filming Girls, and the schedule wasn’t suitable.

The script was based on the famous 1947 unsolved case, the Black Dahlia murder.

More accurately, it was based on the 1987 novel The Black Dahlia Avenger: A True Story by James Ellroy.

The Black Dahlia murder caused a huge sensation in Los Angeles at the time. The LAPD launched the largest investigation in its history, but the killer, like “Jack the Ripper,” vanished without a trace.

Ronan vaguely remembered there had been a movie about this, but he had basically forgotten the details. The only thing he remembered was that Scarlett Johansson and Hilary Swank had roles in it.

In the email David Finch sent, he mentioned that he had once wanted to direct this film, hoping to make it a three-hour black-and-white film…

This idea, apart from David Finch’s schedule not being suitable, even if it were, he would probably be rejected by the film company.

Ronan shook his head slightly. This was a novel adaptation project, with a script already written. The copyright…

He sent an email to Connie through the company’s internal system, asking her to look up the relevant information.

Within minutes, Connie replied. The film rights to The Black Dahlia Avenger: A True Story had been sold as soon as the novel was published. The company that bought the film rights back then was Universal.

It had been almost twenty years, and Universal had only just put the film adaptation on the agenda. Ronan didn’t know what to say.

But this situation wasn’t uncommon in Hollywood.

David Finch’s recommended script was naturally passed over. Universal had already started working on the project and wouldn’t transfer the rights to another company.

Ronan also noticed a problem. Such recommendations might lead to a situation where scripts and projects that truly left an impression on industry professionals might already have a buyer.

Projects that already had a buyer undoubtedly had a higher quality rate.

The recommender only remembered the script or project to some extent and didn’t care much about whether it was owned by an individual or a company.

Later, Ronan encountered similar situations.

The horror film script recommended by Gore Verbinski had been bought out by Warner Bros., and the Insider recommended by Will Smith was a Universal project.

This situation was unavoidable.

On the other hand, it precisely reflected the reliability of the “Blacklist Plan” recommendations.

After looking at over a dozen projects that were meaningless to Relativity Entertainment, Ronan’s gaze fell on Martin Scorsese’s letter.

Chapter 869: Shameless

Ronan took Martin Scorsese’s recommendation seriously. After opening the envelope and pulling out the letter, he read it carefully.

Scorsese had only given the script a cursory glance since the genre didn’t align with his preferences. He hadn’t kept a copy, so he could only provide a rough description.

The script was titled Super Storm.

Judging by the name alone, it was clearly a disaster film, and Scorsese’s description confirmed as much.

The protagonist was a meteorologist who feared that global warming would trigger a catastrophic storm capable of devastating the entire East Coast of the United States. One day, the storm finally arrived. Before reaching the U.S., it lingered over a volcano, which erupted, spewing toxic ash into the air to poison humanity. The protagonist had to stop it all.

Though the summary was brief, anyone familiar with Hollywood films would recognize the classic formula: a world-ending disaster, a lone hero’s rescue mission, and quintessential Hollywood themes.

It was clichéd, but that was Hollywood—most commercial films followed the same blueprint, with only minor variations.

However, with only Scorsese’s vague description, Ronan couldn’t make a judgment. Scorsese had also stated in his letter that he didn’t find the script particularly compelling but thought Relativity Entertainment might be interested in the genre.

Clearly, Scorsese believed Relativity leaned toward commercial material.

The script’s title, Super Storm, made it easy to track down. Ronan immediately emailed Connie, instructing her to send someone to retrieve it. He would reserve further decisions until he had read the full script.

After handling this, Ronan turned to a letter from Tom Cruise, which included a script copy.

The project was a new film by Brian Singer, who had just finished Superman Returns. It was a World War II film depicting the entire Valkyrie operation from its initial planning in July 1944 to its ultimate failure.

Ronan had heard of the project before—its target was Hitler.

He called Tom Cruise directly. Cruise admitted he was in discussions with Brian Singer, though nothing was finalized. If Relativity was interested in Operation: Hitler, he could facilitate a meeting.

“You’re interested in this role?” Ronan asked, puzzled.

He had discussed this with Tom Cruise and Will Smith before. While Band of Brothers had been a massive success, war films, especially those set in World War II, hadn’t performed well in recent years.

Cruise gave a compelling reason: “I was drawn to this project and the character of Stauffenberg because, after seeing his photo, I realized our profiles look alike.”

From the other end of the line, he asked, “Aren’t you interested in this project?”

Ronan was honest: “I have reservations about World War II films.”

This film seemed to be one of the least notable in Cruise’s filmography.

Having spent so much time with Ronan, Cruise had been heavily influenced by him. “Then I’ll reconsider,” he said. “Seems like there might be an issue with this project.”

Ronan didn’t press further. “Alright, Tom. Let’s talk another time.”

The premise seemed solid—assassinating Hitler was politically correct—but the decline of World War II and war films in general was undeniable.

Moreover, the film could easily spark controversy. In mainstream Western thought, Stauffenberg’s attempt to kill Hitler was seen as a classic case of “dog bites dog.”

Winston Churchill, the British bulldog, had even publicly promoted this view more than once.

Ronan placed Operation: Hitler in the rejection pile.

The next email came from Matthew Leonetti, the cinematographer for Dawn of the Dead and 300, along with a script attachment.

The title alone—Zombieland—told Ronan what to expect. Unlike the grim Dawn of the Dead, this seemed to follow the comedic route of Shaun of the Dead.

The backdrop was typical of most zombie films: a strange virus spread across America, turning humans into zombies, who then became carriers, infecting more unsuspecting victims.

The twist? The protagonist appeared after the world had already ended, with few survivors left.

This wasn’t The Walking Dead—the villains here were the zombies themselves.

The protagonist was refreshingly original: not a fearless warrior but a coward who had developed a set of survival rules for the apocalypse.

Rules like “double-tap” to ensure zombies stayed dead and “check the backseat” to avoid ambushes.

These rules kept him alive in a world overrun by the undead.

The script featured four main characters: the cowardly protagonist, a tough-as-nails secondary male lead, and a pair of con artist sisters.

No complex moral dilemmas, no psychological torment—just survival in a desolate, zombie-infested world.

By the end of the script, Ronan almost laughed.

It was nothing like a typical zombie film.

No tragic farewells, no gore—just zombies and an amusement park, with the protagonists treating their ordeal like an adventure game, lighthearted and thrilling.

The humor was subtle yet hilarious, with moments reminiscent of an Americanized Shaun of the Dead.

The script was genuinely entertaining.

More importantly, the protagonist’s survival rules, the four leads—especially the con artist sisters—jogged Ronan’s memory.

He had seen this film before.

If he recalled correctly, the protagonist was the same actor who played Zuckerberg in The Social Network, the secondary male lead was Woody Harrelson, and the female lead was Emma Stone, before she became Gwen Stacy—or, as they called her on the other side of the Pacific, “Stone Sister.”

The secondary female lead was some forgettable kid—Ronan couldn’t remember her name.

There was even a sequel later.

Flipping to the last page, Ronan found the writers’ bios and contact details.

The script had two writers: Rhett Reese and Paul Wernick, newcomers to the film industry, writing their first script.

However, they had some experience in entertainment media, having worked as uncredited writers for two years on a CBS reality show.

In other words, Zombieland was a fresh script from fresh faces, and the rights likely still belonged to the writers.

Ronan vaguely remembered seeing the film around 2010, though he couldn’t recall the exact year.

The script noted that the writers had started in the previous year and finished early this year. Ronan suspected they had been inspired by Shaun of the Dead—the script bore some resemblance.

He instructed Connie to contact the writers immediately to check on the rights.

The biggest issue with collecting scripts this way was copyright. Industry professionals might have already snapped up interesting scripts.

But finding one gem among dozens made the effort worthwhile.

After rejecting a few more scripts, Connie’s assistant reported back: the rights to Zombieland were still with Reese and Wernick, and they had agreed to meet at Relativity Tower the next morning.

Like all new screenwriters in Hollywood, they had been shopping the script around, facing constant rejection.

But in Ronan’s eyes, they weren’t complete novices. Their experience at CBS would give them some insight when dealing with Relativity.

So, Ronan wouldn’t meet them himself. He had the legal department handle the acquisition, buying the rights directly from them.

For now, Reese and Wernick had no better options.

Soon, another project caught Ronan’s attention—this one recommended by a TV producer.

John Wilson, who had worked as a production manager on Prison Break Season 2, was one of the many who had grown alongside Relativity.

In his letter, Wilson enthusiastically recommended a British TV series that had just premiered last year. He even sent DVDs of the entire first season.

Ronan didn’t have time to watch each episode, but the title alone—Shameless—was enough for him to tell Connie to arrange a meeting with Wilson the next day.

The show was a British version of a once-popular American series.

But since the British original was right in front of him, Ronan didn’t need to guess—he knew the American version was likely a remake.

This didn’t surprise him. Hollywood frequently adapted British works.

He had seen the first season of the American version on the other side of the Pacific. Though he hadn’t finished it, he remembered the family.

The show had run for eight or nine seasons, he recalled, with consistently high ratings.

If they wanted to remake it, they’d need to check the rights first.

Chapter 870: The Decision

The sun had just risen between the towering skyscrapers of Century City, and Relativity Tower had not yet begun its daily bustle. Lott Reis and Paul Venick, led by staff from Shai Entertainment, were already waiting outside an office door.

Paul Venick paced nervously, asking Lott Reis, who sat on a bench, “Are you sure you got the call from Shai Entertainment yesterday?”

Lott Reis pointed down the hallway. “Paul, we’re inside Relativity Tower.”

“I just can’t believe it,” Paul Venick muttered, lightly slapping his arm. “Relativity Entertainment actually took an interest in our script.”

Lott Reis sighed. “It’s not like Ronan Anderson himself took an interest in our script.”

Paul Venick was somewhat disheartened as well. “We left reality TV to break into the film industry, started writing scripts last year, finished at the beginning of this year, and have been trying to sell it for over half a year without success. If we don’t get a deal by the end of the year, I’ll have to go back home to inherit the farm.”

This seemed to hit Lott Reis hard. “You still have a huge farm to inherit. If we can’t sell the script, I won’t even be able to pay my rent.”

After working as an uncredited writer at CBS for over a year and then moving to Hollywood, he had expected difficulties, but the reality was far worse than he had imagined.

The problem wasn’t just that they were newcomers with a new work—it was also that the comedic zombie genre simply wasn’t popular. Film companies all looked to Relativity Entertainment’s Dawn of the Dead and Land of the Dead as the standard for zombie films in the new century, dismissing their script outright.

The past half-year had been a struggle, forcing Lott Reis and Paul Venick to lower their expectations repeatedly. The latter had even begun to consider giving up.

The sound of high heels clicking against the floor echoed as someone approached—not just one person, but several.

Lott Reis and Paul Venick looked up, momentarily stunned.

Two women walked toward them, one after the other. The one in the back was clearly an assistant or secretary, while the one in front was the person they had come to see.

They hadn’t expected her to be so striking.

She had the delicate features of Jessica Alba and the fiery figure of Salma Hayek.

Even in all of Hollywood, such looks were top-tier.

Paul Venick couldn’t help but think, This woman chose the wrong profession! She could have been a star—why be a producer?

Lott Reis, however, immediately recalled the research he had done: Jessica Felton, producer and Vice President at Shai Entertainment, overseeing production. She was the producer for Pirates of the Caribbean: Dead Man’s Chest and the upcoming Pirates of the Caribbean: At World’s End.

She was clearly of mixed heritage, and her appearance made her seem younger than her actual age—only in her early twenties.

In the brief moment Lott Reis and Paul Venick were distracted, Jessica Felton had already approached them and asked politely, “Are you Mr. Lott Reis and Mr. Paul Venick?”

Her tone immediately made them feel different—none of the arrogance they had encountered with other producers and company executives. It was said that Relativity Entertainment valued newcomers, and Jessica Felton’s attitude proved it.

Lott Reis quickly replied, “I’m Lott Reis. Hello, Miss Felton.”

Paul Venick quickly composed himself and greeted Jessica Felton as well.

Jessica Felton, ever perceptive, quickly deduced that Lott Reis was the more dominant of the two.

She invited them into the reception room, had her assistant bring two cups of coffee, and got straight to the point. “Gentlemen, I read the script for Zombieland yesterday and found it very interesting. That’s why I proposed to the company that we buy it from you.”

Lott Reis said, “We’re also willing to work with Relativity Entertainment.”

Jessica Felton smiled. “There’s one thing I need to make clear upfront—Zombieland is a new work by newcomers, so the price for the script won’t be very high…”

“We understand,” Lott Reis and Paul Venick exchanged a glance. “The price is negotiable, but we have two conditions.”

Jessica Felton nodded slightly. “Go ahead.”

Lott Reis steeled himself. “After Relativity Entertainment buys the script, it must be made into a film as soon as possible…”

Too many companies bought scripts only to let them gather dust in their script libraries, some for over a decade.

Given their situation, he and Paul Venick couldn’t afford to wait.

Jessica Felton could guess what they were thinking but remained silent, waiting for them to finish stating all their conditions.

Lott Reis continued, “Once the project is greenlit, Paul and I want to be on-set writers.”

This way, in addition to the script sale, they would have salaries to rely on.

They had no choice. After leaving CBS’s reality TV show last year, they had no stable income. Combined with their lack of savings, they were already struggling financially.

Their earlier discussion about not being able to pay rent and Paul having to return home to inherit the farm wasn’t a joke.

Jessica Felton had also come up as a newcomer. She remembered the days of practicing her craft in a rented apartment, so she could roughly imagine the difficulties these two new screenwriters were facing.

Given their circumstances, their requests weren’t really demands.

“Agreed,” Jessica Felton said. “These points will be reflected in the contract.”

Strictly speaking, their requests couldn’t even be considered conditions.

Last night, she had discussed this project with Ronan over dinner. Buying Zombieland was meant for filming, and with the momentum from Dawn of the Dead and Land of the Dead, they wanted to push it to market as soon as possible.

The project would be greenlit quickly, and once the crew was assembled, they would need on-set writers. Rather than hiring new people, it made more sense to keep these two.

Lott Reis and Paul Venick’s circumstances were clear—they hadn’t made any unreasonable demands.

Jessica Felton didn’t need to suppress the price. Following Hollywood’s standard market rates, Shai Entertainment bought the full copyright to Zombieland from them for twenty-three thousand dollars.

The negotiations went smoothly. After their lawyer arrived, and with industry-related documentation and witnesses, both parties signed the copyright transfer agreement that same day.

Meanwhile, Ronan met with John Wilson, the production manager for Prison Break 2.

John had been working with Relativity Entertainment for years and had grown alongside the company. Continuing to collaborate with Relativity was naturally his first choice.

Moreover, securing the remake rights wasn’t going to be easy.

“Hollywood remakes of British shows are common,” John Wilson said to Ronan in the office. “And many of them have been quite successful.”

Ronan thought for a moment. “I took some time yesterday to watch the videotapes you sent. The series is well-made, and the characters and plot are interesting.”

John Wilson said, “If the setting were moved to America, I think it would work even better and be more convincing. We could make some changes to reflect the reality of America’s lower-class society. Isn’t America full of neighborhoods with alcoholics, beggars, and criminals?”

Ronan nodded slowly. “That makes sense.”

Perhaps the description “Happy America, shootings every day” was a bit exaggerated, but it did capture the essence of life in those neighborhoods.

“What are your thoughts on an American adaptation?” Ronan asked.

John Wilson perked up at the question. “Here’s what I’m thinking: move the setting from Manchester to Chicago. Against the backdrop of economic decline, an ordinary working-class family—a father who’s often found passed out on the living room floor, an incompetent mother, and their eldest daughter who has to take on the responsibility of raising her five younger siblings.

“It’s a lively family drama mixed with love, adventure, deception, and warmth—a story full of blood, sweat, and tears that shows the struggles of a lower-class family.”

Relativity Entertainment was familiar with John Wilson—he was reliable. After hearing this, Ronan asked, “What about the audience?”

John Wilson said, “Most Americans should relate to this. Life isn’t easy, and just surviving can be a heavy burden. Sometimes, it forces people to make difficult choices.”

Ronan suddenly thought that if this show were made, it might even have a stabilizing effect on society.

Described in dramatic terms, such a show could be inspiring. Whenever someone faced injustice or felt down, watching a few episodes might make them realize that their problems were nothing compared to the characters’. Life goes on, and the sun still rises…

It might even leave viewers with this feeling: while watching, they feel darkness, oppression, even despair, but after watching, they realize how good their own lives are.

“Alright,” Ronan made his decision. “John, go to the Copyright and Distribution Department and find Robert Lee. Have him assign someone to accompany you to the UK to negotiate the remake rights for Shameless. If you can secure them, draft a detailed plan.”

John Wilson, seeing the chance to lead a project independently, immediately said, “I’ll go right away.”

Ronan called Robert Lee in front of him.

Then, John Wilson left Ronan’s office to discuss the details with Robert Lee and prepare to go to the UK to purchase the rights.

After receiving Ronan’s notification, Robert Lee quickly assembled a team and called the UK branch to request their full cooperation.

Connie then entered Ronan’s office and placed a photocopy of a script on his desk. “This was just sent up—Super Storm.”

Chapter 871: Ambition and Maneuvering

In the magical land of America, aside from the prevalence of gun violence, the influence of hurricanes was not to be underestimated. Tornadoes were practically a common occurrence.

Storm-themed films were a relatively common genre in Hollywood, with a broad audience across North America.

Jane de Bont’s Twister, for instance, had even made it into the top three of the North American annual box office chart.

Thus, the script for Super Storm, recommended by Martin Scorsese, piqued Ronan’s interest. He immediately had the complete version of the script brought to him.

In a way, it was somewhat reminiscent of The Day After Tomorrow.

Roland Emmerich’s disaster film had succeeded not just because of its special effects, but also because it resonated with the current societal concerns.

For governments worldwide, climate change was an increasingly urgent issue.

For centuries, humanity had yearned to understand, control, and ultimately master the Earth’s climate changes.

The screenwriter of Super Storm was no fool.

The script told the story of a not-so-distant future where global warming frequently spawned even more terrifying hurricanes. When a super hurricane threatened the East Coast of the United States, the protagonist’s “Storm Shield” team planned to use their technology to alter the hurricane’s path and intensity, preventing another tragedy like Katrina.

The screenwriter had tied the plot to Hurricane Katrina.

This summer, Hurricane Katrina had captured global attention. The catastrophic consequences were so severe that even the United States struggled to bear them, with direct economic losses exceeding two hundred billion dollars.

Movies often mirrored societal realities, and Hollywood screenwriters had an exceptionally keen sense for such things.

“Based on what we’ve gathered…”

In the office, Connie briefed Ronan on the latest information: “The screenwriter, Julian Simpson, came up with the idea for a hurricane script after Hurricane Katrina. She completed the script in less than a month.”

Ronan asked, “Julian Simpson? The name doesn’t ring a bell.”

Connie glanced at her notebook and said, “She’s a 34-year-old female screenwriter and director. She entered the film industry in 1997 and directed a British film called Modern Women’s Prison. At the turn of the century, she came to Hollywood and worked as a screenwriter, serving in several TV drama writing teams.”

Understanding Ronan’s intent, she emphasized, “Julian Simpson is very familiar with Hollywood’s landscape.”

Ronan nodded. “Not a newcomer, then.”

Connie asked, “This work…”

Ronan glanced at the script on his desk and said, “Well, this type of film— the plot is bound to be clichéd. To make it stand out, there would have to be a significant investment in special effects. But the higher the investment, the greater the risk.”

Truth be told, Ronan was somewhat hesitant.

Connie remained silent, waiting for Ronan to make a decision.

After a moment’s consideration, Ronan said, “Let’s have someone reach out to Julian Simpson. If the script’s price isn’t too outrageous, we can buy it to enrich our script library.”

Scripts themselves weren’t expensive. Even if they weren’t filmed immediately, they could be kept for later.

Connie acknowledged and left the office to coordinate with Shai Entertainment.

As a woman, Julian Simpson had been in Hollywood for several years. She wasn’t doing exceptionally well, but she wasn’t doing poorly either. Overall, she had achieved some minor success.

After the Katrina disaster, she saw the news reports on TV. Although she hadn’t visited the disaster site in person, it sparked an idea. With extensive research on hurricanes, her inspiration exploded, and in less than a month, she completed a disaster film script.

This was the most satisfying work of her six-year career. She even broke ties with a producer she had previously worked with to send the script to the renowned director Martin Scorsese.

Although Martin Scorsese didn’t take to her script, and the effort seemed to have been in vain, it turned out not to be a waste.

Julian Simpson received a call from Shai Entertainment. They wanted to discuss the Super Storm script with her.

The script hadn’t been around for long, and having worked in Hollywood for years, Julian Simpson was a shrewd woman. When she received Shai Entertainment’s invitation, her first thought wasn’t about the script potentially being made into a movie, but how to maximize her benefits.

“A standalone script isn’t worth much,” Julian Simpson thought clearly. She didn’t believe that a mature company like Shai Entertainment would be so impressed by her script that they would offer outrageous terms. “As a screenwriter, especially a female one, there isn’t much of a future.”

Her agent said, “Julian, Shai Entertainment is a subsidiary of Relativity Entertainment. If you can gain Ronan Anderson’s appreciation…”

Julian Simpson looked at her agent. “Relying on someone else’s appreciation for my future? That’s too unreliable.”

The agent wasn’t surprised. Julian Simpson had always been ambitious.

“What do you plan to do?” the agent asked, then reminded her, “It’s Shai Entertainment, Ronan Anderson’s company. We can’t afford to offend them. Don’t do anything stupid!”

Julian Simpson rolled her eyes. “Do you think I’m a brainless woman? Why would I offend someone like Ronan Anderson? I just want to secure as much benefit as possible. Do you think I should sell my hard-earned script to Shai Entertainment for a measly twenty thousand dollars?”

The agent helplessly spread his hands. “That’s the industry standard.”

“So, scripts aren’t worth much, and even I, as a screenwriter, am pitiful,” Julian Simpson clearly had her own ideas. She said to her agent, “Reply to Shai Entertainment that I agree to discuss Super Storm with them, but delay the meeting for a few days.”

The agent immediately agreed. “No problem.”

Julian Simpson continued, “I need to write a preliminary production and filming plan, turning Super Storm from a mere script into a full-fledged movie project.”

“This…” The agent was quite surprised.

“This is normal. How much can a script sell for? As a project, the bonus alone would be at least ten times that of a script,” Julian Simpson said. “Don’t forget, I was a director in the UK and even directed a movie. After coming to Hollywood, besides working as a screenwriter in TV drama teams, I’ve also served as an executive producer.”

The agent slowly nodded. “That’s true. These credentials will add to your persuasiveness.”

Julian Simpson continued, “If I can use Shai Entertainment’s cooperation to successfully produce Super Storm, my career will truly take off. I won’t just be a screenwriter with a bleak future, but a director and producer with limitless prospects.”

The agent’s expression also turned serious. “This is indeed an opportunity.” He cautiously said, “But there’s also a possibility that Shai Entertainment won’t cooperate with us.”

Julian Simpson was clear-headed. “True, Shai Entertainment has only invited us for discussions. We might not reach an agreement. But there are so many film companies in Hollywood. We don’t have to work with Shai Entertainment.”

The agent hesitated. “Shai Entertainment’s success and massive reputation…”

“So, we should use these to our advantage,” Julian Simpson said. “Shai Entertainment’s invitation can also become our capital. Even if the talks fall through, we can approach other companies and even increase our own value.”

She instructed, “Find a way to spread the news. Start today. Before we formally discuss with Shai Entertainment, try to let the relevant news circulate within the industry—that Shai Entertainment wants to cooperate with us on the Super Storm movie project.”

The agent thought it over and found it highly feasible with potentially great results.

Compared to simply selling the script, this approach could increase the benefits tenfold or even twentyfold.

As a ten-percenter, doubling the income was enough to take a huge risk, let alone increasing it so much.

After the agent left, he immediately started making calls and even went to some public places to spread the news.

The next day, Julian Simpson invited friends and colleagues from the industry to a gathering. Having been in Hollywood for several years and worked in several production teams, and with a deliberate effort to network, her connections, although only reaching the mid to lower levels of Hollywood, were quite extensive.

The banquet was enjoyable, and amidst the clinking of glasses, Julian Simpson seemingly casually revealed that her Super Storm movie project had caught the attention of Shai Entertainment, and both parties would formally discuss the project in a few days.

The crowd offered their congratulations, each with different feelings—some genuine well-wishes, some envy and jealousy, and some silent curses…

But one thing was certain—the news spread through a wide range of people.

Hollywood was a place where news traveled incredibly fast. Rumors not only spread at an astonishing speed but also changed with each retelling, usually becoming more exaggerated.

The news related to Super Storm quickly spawned various exaggerated versions through word of mouth.

For example, Shai Entertainment highly valued the project and was preparing to invest heavily.

For example, the two parties were about to reach an agreement, and Shai Entertainment wanted to invest over one hundred million dollars in production.

There were even rumors that Ronan Anderson greatly admired Julian Simpson’s talent.

Although the rumors didn’t spread extremely widely due to the limited time, they still reached the ears of many people and companies who had been keeping an eye on Relativity Entertainment and Ronan.

Their attention also turned to Julian Simpson.

As the new week arrived, according to the agreement between the agent and Shai Entertainment, Julian Simpson walked into Relativity Tower.

Chapter 872: Addicted to Poaching

Relativity Tower, in a rather ordinary reception room on the floor belonging to Shai Entertainment, Julian Simpson felt a pang of disappointment as she shook hands with the portly man before her.

“Hello, Ms. Simpson.” The man with slightly greasy hair introduced himself, “I’m Reed Brewster from Shai Entertainment’s production department. Welcome to Shai Entertainment.”

Julian Simpson forced a smile. “Hello, Mr. Brewster.”

Brewster got straight to the point. “Recently, someone recommended Super Storm to Shai Entertainment. I’ve read the script—it’s quite good.”

“Thank you.” Julian Simpson responded politely.

But inwardly, she was deeply disappointed. The person meeting her wasn’t Ronan Anderson, nor was it George Clint of Shai Entertainment, or any other notable figure—just an unremarkable, portly man.

What was this man’s position? Production department director? Clearly not. At best, he was a supervisor.

Was the situation not as she had expected?

Brewster didn’t seem to think much of it either. He said directly, “On behalf of Shai Entertainment, I’d like to discuss buying out your script.”

Julian Simpson frowned. “You only want to buy the script?”

Brewster replied, “If Ms. Simpson is willing to sell, Shai Entertainment is prepared to buy all rights to the script for twenty-five thousand dollars, considering you’re a member of the Writers Guild.”

Hearing the price, Julian Simpson’s expression darkened instantly. Hollywood companies were so arrogant—even the highly reputable Shai Entertainment was no better.

Were inspiration and creativity worth so little?

This was almost the minimum price set by the Writers Guild for member scripts.

“Sorry.” Julian Simpson composed herself and quickly regained her usual demeanor. “I appreciate Shai Entertainment’s interest, but I can’t accept that price.”

Brewster had only offered the lowest price. The authorized amount he had been given far exceeded twenty-five thousand dollars.

But he didn’t raise the price easily—it wouldn’t be beneficial for negotiations. “Ms. Simpson, you can make your demands.”

Julian Simpson understood there was still room for discussion.

Selling the script rights alone didn’t align with her interests.

She probed, “Mr. Brewster, Super Storm is more than just a script in my hands—it’s a film project.” She took out the prepared shooting and production preliminary plan and placed it in front of Brewster. “This is the initial plan I’ve drafted…”

Brewster began to flip through it.

Julian Simpson continued, “I hope to collaborate with Shai Entertainment on the Super Storm film project.”

Brewster didn’t look for long. After a brief glance, he closed the plan and asked, “Does Ms. Simpson wish to serve as the director and producer for this project?”

Julian Simpson smiled. “Yes, that’s a prerequisite for cooperation.”

Brewster tapped his fingers lightly. This didn’t align with the company’s plans at all. His superiors had been very clear—they were purchasing the script to enrich their script library, with no immediate plans for production.

“This project, from the initial concept to the completed script, was all done by me,” Julian Simpson argued for herself. “I know Super Storm better than anyone. I’ve also served as a director and producer before…”

Brewster interrupted her. “Ms. Simpson, Shai Entertainment is willing to pay thirty thousand dollars to buy out your script.”

Julian Simpson took a deep breath, suppressing her displeasure. “Having me as the director is a prerequisite for cooperation.”

She conceded on the producer role.

“I’m sorry.” Brewster said directly, “Shai Entertainment is only interested in the Super Storm script.”

The negotiation inevitably headed toward a breakdown.

Julian Simpson was quite disappointed, but Brewster left a little leeway. He took out a business card and placed it in front of her. “Ms. Simpson, you can think it over when you get back. If you change your mind, feel free to contact me.”

Though she didn’t want to take the card, considering it was still a path forward, Julian Simpson pocketed it. “I hope your side will also consider it. I’m very sincere about cooperation.”

She had mentally prepared herself, but facing a top-tier production company like Shai Entertainment, Julian Simpson unconsciously placed herself in a weaker position.

The negotiation ultimately yielded no results. Julian Simpson left, feeling somewhat disappointed as she reached the first floor of Relativity Tower.

Fortunately, she had mentally prepared herself, so she wasn’t too affected.

She walked out of Relativity Tower, got into her car, and called her agent, briefly explaining the situation. Then, Julian Simpson started the car, ready to leave Century City.

Suddenly, her phone rang.

She took it out and saw an unfamiliar number.

After answering, a strange man’s voice said, “Hello, Ms. Simpson, I’m the deputy director of the film production department at 20th Century Fox…”

The call ended, and Julian Simpson started the car. In less than five minutes, she arrived at the Fox Building, also located in Century City.

Soon, she met the deputy director who had called her.

At this moment, Julian Simpson no longer showed any signs of her earlier slight disappointment. Instead, she appeared sharp, capable, and full of confidence.

“Shai Entertainment is eager to collaborate with me. They’re willing to invest one hundred and fifty million dollars in the Super Storm project!” Julian Simpson, having approached 20th Century Fox for the film project, used a tactical retreat to advance. “I can’t think of any reason to work with 20th Century Fox?”

The deputy director, having learned that Julian Simpson had just left Shai Entertainment, confirmed the authenticity of the circulating news. “Ms. Simpson, 20th Century Fox is a traditional Hollywood powerhouse. Its advantages are not something a newly risen company like Relativity Entertainment can compare to.”

Julian Simpson wore an appropriate smile, but her mind was already calculating. The relationship between Relativity Entertainment and 20th Century Fox was very poor—even hostile. Everyone in Hollywood knew this, so communication between the two would inevitably face significant obstacles, leading to poor information flow.

Moreover, she had indeed discussed cooperation with Shai Entertainment.

But the specifics were something 20th Century Fox shouldn’t know.

Given the relationship between Relativity Entertainment and 20th Century Fox, even if Relativity Entertainment publicly denied it, 20th Century Fox might still think it was a smokescreen.

All of this could be used as leverage in her negotiations with 20th Century Fox.

In their first exchange, they talked for a full two hours. Although no agreement was reached, there was an initial intention to cooperate.

20th Century Fox had the success of The Day After Tomorrow behind it and placed great importance on climate disaster films. Moreover, Hurricane Katrina had just passed, and for a long time to come, storms would be a major societal concern.

The biggest disagreement between the two sides was still over Julian Simpson serving as the director and producer.

But after reviewing her resume, 20th Century Fox wasn’t entirely opposed. After all, she had experience successfully directing films.

Investing in a film was inherently risky. In some ways, 20th Century Fox had more of a risk-taking spirit than Ronan and Relativity Entertainment.

Ronan’s circumstances were unique. Not utilizing them properly would be foolish. When choosing directors, those with sufficient experience or who had left an impression on him were the primary choices.

Someone like Julian Simpson would definitely be treated with caution.

According to Ronan’s vision, a script like Super Storm would require a large investment and production scale for a film adaptation.

For a project of this scale, the director was crucial.

Brewster’s negotiation report quickly reached Ronan. After a brief glance, he decided to abandon the Super Storm script.

Buying the script alone, even if it cost a few more thousand dollars, wouldn’t be an issue for Shai Entertainment’s current strength and funds.

But appointing Julian Simpson as the director could involve investments of hundreds of millions of dollars.

“Cancel it.” Ronan instructed Connie. “For this batch of recommended projects, focus on Zombieland and Shameless.”

John Wilson, along with the legal department, had already made initial contact with the UK side. Hollywood remaking British films and TV shows wasn’t unprecedented, and the UK side wasn’t opposed. They also hoped to collaborate with Relativity Entertainment. The only thing that could affect their cooperation was the copyright licensing fee.

As for Zombieland, the rights were already in Shai Entertainment’s hands, and related preparations would begin soon.

Connie acknowledged and asked, “What about the second Blacklist Plan?”

“Put it in December.” Ronan said. “Tell George Clint that the plan shouldn’t run too frequently. At the fastest, participants should receive an email every quarter.”

Connie noted it down and then said, “I received some news from Strive Elite Agency regarding Julian Simpson.”

Ronan knew Connie wouldn’t mention this without reason. “Details?”

Connie said, “Someone informed us that Julian Simpson has reached a preliminary cooperation agreement with 20th Century Fox. It’s highly likely that 20th Century Fox will invest in filming Super Storm.”

Ronan asked, “Did 20th Century Fox agree to her conditions?”

“They rejected Julian Simpson as the producer.” Connie said. “But they’re considering her as the director.”

She looked at Ronan. “The information comes from a producer who is friends with Julian Simpson. He currently works on the Lost crew. According to him, the reason 20th Century Fox approached Julian Simpson is precisely because we were interested in Super Storm.”

Ronan couldn’t help but shake his head. “20th Century Fox is addicted to poaching our talent.”

Chapter 873: A Distant Relative Is Not as Good as a Close Neighbor

Relativity Entertainment had frequent conflicts with Hollywood’s traditional factions, but the major studios also faced their own problems. Ronan’s strategy wasn’t one of outright confrontation—he maintained extensive cooperation with Warner Bros, the strongest player at present. Even when Warner Bros targeted Relativity, their actions were mostly covert.

The only studio truly at odds with Relativity was 20th Century Fox.

The root cause lay in irreconcilable conflicts over major interests.

Ronan had long suspected that the recent disappearances—those occasional warnings from Finch and Nikita—might be connected to 20th Century Fox.

There was no concrete evidence, even after Finch’s people had gone to the UK and found nothing.

But this situation bore an eerie resemblance to the tactics Ronan remembered from News Corporation.

Relativity’s Marvel Entertainment was relentlessly pursuing X-Men and Fantastic Four rights from 20th Century Fox, so it was only natural for Fox to retaliate by poaching Relativity’s projects.

Connie said, “Because of us, 20th Century Fox has secured several major projects. Roland Emmerich is directing 10,000 BC, Ridley Scott is preparing a new film titled Pharaoh and the Gods, and Robin Hood is reportedly about to be greenlit. Fox intends to hire British director Guy Ritchie and has offered a substantial sum to Oscar-winning actor Russell Crowe to play Robin Hood.”

Ronan rubbed his chin. “Fox has taken quite a few of our projects.”

Perhaps Super Storm could be added to the list?

But this disaster film was different from the others. Storm-themed disaster films had a market in North America, and if executed well, it might not be a massive box office hit, but achieving the success of The Day After Tomorrow was still possible.

In Ronan’s view, the biggest uncertainty in the project was Julian Simpson.

It was somewhat like Kingdom of Heaven—Fox had far more confidence in the producer-centered system than most, treating directors merely as on-set coordinators while leaving other issues to the producers.

This might have something to do with James Cameron and Titanic. The mutual harm between Cameron and Fox back then likely made Fox wary of powerful directors, leading them to restrict directors’ authority in subsequent projects.

Thinking of James Cameron, Ronan suddenly had an idea.

Since Fox was reaching out, how could a good neighbor like himself not return the favor?

Relativity and Fox were both in Century City, their office buildings standing across from each other—truly the closest neighbors in Hollywood.

There was an old saying from the other side of the Pacific: A distant relative is not as good as a close neighbor.

Neighbors couldn’t just ignore each other—they either helped or harmed one another.

Facing Fox, Ronan felt Relativity had a duty to be a good neighbor.

A very good neighbor.

A neighbor like the one in that old story.

Ronan asked, “I recall that James Cameron was credited as a producer on Terminator 3?”

Connie’s position required her to know a great deal. After a moment’s thought, she said, “Not a producer. His name appears in the writing credits, but in reality, he only provided a few ideas at Anne Hurd’s invitation. The actual script was written by Michael Ferris and John Brancato.”

Ronan nodded slowly. That made sense. Cameron and his ex-wife Anne Hurd lending their names could fully leverage the massive fame of Terminator 2, continuing to draw fans to theaters.

Additionally, Cameron was famously amicable with his ex-wives.

They might have been at each other’s throats during marriage, even incompatible, but after divorce, they could still be good friends.

“What about the rights?” Ronan asked pointedly. “Especially the filming rights for sequels.”

Like Tolkien’s The Lord of the Rings, the Terminator franchise was one of Hollywood’s most legally complex major productions.

“Anne Hurd consolidated the Terminator rights, which is how Terminator 2 was made,” Connie recalled. “After Terminator 2 was released, the rights ended up with Carolco Pictures and distributor Fox. Later, Carolco went bankrupt and was acquired by Sony Columbia, but Fox managed to secure the Terminator rights.”

She summarized clearly: “In 2000, Warner Bros, Fox, and Sony Entertainment’s Intermedia Films co-financed Terminator 3. If I remember correctly, after Terminator 3, the sequel rights were licensed by Fox’s Tom Rothman to Warner Bros. But if Fox wants to revive the franchise, they can pay Warner Bros a licensing fee to reclaim the rights.”

This aligned with what Ronan knew, but he needed confirmation. “Check again to be sure,” he said.

Connie left the office.

Ronan stood by the window, gazing at the Fox Building in the distance—his good neighbor.

James Cameron’s Terminator franchise was legendary. If the first film could be considered an unconventional cult classic, the second was a true top-tier sci-fi blockbuster that, through its groundbreaking effects, had reshaped Hollywood’s approach to special effects.

Years later, Jurassic Park—which broke nearly every record—had its effects and prop teams almost entirely modeled after Terminator 2’s.

Terminator 2 was undeniably a classic, leaving behind countless iconic scenes and lines. The Governor’s final thumbs-up was one of the most famous shots of the nineties.

But from the beginning, Cameron had stated that the series would conclude with the second film, leaving no room for continuation.

As a director, Cameron could end a successful franchise—after all, Carolco Pictures hadn’t anticipated Terminator 2’s monumental success.

How could Hollywood studios just let such a profitable franchise end?

Thus, Terminator 3 was inevitably made.

Initially, fans were thrilled, but after its release, they realized this wasn’t the Terminator they wanted.

Terminator 3 started strong but faded quickly, failing to meet commercial expectations and eroding fan trust.

Yet, it still made money for the producers.

And in Hollywood, if a franchise made money, sequels were inevitable.

One after another, each Terminator film performed worse than the last.

Ultimately, the root cause was Cameron’s departure and Terminator 3 itself.

From Ronan’s perspective, making another sequel was too risky. It wasn’t that the audience didn’t support the franchise—such a grand premise, coupled with Terminator 2’s near-conclusive ending, left little room for successors.

Moreover, the franchise’s reliance on high-end effects demanded massive budgets and broad market appeal.

But what could attract audiences now? With dazzling effects becoming routine in Hollywood and apocalyptic futures a common trope, what did Terminator have left to offer?

Cameron was a smart man.

No matter how much studios tempted him, even with exorbitant offers, he refused to direct Terminator 3.

Perhaps he knew that even if he took the helm, the result might not be good.

Now, with Terminator 3 having squandered so much goodwill, even if Cameron made a Terminator 4, failure wouldn’t just mean bad reviews—it could mean losing audience trust entirely.

But Hollywood studios were different. As long as one film made money, they would keep making sequels until every last drop of value was squeezed out.

Back then, Ronan and many hardcore fans of Terminator 2 refused to acknowledge the later films as part of the franchise, believing the story had ended with the second film and that everything after was just shameless cash grabs.

Eventually, many people grew to resent even the mention of new Terminator films.

Connie returned quickly. “I just checked. The situation is confirmed.”

Ronan thought for a moment. “Send a letter to Warner Bros asking if they’re willing to transfer the Terminator sequel rights to Shai Entertainment.”

“Understood,” Connie said.

Ronan continued, “Find a few suitable executives to leak to the media that I’m interested in taking over the Terminator franchise and creating a brand-new sequel.”

This cost almost nothing. If it worked, great; if not, no harm done. “Send a letter to the Governor’s office inquiring about Arnold Schwarzenegger’s willingness to continue in future Terminator films. Have someone reach out to the original savior and his mother…”

Ronan momentarily forgot their names. Connie reminded him, “Edward Furlong and Linda Hamilton.”

“Right, them,” Ronan said. “Have someone contact them to see if they’d be willing to return to the franchise.”

“I’ll arrange it immediately,” Connie said.

Ronan instructed, “Treat all of this as real. Don’t be too high-profile, but don’t be too low-key either. Just enough to get the media’s attention.”

“I understand,” Connie said. This was a simple operation for her. “I’ll coordinate with Robert. If he steps in personally, it’ll be more convincing.”

Ronan nodded slightly. “Go ahead.”

Connie asked, “Anything else before I go arrange this?”

Ronan waved her off. After she left, he looked back at the Fox Building. If, within the next two or three years, Fox’s major films encountered repeated problems, would a crisis emerge?

Chapter 874: Fox’s Assets

“The latest news from our sources reveals that Relativity Entertainment is in talks with Warner Bros regarding the filming rights for the Terminator sequel, with top producer Ronan Anderson expressing interest in taking over the series…”

In the office of the Warner building in Burbank, Kevin Tsujihara set down The Hollywood Reporter and looked at Charles Roven across from him. “Should we transfer the Terminator sequel rights?”

Charles Roven replied, “Ronan Anderson has an extraordinary vision and ability in filmmaking. He might have some ideas, but transferring the sequel rights?” He smiled. “If Relativity wants to be involved in the Terminator series, they should at least collaborate with Warner Bros.”

Kevin Tsujihara said, “Robert Lee came by the company a few days ago to test our stance. I had him turned away for now.”

Charles Roven thought for a moment before reminding, “Don’t forget about 20th Century Fox. They have the right to buy back the sequel filming rights…”

“Yeah, 20th Century Fox is a problem,” Kevin Tsujihara said. Though he sometimes made unconventional decisions in filmmaking, his business acumen was undeniable. “Even if 20th Century Fox wants to buy it back, they’ll have to pay a hefty price.”

Charles Roven said, “For this series, I think collaborating with Ronan Anderson would be best.”

Kevin Tsujihara shook his head. “Charles, don’t you think Relativity is growing too fast? Their box office performance is already impacting Warner Bros, and they took forty percent of Batman’s earnings—that’s too much.”

Charles Roven had a different view. “Kevin, Relativity and Warner Bros don’t have major conflicts of interest. In the short term, collaborating with Ronan Anderson is more beneficial for Warner Bros. Continuing the partnership ensures that while Relativity takes a share, Warner Bros’ earnings are still guaranteed.”

Kevin Tsujihara spoke slowly but firmly, “But I want all of Batman’s earnings.”

Charles Roven stated bluntly, “The Dark Knight is already in pre-production. The contract was signed long ago. It’s hard to push Relativity and Ronan Anderson out now.”

“What about after The Dark Knight?” Kevin Tsujihara asked. “Think of a strategy, think of a way. Having the owner of Marvel Entertainment produce DC superhero films is a joke.”

Whether it was a joke or not didn’t matter. The main issue was that Relativity was taking too much of Batman’s earnings.

Charles Roven suggested, “I advise against making any big moves for now. Wait for the right opportunity.”

Kevin Tsujihara had that much patience. “Fine. For the third Batman film, I want it to be a Warner Bros production.” He then asked, “How are things with Zack Snyder?”

“Almost settled,” Charles Roven replied. “He has agreed in principle to direct Watchmen.”

Relativity had collaborated with many excellent directors, and Zack Snyder’s style was a perfect match for DC Comics.

In North Hollywood, Linda Hamilton pushed a shopping cart out of the supermarket, picked up a few bags, and was about to head to the parking lot when two people suddenly appeared, blocking her path.

“Hello, Linda.” The woman in front flashed the press badge on her chest. “I’m a reporter from Fox Entertainment. Can I ask you a few questions?”

Due to long-term smoking, cocaine use, and suffering from binge eating disorder and bipolar disorder, Linda Hamilton’s once-famous looks and muscles were long gone.

Standing there, she looked more like a middle-aged housewife.

Linda Hamilton herself was puzzled. She tilted her head and looked at the female reporter. “Interview me?”

Without waiting for her agreement, the female reporter directly asked, “There’s news that the famous Hollywood producer Ronan Anderson is interested in the Terminator series and has invited you?”

Linda Hamilton smiled. “It wasn’t really an invitation. Someone from Relativity did contact me to ask if I wanted to appear in the Terminator series again.”

“Do you want to return?” the female reporter asked immediately.

Linda Hamilton answered without hesitation, “I refused. Terminator 2 already concluded all the stories. Sarah Connor is a thing of the past.”

With that, she waved her hand, refusing further interview, and left directly.

Watching Linda Hamilton walk away, the female reporter took out her phone and sent a message.

The photographer asked, “Linda Hamilton can only play minor roles now. Why would she refuse?”

“Because she doesn’t need the money,” the female reporter said, seeing more clearly. “During the divorce, James Cameron paid Linda Hamilton fifty million dollars in cash, plus other fixed assets. It was one of the most expensive divorces in Hollywood.”

The photographer glanced at Linda Hamilton’s retreating figure. “Yeah, with money, you can enjoy life. Filming is so tiring.”

The female reporter didn’t respond and urged, “Let’s go. We’re heading to West Hollywood to interview Edward Furlong.”

The once savior of Hollywood, the future superstar, had not grown up smoothly and was ultimately destroyed by the spotlight and drugs.

It was said that during the preparation for Terminator 3, the crew intended to have Edward Furlong continue playing John Connor, but after seeing him in person, no one on the crew thought he could handle the role.

Could Ronan Anderson really turn a worthless stone into gold?

Meanwhile, in the office of the Governor of California, Arnold Schwarzenegger, who had just finished an internal meeting, received a call from his old friend at 20th Century Fox, Stephanie Austin.

“You’re asking about this? Relativity did contact me,” Arnold Schwarzenegger said. He had a long-standing collaboration with 20th Century Fox and, unlike James Cameron, had no major conflicts with them. He didn’t hide anything. “It’s not realistic for me to star in a movie now. Even if I wanted to appear in a sequel, it would only be in a cameo role.”

In the Fox Building, Stephanie Austin hung up the phone, compiled the feedback from various sources, left her office, and went to the top floor, entering Jim Prather’s office.

Seeing Stephanie Austin rush in, Jim Prather temporarily set aside his work and asked, “Any news?”

Stephanie Austin pulled out a chair, sat across from him, and said, “Both Fox Media and Warner Bros have received related news. Relativity has made contact with them. Also, I personally called Arnold, and he has received an invitation.”

Jim Prather said, “The Terminator series has a huge global influence. Although the third installment didn’t meet expectations, the three production companies still profited…”

Stephanie Austin said, “But the sequel filming rights, we licensed them to Warner Bros.”

Jim Prather frowned and said, “Why did Tom Rothman license them to Warner Bros back then? This will cause a lot of trouble for 20th Century Fox.”

“Tom Rothman was the Chief Executive Officer at the time,” Stephanie Austin said helplessly. “He pushed it hard, and the project committee didn’t object.”

Jim Prather said, “You handle this. Reclaim the authorization from Warner Bros. Isn’t there a relevant clause in the contract?”

Stephanie Austin nodded. “There is a buyback clause.” She emphasized, “I’ve actually already contacted Warner Bros. They didn’t insist on keeping it, but there’s a condition. They demand a thirty percent increase on the original authorization fee to compensate for Warner Bros’ potential losses.”

“Thirty percent?” Jim Prather said coldly. “They’re using Ronan Anderson to rob 20th Century Fox!”

Stephanie Austin said, “That islander bastard Kevin Tsujihara has always been like this.”

Jim Prather waved his arm. “Go talk to them, but fight for the best conditions for 20th Century Fox. All rights to the Terminator series must return to 20th Century Fox.”

“I understand,” Stephanie Austin said. “I’ll resolve this as soon as possible.”

Jim Prather said, “Although this is a historical issue, we can’t take it lightly. What belongs to Fox must not be given to others, especially not Relativity.”

Stephanie Austin said, “Don’t worry. With the buyback clause, Ronan Anderson won’t succeed.” She then asked, “Should we also prepare to film a sequel?”

Jim Prather naturally replied, “Didn’t the third one make a profit? Why not film a sequel? This series still has value.”

Stephanie Austin said, “Understood.”

Jim Prather waved his hand. “Get to it quickly.”

After Stephanie Austin left, the office fell silent. Jim Prather wasn’t in the mood to continue other work. He went to the large floor-to-ceiling window and looked through the glass at the Relativity Tower not far away.

The filming rights for the Terminator sequel—was this Ronan Anderson’s counterattack against 20th Century Fox? But how could 20th Century Fox’s assets fall into someone else’s hands?

And Warner Bros—you couldn’t trust that islander Kevin Tsujihara. If they hadn’t noticed early, Warner Bros might have sold out 20th Century Fox for profit.

Outsiders thought the Big Six Hollywood companies were a unified force, but industry insiders like Jim Prather never saw it that way. The filth between the six companies due to interests had never been lacking.

If there was an opportunity, if there was profit to be made, 20th Century Fox would also screw over Warner Bros.

The Big Six standing side by side—wasn’t it better to have one dominate?

Fox would soon make big moves in the internet business, chasing after Relativity.

Chapter 875: Clashing Visions

Relativity Entertainment moved swiftly, and Shai Entertainment, as the production company, was known for its efficiency. While negotiations for Shameless were still ongoing, the rights to Zombieland had already been secured, and screenwriters Lott Reis and Paul Venick had signed their contracts.

The project naturally entered the preliminary planning phase, with funding being the least of their concerns.

Zombie films didn’t require massive investments, and the confirmed production budget was set at fifteen million dollars, financed by the Pacific Investment Foundation.

The project was scheduled for a two-year timeline, with an expected release in 2007.

“Zombie comedies are a rare genre in Hollywood,” George Clint said to Ronan. “And there hasn’t been a film of this type that’s done well at the North American box office.”

Ronan asked, “Do we have the numbers for Shaun of the Dead?”

George Clint thought for a moment. “That’s a British film, right? The reception was decent. I think it made around ten million dollars in North America.”

Ronan added, “Edgar Wright did a great job with it. It’s a shame it was a British film; otherwise, the commercial response might have been even better.”

Shaun of the Dead was indeed an excellent zombie comedy.

George Clint understood Ronan’s implication. “Are you suggesting we invite Edgar Wright to direct Zombieland?”

Ronan replied, “Edgar Wright is a strong candidate. Try reaching out to him.”

George Clint hesitated. “He’s British.”

Ronan chuckled. “Edgar Wright is quite familiar with American zombie films. Don’t forget—he had a cameo in George Romero’s Land of the Dead and spent a lot of time on set.”

Edgar Wright, like Christopher Nolan and Guy Ritchie, was one of the few British directors who had left an impression on Ronan. His “Blood and Ice Cream” trilogy, created in collaboration with Simon Pegg, blended visual storytelling with humor, incorporating elements of anti-heroes, satire, and violence, crafting a distinct personal style.

Ronan recalled that Edgar Wright had initially been set to direct Marvel’s Ant-Man, but due to severe creative differences with Kevin Feige, he had withdrawn from the project.

Honestly, how could someone with Edgar Wright’s style ever fit into Disney’s mold?

He was a director with a rather niche taste.

That same afternoon, George Clint relayed the news: Edgar Wright, having had a cameo in George Romero’s Land of the Dead, had previously collaborated with Relativity Entertainment and was very interested in working with them again on a zombie film.

Moreover, Edgar Wright was a genuine zombie film enthusiast. According to George Clint’s feedback, Edgar Wright was even preparing for a cameo in Quentin Tarantino and Robert Rodriguez’s upcoming grindhouse film, which was rumored to be a zombie flick.

Following the success of Dawn of the Dead, zombie films were clearly experiencing a revival in Hollywood, with more related themes and projects emerging.

The zombie renaissance had truly arrived.

This was Hollywood’s way of riding the wave.

Ronan also instructed Shai Entertainment to accelerate the production of zombie-themed films, continuing the momentum of Dawn of the Dead and Land of the Dead, and even discussing plans for a sequel to Dawn of the Dead.

In the ending of Dawn of the Dead, the female lead, played by Scarlett Johansson, sacrifices herself in an explosion to buy time for her companions to escape to a supposedly safe island.

The fate of that “safe island” had become a frequent topic of discussion among fans.

Shai Entertainment’s scriptwriting department had already greenlit the project and was preparing a script for the sequel, titled Dawn of the Dead 2: Island of Death, which would focus on the survivors’ struggles against zombies after arriving on the island.

Given the relatively low investment, Dawn of the Dead had achieved tremendous success, making a sequel a promising prospect.

Ronan had given this some thought. Scarlett Johansson’s performance in the first film had been outstanding, and her peak physical appearance had attracted many fans.

The sequel would continue the “Female Lead” approach, with the protagonist once again being a young woman.

Since the formula for success couldn’t be changed, the female lead in the second film would be even more formidable than Scarlett Johansson.

In Squid and the Whale, a film recommended by CAA for direct DVD distribution by Embassy Pictures, Ronan spotted a familiar face—a actress with a natural weapon of mass destruction: Alexandra Daddario.

A girl whose running could outpace a magnitude-nine earthquake.

Shai Entertainment had already made initial contact with Alexandra Daddario, and securing her cooperation wouldn’t be an issue.

For a newcomer, the allure of fame was irresistible, especially when it came to playing the female lead in a sequel.

Based on Alexandra Daddario’s strengths, Shai Entertainment planned to tailor certain scenes for her—traditional zombie chase sequences, scenes where she emerges from the water drenched, and scenes where her wet clothes cling to her body as she runs…

After watching this film, audiences would come to realize that zombies weren’t the real terror—the true horror was a girl running with a ball.

Since the female lead was being replaced, Zack Snyder wouldn’t be returning. Apart from a few supporting characters from the first film, the sequel would feature an entirely new cast, with the production budget kept as low as possible, ideally under ten million dollars.

With the sequel effect and a favorable market environment, profitability was highly likely.

Zombieland and Dawn of the Dead 2: Island of Death would continue Shai Entertainment’s momentum in the zombie film genre.

On another front, Relativity Entertainment aimed to be the first to take the plunge.

The first zombie-themed television series in Hollywood and North American history, The Walking Dead, had officially begun preparations. Although the first season would only have six episodes, the investment was as high as seven million dollars.

At Ronan’s request, the early seasons would focus more on human versus zombie confrontations. Even if the darkness of human nature were to be explored, it would have to wait until the series had established its reputation.

Perhaps many viewers enjoyed watching human conflicts in an apocalyptic setting.

But the premise remained the same—the backdrop of a zombie apocalypse.

Ronan had Shai Entertainment conduct targeted market research, and the data showed that over eighty percent of respondents preferred scenes of humans battling zombies in zombie-themed content.

Without data, there was no basis for discussion. The information gathered from primary markets best reflected audience demands. Therefore, despite the original author’s objections, Ronan insisted that the early seasons focus on human versus zombie conflicts.

This philosophy also influenced the choice of director.

Since the production vision hadn’t been made public, the directors applying for the position were basing their approaches on their own interpretations of the source material and their established personal styles.

With streaming media just emerging, it wasn’t yet the era of frenzied investment.

At this stage, television directors naturally held less prestige than film directors. Unless offered an irresistible salary or were dabbling in the medium for fun, well-known film directors rarely took on television projects.

Ronan hadn’t expected The Walking Dead to attract a famous director.

Renowned French director Frank Darabont came to apply for the position.

While his name might not be familiar to many, his most famous work was legendary—The Shawshank Redemption.

Just as The Shawshank Redemption had been overlooked at the Oscars, Frank Darabont’s career in Hollywood hadn’t been particularly smooth.

In reality, few French directors had truly succeeded in Hollywood.

Facing Frank Darabont, Ronan exchanged a few pleasantries before getting straight to the point.

The most critical issue was the production vision.

“I have a question,” Ronan said directly. “Director Darabont, if you were to take on this role, how would you approach the adaptation?”

Frank Darabont didn’t hesitate. “I’ve read the comic and consider myself a fan. What attracts me most about it is its core concept—the dissection of primal instincts and the raw exposure of human nature.”

He clearly had a well-developed plan. “I believe the essence of the comic should be fully realized in the series, allowing the dark side of human nature to be laid bare in the face of catastrophe. In the end times, zombies aren’t the key—they aren’t terrifying. What brings destruction is the conflict among the living.”

Listening to Frank Darabont, Ronan sighed inwardly. This was indeed the director of The Shawshank Redemption.

Frank Darabont continued, “The focus of the series shouldn’t be on creating suspense or stimulating the senses, nor on showcasing mindless zombies. It should be on shaping and exploring human nature, on the philosophical interrogation of humanity…”

Ronan didn’t interrupt Frank Darabont, but he stopped listening after that.

There was no need to listen further—this vision was completely at odds with his own.

To be precise, such a vision wasn’t suitable for the early seasons.

Even if Frank Darabont were to direct, it would have to wait until after the first two or even three seasons.

“That’s all,” Frank Darabont concluded.

Ronan nodded with a smile. “Impressive. However, Director Darabont, many people are applying for this position. I can’t give you an answer right away. Please be patient and wait a few days.”

“Understood,” Frank Darabont shook Ronan’s hand. “I hope we have the chance to work together.”

“As do I,” Ronan replied politely.

Two days later, Ronan had Shai Entertainment notify several directors, including Frank Darabont, that they regrettably couldn’t collaborate with them.

In the end, he chose Drew Goddard, a young director recommended by Jerry Abrams and Joss Whedon.

Chapter 876: Blood Plasma Feast

Compared to Frank Darabont, Drew Goddard’s resume was far less impressive, but he had two very clear advantages.

First, and most crucially, his creative vision was almost identical to Ronan’s. In the plans he submitted to Shai Entertainment, the focus was entirely on the terror of this apocalyptic world and the struggle for survival against the zombie threat, rather than exploring lofty themes like the meaning of life or the darkness of human nature.

Second, while Drew Goddard might not be a household name with an ordinary resume, he had actually been in the industry for a very long time and had worked for Relativity Entertainment for many years.

Ever since Jerry Abrams directed Hurricane Rescue, Drew Goddard had been working for Relativity Entertainment. He had served as Jerry Abrams’ deputy on Hurricane Rescue 2, which was set to premiere during this year’s holiday movie season.

In the now-completed series Lost, Drew Goddard had directed two episodes as a director. Ronan had already seen the rough cut and found it quite impressive.

This wasn’t Drew Goddard’s first time directing episodes independently. As early as the late nineties, he had collaborated with Joss Whedon, serving as a director on Buffy the Vampire Slayer. Later, he had also worked on Angel and Alias.

This was why he had received a joint recommendation from both Joss Whedon and Jerry Abrams.

Joss Whedon’s opinion was harder to gauge, given that he had only recently collaborated with Relativity Entertainment on The Hulk, which was still in the pre-production phase.

But Jerry Abrams was a long-term collaborator with Relativity Entertainment, with excellent taste and abilities. To some extent, Ronan trusted him.

Another equally crucial point was that, compared to directors like Frank Darabont, Drew Goddard was practically one of Relativity Entertainment’s own.

With years of industry experience, a similar creative vision, a track record of successfully directing episodes independently, and the endorsement of well-known directors who had worked with Relativity Entertainment for years, Ronan had no reason to choose a director whose artistic vision was floating in the clouds over one who was more down-to-earth.

Once the director was confirmed, the crew quickly began recruiting actors.

Ronan couldn’t remember any of the previous actors, but Hollywood was never short of talent.

Apart from this project, another horror-thriller television series was also progressing steadily.

Shai Entertainment had previously sent people across the United States to collect horror materials. The portion about the Warren couple was specifically reserved for James Wan, while the rest of the materials were adapted into television series scripts.

Ronan had named this project American Horror Story.

According to Ronan’s requirements, this series would have a very large scope, including elements of blood plasma, horror, and suspense. It wouldn’t be any less intense than the shows on HBO or other adult-oriented networks.

To be precise, the first season would be a retro-style blood plasma feast.

As long as the scope was large enough, this type of show was sure to have an audience.

Moreover, Shai Entertainment had collected too much material, including many widely circulated horror stories.

The target audience for this show would undoubtedly be those over eighteen years old.

But the horror genre also had a significant following among teenagers, especially those who were active online.

Ronan specifically instructed Shai Entertainment’s production department to use the extensively collected materials to see if it was possible to create a thrilling mystery series aimed at teenagers.

There was a Netflix teenage mystery-thriller series that Ronan hadn’t seen, but he had heard the name “Eleven” mentioned frequently by colleagues and in online entertainment news.

This had led him to forget the name of the series but remember “Eleven” very well.

It seemed that many people or media outlets were saying that this “Eleven” had an unlimited future in Hollywood.

Most child stars in Hollywood faded away after growing up, but some achieved great success, even surpassing their childhood fame.

The teenage audience couldn’t be ignored. They were online more frequently and often lacked rational spending habits. As long as the series was appealing, the likelihood of them purchasing a Netflix membership was very high.

Netflix Streaming Media attached great importance to this market and had communicated with Shai Entertainment several times, requesting an increase in the development of related series.

The second season of Gossip Girl had already been prepared and would soon begin filming.

But one Gossip Girl was far from enough to meet Netflix Streaming Media’s future needs. Shai Entertainment naturally needed new teenage-themed content.

Under Ronan’s suggestion, the teenage thriller-mystery project was temporarily codenamed Eleven.

In addition, Ronan and Shai Entertainment were also looking for new series materials.

Quite unexpectedly, Robert Iger recommended a project to Ronan. To be precise, he recommended a director and producer who had previously collaborated with Walt Disney.

Recently, Robert Iger had been shuttling between Maple Leaf Entertainment, Disney, and New York. Finally finding some time, he had a long discussion with Ronan about Disney’s affairs and the next steps.

After having lunch together, Robert Iger suddenly asked, “I heard you initiated a Blacklist Plan?”

Ronan, holding a cup of tea, took a sip and said, “Expanding the company’s material collection scope, the effect is quite good. In the first batch of the blacklist, we finalized two projects.”

It seemed that news had just come from London. John Wilson and the legal department had reached an agreement with the British production company, acquiring the remake rights to Shameless for five million pounds.

This series had just aired its first season in the UK and hadn’t attracted much attention yet.

Robert Iger said, “I also have a project to recommend.”

“You do?” Ronan became interested. “Bob, have you been reading scripts recently?”

At Relativity Entertainment, Robert Iger had never been involved in the specific business of film or television content production.

Robert Iger said, “An old acquaintance from my Disney days, a director and producer, came to me a couple of days ago to pitch his television series project.”

“Disney?” Ronan was puzzled.

Robert Iger said, “You know Disney’s situation. It’s getting more and more chaotic, already affecting the company’s daily operations. Steven Peterman has pitched his new projects to Disney several times but hasn’t received any response, so he came to me.”

Ronan rubbed his chin and asked, “Steven Peterman, that name sounds familiar.”

Robert Iger said, “He’s quite a veteran director and producer in the industry. He previously collaborated with Barbara Streisand on The Way We Were and directed the movie How to Lose a Guy in 10 Days a couple of years ago.”

Ronan knew Barbara Streisand. She was the most successful crossover star in Hollywood.

Ronan asked, “Do you know the specifics of the project?”

“I haven’t seen the script or anything, but Steven Peterman said it’s a teenage sitcom.” Robert Iger simply said, “I’ve known Steven Peterman for many years. He’s a very imaginative and reliable director and producer, which is why I recommended him to you.”

Ronan knew Robert Iger. If Steven Peterman wasn’t reliable, he wouldn’t have mentioned him at all.

“Alright.” Ronan said, “Whenever he has time, have him come see me directly.”

Robert Iger said, “I’ll give him a call.”

The call was made, and the other side responded quickly. Steven Peterman happened to be at the Academy’s headquarters in Beverly Hills and immediately rushed to Relativity Tower.

To avoid influencing Ronan’s judgment, after introducing Steven Peterman to Ronan, Robert Iger took his leave, demonstrating through his actions that he didn’t interfere in content production business.

“This is the project’s script.” Steven Peterman opened his briefcase and took out the relevant materials. “And this is the proposal.”

Ronan took the script. On it was a woman’s name—Hannah Montana.

This should be the title of the series. Hollywood had a tradition of naming shows directly after the main character.

“The project’s script was created by Michelle Boyes, but the copyright is already in my hands.” Steven Peterman introduced the project’s situation as much as possible. “There’s no need to worry about copyright issues.”

Ronan flipped through the script as he asked, “I heard you initially planned to collaborate with Disney?”

Steven Peterman smiled and said, “I’ve always been collaborating with Disney, but Disney’s situation…” He shook his head. “At this stage, Disney isn’t a good partner.”

For those with some seniority in Hollywood, especially directors and producers, collaboration was often a mutual selection.

Ronan frowned slightly, looking at the script. “Seems like some content is missing?”

Steven Peterman said, “This is a teenage musical sitcom. Neither Michelle Boyes nor I understand music creation. The songs need to be crafted by professional musicians.”

Ronan nodded slowly. Music was crucial for the success of this series.

However, if it could succeed, it was very likely to become a hit youth idol drama, and the female lead might even become a huge star.

Just like the female lead in the script, becoming a big star!

In the story, the female lead had a split personality: half was an ordinary person, and the other half was a popular singer.

The female lead’s ordinary identity was a middle school student, but her other identity was actually the idol star Hannah Montana, who was popular across America. She always used a golden wig to hide her brown hair, so no one had ever recognized her true identity. She and her family and friends went to great lengths to keep this secret, leading to many comedic situations.

Although it was a sitcom, there were many scenes where Hannah Montana performed.

These weren’t just walk-on parts; they required actual singing.

What Ronan had mentioned about the incomplete script referred to the fact that all the singing scenes had completely blank songs.

Few screenwriters and producers understood pop music creation. This required professional musicians, or even a professional team, to craft.

“I’ve contacted a few music creation teams.” Steven Peterman said at this point. “But we need funding to get started.”

Ronan closed the script, looking at the name Hannah Montana on the cover, and couldn’t help but think of a term.

That former Hannah Montana had taken the concept of “camel toe” to new heights.

Chapter 877: Fox Online

When Steven Peterman left, Ronan left behind the script and proposal, clearly signaling Relativity Entertainment’s intent to collaborate. There was no need to beat around the bush with a Hollywood veteran like him—negotiations would proceed based on standard market rates.

Ronan called Connie and had his assistant make copies of the script and proposal, sending them over to Shai Entertainment to begin negotiations with Steven Peterman as soon as possible. Previously, with Disney as a long-term collaborator, Steven Peterman had never considered working with other companies. But now, with Disney’s internal turmoil causing operational issues, Steven Peterman, with his years of experience, might very well turn to other partners if Relativity Entertainment took too long to decide.

Thanks to Robert Iger’s connections, Steven Peterman had brought Hannah Montana to the table, and Ronan certainly wasn’t going to let this opportunity slip away. While musical sitcoms might seem mindless, if executed well, their profitability could surpass even the hottest dramas.

Take Hannah Montana, for example. Once the series took off, it could spawn original soundtrack DVDs, movies, and even concerts under Hannah Montana’s name. Ronan had never watched a musical sitcom, but because of a past female friend, he had seen The Suite Life of Zack & Cody. Back then, Miley Cyrus, who played Hannah Montana, was a household name.

However, successfully producing such a series was no easy feat. Beyond music creation, the lead actors needed strong vocal abilities. Ronan recalled that the father-daughter duo in the show might have been played by Miley Cyrus and her real-life father in reality. He could have someone look into it.

Of course, Ronan wasn’t putting all his eggs in one basket. He would make other preparations as well. After all, finding actresses with decent singing skills in Hollywood was never difficult. With Robert Iger facilitating, Shai Entertainment’s negotiations with Steven Peterman progressed swiftly. After a few discussions, they had already reached a preliminary verbal agreement.

Compared to the chaotic Disney, the stable Relativity Entertainment was a solid partner. Moreover, the compensation offered by Relativity Entertainment was no less than what Walt Disney had provided. Ronan also received Connie’s report—no actress or singer named Miley Cyrus had been found.

There was no forcing such matters. Relativity Entertainment couldn’t afford to waste resources searching for a needle in a haystack. Ronan was adaptable. Once the project was finalized, Shai Entertainment could hold open auditions.

Sitcoms had always had a market in North America and the broader Western world, often yielding high returns with minimal investment—at least in the early stages. Later on, however, the salaries of the main cast could become a major issue, especially in ensemble shows.

Take Friends, for instance. The series ended not just because of declining viewership but also because the salaries of the six main actors had become so high that the production company could barely afford them.

Shai Entertainment had another sitcom project in the works, tentatively titled The Big Bang Theory. Since Ronan hadn’t watched much of the series, he had only provided the concept and direction, leaving the rest to the professional writing team. The script had already been completed, and after reviewing it, Ronan was generally satisfied. He instructed the writers to continue refining the script while moving forward with the project’s official preparations.

As long as no major setbacks occurred, Netflix Streaming Media would not lack quality series in the future.

In late September, following Ronan’s suggestion, the Netflix board of directors approved a new acquisition. Netflix Video acquired YouTube, which had just been established this year, for forty-seven million eight hundred thousand dollars. As the leading company in online video, Netflix Video strengthened its weakest business segment by acquiring the second-largest player in the industry.

From the upload of its first nineteen-second video on April 23rd to its full acquisition by Netflix Video, YouTube had existed for only five short months. After absorbing YouTube, Netflix Video became a platform hosting forty million short videos, attracting over eight million daily visitors—a figure that even surpassed Yahoo’s traffic.

Additionally, since Netflix Video was a business unit under Netflix rather than a separate company, there were no concerns about copyright issues. As everyone knew, users often incorporated clips from movies or music videos into their own content, which could lead to copyright disputes. Over the years, Netflix had secured content licensing and protection agreements with major companies, excluding 20th Century Fox, including Universal Records, Sony BMG, Warner Music, and Columbia Broadcasting Company. This eliminated any market concerns about potential legal action from content providers over copyright infringement.

After the acquisition, during a high-level meeting at Netflix, Ronan proposed exploring and researching the live-streaming industry. This wasn’t an immediate business venture but rather a preparation for the future. Netflix was a leader in its respective industries, but to maintain that position, it needed to sustain a rapid pace of development rather than stagnate.

Those who refused to run and insisted on falling behind, regardless of their seniority, would be shown the door by Ronan. Business was no place for sentimentality. Even after going public, Ronan still held an absolute controlling stake in Netflix, and all major investors were his staunch supporters because he guaranteed their returns.

But Netflix wasn’t without competition. After concluding the latest board meeting in San Francisco and returning to Los Angeles, Ronan saw a piece of news in the media. The long-rumored entry of 20th Century Fox into the internet had made new progress.

News Corporation and 20th Century Fox jointly held a press conference, officially announcing the launch of Fox Online. Moreover, Fox Online had secured internet licensing for films and TV series from most major Hollywood studios, including the Big Six.

Hollywood films were never exclusively licensed, so for these companies, selling additional rights to generate extra revenue was a no-brainer. Of course, Fox Online did not have the rights to content from Relativity Entertainment or DreamWorks.

Fox Online had essentially copied Netflix Streaming Media’s business model, offering both pay-per-view and monthly subscription options, though the monthly fee was three dollars cheaper than Netflix’s.

“Looks like their monthly fee is lower than Netflix’s,” Connie reported to Ronan in the office after thoroughly researching Fox Online. “But Fox Online doesn’t offer DVD rental services.”

Ronan was browsing Fox Online’s content on his computer and randomly clicked on True Lies. “Does Fox Online have any exclusive new series?” he asked.

Connie thought for a moment. “Originally, 20th Century Fox planned to release the latest season of the hit series 24 exclusively on Fox Online, but Fox TV strongly opposed it. There are rumors that Fox TV executives and Fox Online management had a heated argument during an internal meeting.”

Ronan could guess why. Fox Online’s emergence wasn’t a threat to Netflix yet—it was disrupting Fox’s internal pie first. The most obvious example was Fox TV. If new series were exclusively released on Fox Online, how would Fox TV feel? The conflict between old and new media was inevitable.

Relativity Entertainment didn’t have a TV network, which was a disadvantage, but it also meant that Netflix’s business could expand rapidly without internal obstacles. In the office, Connie continued, “After internal coordination, 20th Century Fox decided that existing or upcoming TV projects within Fox would not premiere on Fox Online. Instead, they would air on TV first before becoming available on Fox Online.”

“Is that all?” Ronan moved the mouse and selected the highest-quality version of True Lies to play. “Is 20th Century Fox not preparing any new series for Fox Online?”

Connie replied, “So far, I’ve only heard rumors that 20th Century Fox is considering developing a spin-off series of X-Men to be exclusively released on Fox Online.”

At the mention of X-Men, Ronan frowned slightly. This franchise had practically carried half of Fox’s film business. He thought back to a few years ago when Marvel was so desperate they had to sell off their assets, giving him the perfect opportunity to swoop in. He had been in high spirits then.

But now? Just thinking about Marvel’s reckless spending made his blood boil! It was truly a case of the tail wagging the dog, with interests dictating everything.

After a ten-second buffer, True Lies began playing on the computer screen. Ronan took one look and confirmed that the quality was inferior to Netflix’s. This wasn’t just a difference in video resolution—it was a technological gap.

“What about the investment?” Ronan asked.

“Extremely high!” Connie said. “Because Netflix Streaming Media is booming, the licensing fees 20th Century Fox secured are at least double what we initially paid. The website design and technical support were handled through acquisitions and patent licensing in Silicon Valley. There’s confirmed information that Fox Online’s launch required an investment of no less than one billion two hundred million dollars from 20th Century Fox.”

Ronan stopped watching the video. After just a few minutes, the decent-quality True Lies buffered again.

“They’re in too much of a hurry,” Ronan muttered.

Connie added, “20th Century Fox is currently going head-to-head with us, probably not wanting to fall too far behind in the internet business.”

Chapter 878: Terminator Spin-off

The streaming media business had only just emerged, and whether it was 20th Century Fox or other companies, they all wanted a piece of this newly risen industry.

After all, Netflix Streaming Media had already proven the immense potential of this field.

As one of the traditional content producers, including 20th Century Fox, they did not want to lose their once-held advantages and status.

But other companies had only truly realized the value of this industry this year. Netflix Streaming Media seemed to have taken the lead, but in reality, it had already surged far ahead.

From the moment Ronan took over Netflix, he had been preparing for the streaming media business. Leveraging his foresight and numerous advantages, he had rapidly accumulated and bought out a large number of essential content copyrights and network technologies over the past few years.

This had also raised the entry barrier for latecomers.

Hollywood was not the only one preparing video websites, but currently, only Fox Online had launched.

Other companies had not abandoned this market; they were merely gathering their strength.

Online video streaming had never been Hollywood’s domain. This was an entirely new industry for Hollywood as a whole, and the major companies were understandably cautious. After all, investing hundreds of millions or even billions of dollars could severely impact a company’s normal operations if things went wrong.

In some ways, 20th Century Fox was more aggressive and bold. In less than a year, they had invested a staggering one billion two hundred million dollars, from integrating copyrights to patent licensing and acquiring network companies, forcefully creating Fox Online.

Fox Online’s technology was not mature enough. The most obvious issue was that its highest resolution was only on par with Netflix Streaming Media’s secondary resolution. Moreover, when selecting the highest resolution, frequent buffering required viewers to wait patiently.

In this fast-paced era, audiences were no longer as patient as they were a decade ago.

Most importantly, Fox Online had not launched any heavyweight new series upon its official operation.

Ronan had originally thought that a truly formidable competitor in streaming media or other businesses would not emerge for at least another six months to a year.

20th Century Fox clearly could not wait.

“The emergence of competitors is not a bad thing for Netflix,” Ronan said, closing the frequently buffering True Lies. He turned to Connie and said, “Tell Marc Randolph to keep an eye on Fox Online and give them a sense of urgency.”

Connie nodded. “Got it.”

Ronan lightly tapped the desk. Netflix was ahead of everyone, but competitors would surely emerge one after another, not just in the streaming media business.

Connie’s phone rang. She glanced at it and said, “News about Fox Online.”

Ronan waved his hand, and Connie went to answer the call. After a few words, she quickly returned and said, “We just received news that 20th Century Fox is in contact with Jason Girard from Amazon, preparing to invite Jeff Bezos’ capable assistant to serve as Chief Executive Officer.”

She emphasized, “Jason Girard is very interested in 20th Century Fox’s invitation.”

Ronan asked, “Does Jason Girard’s contract with Amazon have any restrictive clauses?”

Because Ronan had been increasing his holdings over the past few years and was now a significant shareholder of Amazon, Connie was somewhat familiar with Amazon’s situation. After a moment’s thought, she said, “Jason Girard is a very important manager at Amazon, one of Jeff Bezos’ key deputies. There should be extremely high penalty fees for leaving.”

“Confirm it,” Ronan said. “If there are, notify Scott Swift. As a major shareholder of Amazon, find an appropriate opportunity to remind Amazon’s management that they must protect the interests of Amazon’s shareholders.”

Connie understood. This was to prevent Amazon’s management from letting Jason Girard leave without any cost due to personal connections.

From another perspective, it was also to increase the cost for Fox Online to poach talent.

This issue was not significant. Business matters should be handled according to the contract.

Although the current Amazon had shown some strength, it was not yet the exceptionally powerful Amazon of the future. It still had competitors like eBay with similar strength.

Considering the future, Ronan said to Connie, “Tell Scott Swift that my personal investment foundation will continue to increase its holdings in Amazon stock. Also, I want to secure a position on Amazon’s board of directors.”

It was not just Amazon. Ronan had already reached a tacit understanding with Steve Jobs regarding Apple. Steve Jobs would also promote his entry into Apple’s board of directors.

“By the way,” Ronan turned and asked, “Is there any new development between 20th Century Fox and Terminator?”

Connie said, “There is some. 20th Century Fox has requested the return of the sequel filming rights for Terminator, but Warner Bros has stated that since the end of Terminator 3, they have been in the early planning stages for Terminator 4, having invested a significant amount of manpower and resources. 20th Century Fox’s request has severely damaged Warner Bros’ interests, and they must pay Warner Bros fifty million dollars in compensation.”

Ronan was not surprised. If it were him, he would have done the same. The Big Six companies had never been a unified entity.

Whether or not they were in the early planning stages, with the capabilities of Hollywood’s major companies, producing some written materials was not difficult. Sometimes, creativity and written materials were worthless, but other times, they were invaluable.

Connie continued, “Warner Bros has stated that if 20th Century Fox does not provide compensation, Warner Bros will continue to prepare for Terminator 4.”

Ronan smiled and asked, “Has 20th Century Fox responded?”

“They are in a tug-of-war,” Connie quickly said. “20th Century Fox is willing to pay an additional ten million dollars on top of the twenty million dollars for the copyright transfer, but Warner Bros is insisting on fifty million dollars without budging.”

She knew what had happened before and after: “Both parties should reach an agreement soon. Warner Bros just wants to take advantage of the situation to get money. If 20th Century Fox increases their offer, the sequel filming rights for Terminator will likely return to 20th Century Fox.”

Ronan nodded slightly and reminded, “Keep an eye on it.”

The more 20th Century Fox paid to regain the sequel filming rights for Terminator, the more urgent their desire to produce a new Terminator movie would be.

After all, they needed to find a way to recoup their investment.

Ronan hoped that the Terminator series would continue to fail as it had in the past, to the point where even die-hard fans would feel sick at the mention of its name.

It seemed that 20th Century Fox had accumulated a batch of top-tier big-budget commercial film projects, which might be released in clusters in the next two or three years.

Two days later, new news about 20th Century Fox reached Ronan.

20th Century Fox had reached an agreement with Jason Girard, who would serve as the Chief Executive Officer of Fox Online.

At the same time, Scott Swift, along with several shareholders, sent a letter to question Amazon’s management.

With the highly publicized case of Disney shareholders suing Disney’s board of directors, and Amazon’s management not willing to damage their own interests for 20th Century Fox, they immediately notified 20th Century Fox and Jason Girard that Jason Girard leaving to join Fox Online was not a problem, but they needed to pay a sixty million dollar penalty fee for early termination.

This sum, of course, could not be paid by Jason Girard himself; it had to be borne by 20th Century Fox, who was poaching him.

20th Century Fox did not have high-level management talent in the internet business, which was why they were poaching from outside. Under Amazon’s reluctance to let go, they finally signed their desired Chief Executive Officer at the cost of sixty million dollars.

From this perspective, it also showed 20th Century Fox’s determination to compete with Netflix in the internet business!

Subsequently, Fox Online announced new series plans.

In addition to the previously tentative X-Men spin-off series, another heavyweight series was added to Fox Online’s development list!

This was Terminator: The Sarah Connor Chronicles!

After paying twenty million dollars for the copyright transfer and twenty million dollars in compensation, 20th Century Fox had regained the sequel filming rights for Terminator from Warner Bros.

The investment of tens of millions of dollars also prompted 20th Century Fox to increase their efforts in further developing the Terminator series.

It was only after the news came back that Ronan learned that 20th Century Fox still held the film and television adaptation rights to an unpublished Terminator manuscript by James Cameron.

Therefore, in addition to the Terminator sequel movies, 20th Century Fox was also preparing a television series plan.

Whether it was sci-fi movies or sci-fi series, achieving even slightly outstanding results meant a huge financial investment.

Despite the unexpected situation, Ronan still watched all this unfold with a cold eye. After all, not everything could develop exactly as planned.

He also did not recall ever seeing a television series related to Terminator.

Ronan personally called James Cameron to inquire about the so-called Terminator manuscript. It turned out to be just the initial draft script for Terminator 2 that was abandoned during its creation. After the movie became a huge success, it was directly bought by 20th Century Fox. It was not a novel or other literary work that he had specifically created.

The content of the manuscript was the initial plot of Terminator 2 that James Cameron had envisioned back then. John Connor was not a child but a young and inexperienced youth, being pursued by machines sent from the future by Skynet. Sarah Connor had to take John Connor and flee everywhere while also training him to become the leader of the future resistance.

This could indeed be considered a spin-off of the main Terminator storyline.

After clarifying the situation, Ronan only had Connie’s assistant team keep an eye on the Terminator series and then went to Shai Entertainment.

Since the Hannah Montana project had reached an agreement, Shai Entertainment was also preparing to gather people for preparation.

Ronan had a meeting with Andrew, who was directly in charge, and Steven Peterman, who served as both producer and director. As he was about to leave Shai Entertainment, he was stopped by a girl.

Chapter 879: Three Daughters, Three Thousand Pounds

The girl who approached was extremely tall—at least one hundred seventy-five centimeters in the metric system. Her curly blonde hair looked like instant noodles.

She wasn’t very old, carrying a handbag printed with Peppa Pig, wearing a Peppa Pig hoodie, and even her long jeans had Peppa Pig’s face embroidered on them. Her feet were clad in a pair of Peppa Pig-style sneakers.

If she grunted a few times, she’d practically be a little pink pig.

“Hi.” The girl greeted him first. “Long time no see, Uncle Anderson.”

Ronan glanced at her and said, “It hasn’t been that long. Taylor, you’ve grown so tall.”

In his memory, Taylor Swift was still a short, chubby-cheeked little girl. He emphasized, “Didn’t I tell you to just call me Ronan?”

Taylor quickly waved her hands. “No way, my parents specifically told me to call you Uncle.”

Ronan couldn’t help but shake his head with a smile. “Suit yourself.”

Was Scott worried? Ronan speculated wildly, but his mind was clear. This was the daughter of an important assistant and business partner. He wasn’t that foolish.

Taylor smiled and said, “Uncle Anderson, can we talk for a bit?”

Ronan nodded. “Sure.” He led the way. “Let’s go to the lounge.”

The lounge at Shai Entertainment was a public area, not just a place for employees to rest but also offering some beverages.

Ronan ordered two glasses of lemonade, found a random table to sit at, handed one to Taylor, and said, “You’ve grown a lot in the past year. I almost didn’t recognize you.”

Taylor wiped her nose. “Hasn’t it been more than a year since we last saw each other?”

Ronan thought for a moment and said, “I don’t remember exactly.”

Taylor said, “We haven’t seen each other since you decided to let me voice Peppa Pig.”

“That’s right.” Ronan recalled. “A few times I went to your house, I only saw Austin.”

The Peppa Pig project had long been on track. Shai Entertainment and Embassy Pictures had mature teams handling it, so Ronan didn’t need to worry. Apart from the revenue performance, he hadn’t paid attention to the specifics.

As for the voice acting, he did know that Taylor Swift had been voicing Peppa all along, but beyond that, he wasn’t familiar with the details.

Taylor then said, “Apart from coming back to voice Peppa Pig, I’ve spent most of the last two years in Tennessee studying music, so you haven’t seen me.”

Ronan became interested and asked, “Now that you’ve completed your studies, are you planning to come back?”

“Sort of, I’m preparing to return to Los Angeles.” Taylor reminded him, “Peppa Pig’s latest season is finished, and I need to continue voicing.”

She looked at Ronan. “Uncle Anderson, I’ve grown up. Aren’t you considering finding a new voice actor for Peppa Pig?”

Ronan understood her implication. “You have other ideas?”

Taylor’s eyes darted around, not answering Ronan’s question. Instead, she asked, “Haven’t we known each other for many years?”

Ronan thought for a moment. “Seven or eight years, probably.”

“Are you my uncle?” Taylor asked again.

Hearing this, Ronan felt a bit exasperated but still vaguely replied, “I suppose so.”

Taylor smiled. “I saw a script at Uncle Clint’s place. There’s a really fun role, and I think I’d be perfect for it.”

Ronan slightly furrowed his brow. “Taylor, just say what you mean. No need to beat around the bush.”

“I heard Shai Entertainment is preparing a musical project called Hannah Montana.” Taylor stuck out her tongue and said directly, “The female lead who can write and sing songs—don’t you think I’d be perfect for it?”

Ronan looked at Taylor. “You?”

“Yes, me!” Taylor seemed particularly confident. “Have you forgotten? I’m very talented in music, and I’ve studied professionally in Tennessee…”

Ronan just looked at Taylor Swift. This wasn’t the pop singer who had gotten breast implants and plastic surgery. Now, she was so flat she couldn’t even fill an A cup.

Seeing that Ronan wasn’t responding, Taylor quickly said, “I’m really good at music. I can write my own songs. The fastest I’ve ever written a song was in less than an hour.”

Ronan casually asked, “When?”

Taylor smiled embarrassedly, her smile tinged with shyness. “After a boy rejected me.”

Ronan thought to himself, probably the other way around. But considering past rumors, there was some credibility to her words.

Poor ex-boyfriends.

“Maybe we should go somewhere else.” Taylor looked around and said, “I’ll sing a song for you on the spot…”

Ronan raised his hand to interrupt Taylor. “Here’s what we’ll do, Taylor. Your voice acting work for Peppa Pig will continue until your contract expires.”

Taylor quickly nodded. “Okay.”

Ronan continued, “As for the Hannah Montana musical project…”

“I’m really good.” Taylor hurriedly said.

She was still an underage girl. When she encountered something she liked, she couldn’t wait to get her hands on it.

But Ronan had high expectations for Hannah Montana. He said, “I don’t know much about music creation. Go sign up for the audition and screen test. If you pass, I’ll personally talk to Scott.”

Taylor understood there was another layer to his words—if she didn’t pass the audition and screen test, nothing else would matter.

“Uncle Anderson.” Taylor looked at Ronan pitifully.

Ronan couldn’t joke around with investments. He said, “Taylor, if you’re so confident, are you afraid you won’t pass the audition?”

Taylor paused for a moment and said, “I guess not.”

This girl was somewhat clever and had some insight. At the very least, she was certain of one thing—if she went to the audition and screen test, it would definitely be fair for her.

Ronan glanced at his wristwatch and said directly, “Aren’t you close with George Clint? Go ask him for the project materials and prepare for the audition early.”

“Okay.” Taylor stood up, her lanky body swaying. “Thank you, Uncle Anderson.”

Ronan waved his hand. “It’s too early to thank me. If you don’t meet the conditions, the crew won’t use you.”

This wasn’t a minor supporting role but the core female lead of the series.

After Taylor Swift left, Ronan thought for a moment and directly called Scott to inform him.

Scott was very open-minded. “If she passes, Taylor can do what she likes. If she doesn’t, it’ll teach her to be a bit more humble. Recently, she’s been a bit too confident.”

Ronan didn’t say much. Given Scott’s current circumstances, Taylor Swift had many paths she could take in the future.

Overall, the Swifts were very responsible parents. For a star, this was a kind of luck.

Take Lindsay Lohan, one of Hollywood’s three most notorious fallen starlets. While her downfall was partly her own choice, the influence of her family couldn’t be ignored.

Lindsay Lohan’s parents had once worked on Wall Street, earning a considerable income. After their daughter became famous, they both quit their jobs to focus entirely on managing her career.

This wasn’t uncommon—many child stars’ parents did the same.

But this couple engaged in disreputable activities.

Lindsay’s father was a drug addict, promiscuous, and an alcoholic, constantly testing the boundaries of the law. After his daughter became famous, he even made money by selling her private information.

Even when Lindsay obtained a restraining order, it couldn’t stop his loose tongue.

As for Lindsay’s mother, she was even more eccentric.

She treated her daughter as a commodity. To get Lindsay roles and high salaries, she had sent her to the beds of Hollywood producers and high-ranking executives in production companies even before Lindsay was of age.

As everyone knew, Hollywood had people like Ronan—honest, reliable, and principled—but also people like Harvey Weinstein, who were audacious.

All one could say was that having such exploitative parents was a great misfortune in life.

Looking at Hollywood’s child stars, few had parents as bad as Lindsay’s, but extreme cases were never rare.

Some managed to pull through, like Drew Barrymore, who still succeeded later.

But Lindsay Lohan didn’t have such strong willpower or a background like Drew Barrymore’s. Not only did she fail to rise above it, but she also became increasingly degenerate…

Apart from notifying Scott, Ronan didn’t interfere further with Taylor Swift’s desire to audition for Hannah Montana. To get the role, all she needed to do was deliver a convincing performance.

Leaving Shai Entertainment, Ronan went directly to the Beverly Hills Hilton Hotel to attend the evening banquet hosted by Maple Leaf Entertainment.

Earlier that morning, Maple Leaf Entertainment had officially announced the greenlighting of Rambo 4, bringing Rambo back to the big screen.

The banquet wasn’t crowded. As a pure outsider, Maple Leaf Entertainment was still excluded by Hollywood’s system.

After all, there weren’t many good people like Ronan willing to associate with them.

In the banquet hall, the most famous people, including Ronan, were basically gathered together.

“I’ve already started working out.” Stallone, looking slightly aged, said to Ronan. “My physical condition is recovering.”

Ronan smiled. “I believe Rambo will make a comeback.”

As he spoke, his gaze fell on the three blonde girls of varying ages beside Stallone. Unlike Stallone’s expressionless face, these three girls, despite their young age, had three-dimensional features and delicate facial contours.

Well, this was all nonsense.

The reason Ronan had this feeling was that he had seen photos of these three girls as adults more than once.

“These are my daughters.” Stallone introduced them. “Ronan, this is my eldest daughter, Sophia, my second daughter, Sistine, and my youngest daughter, Scarlett.”

Ronan smiled and nodded at each of them. The three girls also showed good manners, greeting Ronan one by one.

Looking at the three blonde girls, for some reason, Ronan suddenly thought of Mike Tyson.

Stallone had three daughters, and Tyson had three thousand pounds!

Chapter 880: I Will Change Hollywood

Stallone left with his daughters, and David Ellison and Ryan Kavanaugh approached, sharing a drink with Ronan.

Ryan Kavanaugh asked, “Ronan, thank you again for granting Maple Leaf Entertainment the rights.”

Ronan smiled and said, “No need to be polite, Ryan. From a broader perspective, our positions are aligned. Only with sufficient strength can we break through the blockade of Hollywood’s traditional factions.”

“Exactly,” David Ellison chimed in. “The Big Six companies think they are Hollywood!”

Ryan Kavanaugh added, “Maple Leaf Entertainment has also discussed cooperation with the Big Six before, but they all refused.”

David Ellison supplemented, “It’s not a complete refusal. They are willing to accept Maple Leaf Entertainment’s investment in certain film projects, which seems good on the surface. But Kevin Spacey has warned us more than once that hastily participating in film projects operated by the Big Six could lead to total loss.”

Ronan spoke frankly, “That possibility is very high.” He seemed particularly honest and reliable. “Hollywood has a set of industry-default accounting rules. Under these rules, a film has no profit to speak of. Can you imagine that films like Saving Private Ryan are considered money-losing on the books?”

Ryan Kavanaugh said, “Fortunately, Maple Leaf Entertainment has Kevin Spacey and a reputable partner like you, Ronan.”

Ronan sighed and said, “I’ve been through this myself. The hardships are indescribable.”

“Thank you for the warning,” David Ellison felt that Ronan was speaking so much probably because of their alumni relationship. “Not many people in Hollywood are willing to be so frank with newcomers like us.”

Ronan smiled, “You’re too polite, David. We are on the same side.”

For those who had proven to be friendly to Maple Leaf Entertainment through their actions, Ryan Kavanaugh had some goodwill, especially since the other party was renowned and his company was indeed facing suppression from Hollywood’s major companies.

Treating them as insiders was absolutely impossible, but they could listen to their opinions on certain matters.

Ryan Kavanaugh smiled and said, “Ronan, you’ve been in Hollywood for many years and have a deeper understanding of this circle and industry than we do. What are your thoughts on our current situation?”

As newcomers, Ryan Kavanaugh’s words firmly tied Maple Leaf Entertainment and Relativity Entertainment together.

“Thoughts might be too much, but I have some experiences from actual practice,” Ronan seemed to recall past difficulties, his face somewhat heavy. “Relativity Entertainment has faced many difficulties from obscurity to its current fame, most of which came from those six companies.”

David Ellison and Ryan Kavanaugh nodded slightly, having personally experienced this despite not being in Hollywood for long.

Ronan continued, “The upper echelons of Hollywood do not want new companies that can stand alongside them to emerge. Through the MPAA and distribution chains, they firmly control the industry’s discourse and are the rule-makers of Hollywood.”

“And us?” He smiled bitterly. “We are in a relatively lower position in the industry chain and can only operate within the rules they set.”

Ryan Kavanaugh followed up, “So, to protect our interests, we need to become one of the rule-makers as much as possible?”

Ronan’s words had always subtly hidden a guiding nature, deeply embedded in the facts: “This has always been the direction Relativity Entertainment is striving for.”

David Ellison said, “The current structure of Hollywood is hard to break.”

Ronan shrugged slightly, “It’s not necessary to break it. Relativity Entertainment can become one of the Big Six.”

Ryan Kavanaugh’s eyes lit up, “You mean acquiring one of the Big Six.”

“I’ve never said that,” Ronan specifically and solemnly reminded, “Gentlemen, some things cannot be said carelessly.”

Ryan Kavanaugh quickly said, “I understand, I understand.”

David Ellison, being young, couldn’t help but say, “We have the funds, but lack the opportunity. The people controlling the Big Six now weren’t outsiders before, were they?”

Ryan Kavanaugh slowly nodded, instantly thinking of Viacom, News Corporation, NBC Media, Sony Entertainment, and others.

Ronan seemingly casually said, “Hollywood is no longer what it used to be. Traditional film companies have been acquired by external conglomerates since the seventies and eighties. The only one not controlled by a conglomerate is Disney.”

This was a basic fact. Ryan Kavanaugh and David Ellison, hearing Ronan’s words, instantly thought of the situation regarding Disney.

Compared to other film companies, Disney seemed to be the simplest among the Big Six.

Seeing no one around, Ryan Kavanaugh deliberately lowered his voice and whispered, “Ronan, a question: which one is Relativity Entertainment targeting?”

Ronan smiled and said, “No target yet.”

“We are partners,” Ryan Kavanaugh put on an insider’s attitude. “Still keeping secrets from us?”

He was extremely generous, “In the future, if Relativity Entertainment needs funds, feel free to come to Maple Leaf Entertainment. We will fully support you.”

Ronan nodded, “Thank you. If needed, I will find you.”

Such seemingly generous nonsense was just for show. If believed, they would surely be taken advantage of in the future.

Ryan Kavanaugh subtly exchanged glances with David Ellison, and the two enthusiastically chatted with Ronan again.

After the cocktail party ended, Ronan bid farewell and left.

After seeing off all the guests, Ryan Kavanaugh and David Ellison got into the same car.

Ryan Kavanaugh asked David Ellison, “Ronan Anderson is still on guard against us and unwilling to reveal details.”

David Ellison agreed, “Given Relativity Entertainment’s current situation, it’s either progress or retreat. They must be targeting one of the Big Six.” He changed the subject, “But overall, Ronan Anderson is still quite friendly to us.”

“Relativity Entertainment just needs allies,” Ryan Kavanaugh felt he saw through the truth. “Don’t forget, we have money.”

This was their biggest capital and confidence.

Although rejected by Hollywood’s traditional factions, Ryan Kavanaugh believed that even if they had to spend money, they could pave a way.

He just didn’t believe that Hollywood people wouldn’t be envious of Maple Leaf Entertainment’s money!

David Ellison said, “Yes, we have money! Ryan, don’t you think Relativity Entertainment’s approach also suits Maple Leaf Entertainment?”

Ryan Kavanaugh said, “You mean acquiring one of the Big Six?”

“Exactly,” David Ellison slowly said. “As long as there’s an opportunity, I can convince my father to invest more funds. You can also raise more financing from Wall Street, right?”

Ryan Kavanaugh said, “Such an opportunity is rare.” He seemed to have some realization. “Even for us, swallowing one of the Big Six is very difficult, but we can take it step by step.”

David Ellison suddenly thought of something, “I heard Harvey Weinstein say that Ronan Anderson and Relativity Entertainment acquired Disney shares from him.”

Ryan Kavanaugh suddenly realized, “No wonder Ronan Anderson casually mentioned Walt Disney.”

The two looked at each other, both thinking of Walt Disney’s current situation, and a thought popped up—Relativity Entertainment’s target was likely Walt Disney!

David Ellison took a deep breath and said, “We might also have a chance.”

Ryan Kavanaugh said, “Keep an eye on Ronan Anderson.”

David Ellison instantly threw the alumni relationship to the clouds, “If Relativity Entertainment’s target is Disney, this might also be an opportunity for us.”

Ryan Kavanaugh thought further, “If Relativity Entertainment aims for Disney, they will inevitably buy Disney stocks, which will cause Disney’s stock price to soar in a certain period. Other shareholders may also sell their stocks due to the price increase, which might also be our opportunity.”

David Ellison thought it was feasible.

“We don’t need to rush, take it step by step,” Ryan Kavanaugh said. “First, seek to become a Disney shareholder, preferably a major shareholder with some say, and then…”

David Ellison was slightly excited, “If our guess is true and the operation is successful, the future… just thinking about it is exciting, Walt Disney and Relativity Entertainment!”

Ryan Kavanaugh was a man of action, otherwise he wouldn’t have gambled the hedge fund in the 2000 stock market, “I’m familiar with the stock market and finance. I’ll have people watch Disney’s stock price. David, you and Ronan Anderson are alumni, interact more with him, understand?”

David Ellison patted his chest, “Don’t worry, leave this to me!”

The atmosphere in the car instantly heated up, as if the long-standing concealment in Hollywood had completely dissipated.

Ryan Kavanaugh seemed to see the future of Maple Leaf Entertainment, with power distributed in films, television, sports, digital, and internet, owning a full ecological industry chain.

This reminded Ryan Kavanaugh of what he said when raising funds on Wall Street—I will change Hollywood!

At just 31 years old, proud, charismatic, and most importantly, Ryan Kavanaugh had money, a lot of money!

Wall Street had over 5,000 investors investing in him.

Even Ronan had to admit that in raising investments, Ryan Kavanaugh was extraordinary.

Ryan Kavanaugh’s former Relativity Media had raised over ten billion dollars from Wall Street in just five years!

Despite the failure of the hedge fund’s bankruptcy, Ryan Kavanaugh was still full of confidence, believing himself to be a complete genius who could save the entire film industry by entering Hollywood.

After David Ellison got out of the car, Ryan Kavanaugh’s mouth curved into a slight smile, “Only the bold can eat the crab.”

Chapter 881: Adversity

In early October, the latest issue of Vanity Fair featured Ryan Kavanaugh on its cover, accompanied by the headline: The Maple Leaf Entertainment Doctrine—Young and Proud, Ryan Kavanaugh Aspires to Become Hollywood’s Most Powerful Player.

When faced with the media, the power of money was boundless.

Under the onslaught of massive financial influence, Vanity Fair chose to champion Ryan Kavanaugh.

“Money is truth.”

In the office, Ronan flipped through the Vanity Fair article and said to Robert Iger, “Don’t be fooled by Hollywood’s current rejection of Ryan Kavanaugh and Maple Leaf Entertainment. As long as they persist with money paving the way, Hollywood will eventually surrender to their wealth.”

Robert Iger agreed with Ronan’s perspective. “Especially when Hollywood runs out of money.”

Ronan recalled carefully—when had Relativity Entertainment truly broken into the Hollywood market? After 2008!

The economic crisis had left Hollywood severely cash-strapped, and Relativity, with its deep pockets, naturally became the object of Hollywood’s eager embrace.

Ronan asked, “Can he mobilize enough funds?”

“Don’t underestimate Ryan Kavanaugh’s financing abilities,” Robert Iger replied. He had thoroughly researched the man during his time in New York. “Ryan Kavanaugh has a gift for socializing. If you introduce a banker to Nicole Kidman and Penélope Cruz at a party, they’ll be bored to death within an hour and want to kill you. But if that person is Ryan Kavanaugh, they’ll fall in love with him. An hour later, everyone will be signing financing contracts, singing songs, and flying off to Capri, Italy, to celebrate—even though they were just in New York.”

Ronan sighed. “Ryan Kavanaugh has entered Hollywood and our sights. What should we do?”

Robert Iger didn’t answer, but he already had his thoughts—like a beautiful woman walking into a men’s prison.

Ronan added, “Ryan Kavanaugh is like a child born in Beverly Hills—money comes too fast and too easily.”

Robert Iger stated bluntly, “Finance is a double-edged sword.”

“We must hold that line,” Ronan agreed, then shifted the topic. “Any updates from Disney?”

Robert Iger replied, “Roy Disney is well-prepared and has been making moves. Michael Eisner is arrogant and struggling to keep up. With us and the major Wall Street firms adopting a wait-and-see approach, his path is narrowing.”

Ronan asked, “No other signals from those Wall Street firms?”

Robert Iger answered, “Don’t expect too much from them. They won’t act until they see a real opportunity.”

Ronan nodded slightly. “Now it all depends on Michael Eisner’s situation.”

……

Sacramento, the capital of California.

Michael Eisner hurried into a business club and met his old friend, the renowned investor Mario Brady, in the reception room.

Known in California as “Super Mario,” this investor was also a major Disney shareholder, holding over three percent of the company’s shares.

Roy Disney’s activities had caught Michael Eisner’s attention. The unfavorable results of his recent meetings with several shareholders had made him fully aware of his precarious position.

Without more support, he might very well be forced out.

“Have you heard about Roy Disney stirring up trouble everywhere?” Michael Eisner got straight to the point. “He’s likely to challenge me at the year-end shareholders’ meeting…”

As he spoke, Michael Eisner glanced at Mario Brady, who was slowly sipping his coffee, as if he hadn’t heard a thing.

Michael Eisner continued, “Mario, ever since Disney’s financing and share expansion ten years ago, I insisted on prioritizing your investment. You’ve always been my most steadfast supporter. This time, I need your support and that of your associates.”

For someone as proud as him to say such words proved just how dire the situation was.

Mario Brady set down his coffee cup. “Mike, my investment in Disney is my largest—and most successful—venture.”

Michael Eisner exhaled slightly in relief. “Your investment will yield even greater returns in the future.” He relaxed a little. “Mario, please continue to support me at this shareholders’ meeting.”

Mario Brady suddenly changed his tone. “Mike, regarding the year-end shareholders’ meeting, I have a suggestion.”

“Go ahead,” Michael Eisner replied, adopting a posture he hadn’t used in years.

“Resign voluntarily.” Mario Brady’s voice was low but firm. “If you resign before the shareholders’ meeting, you can still leave with dignity.”

Michael Eisner couldn’t believe his ears. “What?”

Mario Brady spoke slowly again. “We’ve been friends for many years. Listen to my advice. You’ve done great things for Disney—no one can deny your contributions to its current market value. If you resign voluntarily, the shareholders won’t pursue you, Roy Disney will back off, and the Delaware Court of Chancery lawsuit will fade away.”

“You…” Michael Eisner stared at Mario Brady, suppressing his rising anger. “Why?”

Mario Brady replied matter-of-factly, “As I just said, Disney is my largest investment. I must be responsible for it.”

Michael Eisner’s fury surged. In all these years, aside from Roy Disney, who had ever directly opposed him? But he was no ordinary man. He reminded Mario, “Mario, don’t forget who gave you the chance to invest in Disney. Who turned Disney from a small studio into the entertainment media conglomerate it is today? Who multiplied the value of your investment?”

“It was you,” Mario Brady admitted. “All of this was achieved under your leadership and decisions.”

Michael Eisner curled his fingers and slammed the table. “You’re not advising me—you’re betraying me!”

No one liked being accused of betrayal. Mario Brady grew agitated, unconsciously raising his voice. “Betrayal? Are you joking, Michael? This is my investment, my shares! Yes, you’ve done great things for Disney, but that was in the past! Since 2000, has Disney’s performance been praiseworthy? Every Disney theme park outside the U.S. is losing money! The live-action films you championed—your most profitable one was The Princess Diaries, a low-budget film!”

From an investor’s perspective, he had reached his limit with Disney’s leader. “And what about Disney’s animation? Aside from Pixar’s films, does Disney have anything worth mentioning? Your feud with Steve Jobs is driving Pixar away from Disney! And the merchandise—Disney’s pride and joy—has been outshone by a pink pig in recent years!”

Mario Brady seemed to have had enough of Michael Eisner. “And the talent drain—Robert Iger, such an outstanding manager, you sent him to Tokyo, only for Relativity to poach him. And Jeffrey Katzenberg, whom you drove away—look at DreamWorks Animation now. Don’t you feel ashamed?”

As this barrage of accusations landed, Michael Eisner’s emotions gradually calmed.

Mario Brady waved his arm forcefully. “Disney’s situation is dire. The shareholders’ interests are at risk. Even without Roy Disney, others would unite the shareholders to oust you.”

Anyone else might have felt shame after such a justified critique, but Michael Eisner was no ordinary man. How could he possibly accept responsibility? How could he willingly bear such blame?

“Don’t be fooled by Roy Disney’s hypocrisy,” Michael Eisner said, regaining his composure. “Mario, if it weren’t for Roy Disney’s divisiveness, how could Disney have problems?”

Hearing this deflection, Mario Brady’s heart grew colder. A corporate leader who wouldn’t even take responsibility—what else could be expected?

“Resign,” Mario Brady urged one last time. “It’s for the best for everyone.”

Michael Eisner laughed instead. What good would resignation do for him? Lose complete control of Disney, become a lamb to Roy Disney’s slaughter? Wait for the Delaware Court of Chancery lawsuit to ruin him, leaving him bankrupt?

Mario Brady watched Michael Eisner, hoping from an investor and shareholder’s perspective that things could end peacefully and Disney could return to the right track.

Michael Eisner coldly declared, “I won’t resign. Mario, after the shareholders’ meeting, the one sitting in Disney’s chairman seat will still be me, Michael Eisner—not Roy Disney.”

With that, Michael Eisner stood and left the reception room without waiting for Mario Brady’s response.

Outside the business club, he got into his waiting car. The weight of the pressure settled on him.

The situation was worse than he had imagined. Even Mario Brady and his faction of shareholders had turned against him.

He asked his assistant in the passenger seat, “How are the acquisition and financing efforts going?”

“We’ve acquired shares from a few small shareholders, but funds are limited,” the assistant replied quickly. “Financing is difficult. Since the Delaware Court of Chancery lawsuit, financial institutions refuse to negotiate with us…”

Michael Eisner frowned. Was he really going to be ousted by Roy Disney?

Reflecting on his twenty years at Disney, Michael Eisner felt his achievements were brilliant, even great. How could he be forced out?

Chapter 882: The Female Billionaire

New York, Long Island, Shinnecock Hills Golf Club.

An electric cart glided across the lush green lawn, arriving at the rest area. Lloyd Blankfein stepped off the cart and entered the white wooden house.

Someone approached and shook hands with Lloyd Blankfein: “You went ahead and played a few holes?”

Lloyd Blankfein chuckled, “Today’s guest is important. I went to check the course first to avoid any surprises.”

He walked to the table and invited, “Sit, Lanley.”

The middle-aged man named Lanley, dressed impeccably, sat across from Lloyd Blankfein and said, “We should check carefully. I heard that in Florida, alligators come out of the water hazards and bite people. Terrifying.”

Lloyd Blankfein laughed heartily, “This is New York.”

There were no others in the wooden house. After exchanging a few jokes, Lanley checked the time. There was still over half an hour before his meeting with Ronan Anderson. He asked, “You called me here early. Is there something?”

Lloyd Blankfein shrugged, “I mainly wanted to ask, has Credit Suisse given any thought to Ronan Anderson’s last proposal?”

Lanley looked at Lloyd Blankfein and said, “If we’re talking long-term holdings, the best choice right now is Roy Disney. A stable Disney returning to the right track aligns more with our interests.”

He then added, “But if there’s enough profit to be made, liquidating is also an option.”

Lloyd Blankfein nodded slowly, “The problem is Ronan Anderson. He now has the ability and capital to dig a hole for Disney. After all, it’s Hollywood, and Ronan Anderson is undoubtedly one of the giants now.”

Lanley frowned slightly, “Do you think his plan can succeed?”

“There’s room for maneuvering,” Lloyd Blankfein said honestly, “But there’s also the possibility of surprises.”

Lanley couldn’t help but smile, “There are only two more months. I think we should still take the most cautious approach, maintaining observation and silence. Whoever aligns more with our interests, we’ll support them then.”

Lloyd Blankfein said, “That’s also Goldman Sachs’ stance.”

Meeting Lanley early was to confirm Credit Suisse’s attitude, avoiding unnecessary trouble due to misjudgment.

The two discussed for a while longer before the door opened.

Lanley and Lloyd Blankfein saw the newcomer and hurried to greet him.

“Hi, Ronan.” As if they were old friends, Lloyd Blankfein stepped forward and gave him a hug, “Welcome back to New York.”

Ronan smiled, “It’s not easy to see you. From Manhattan to Long Island, the traffic jam made me question my life.”

Lanley also came over and hugged Ronan, saying, “Didn’t you know this is New York’s daily routine?”

Ronan said, “Seems like I need to buy a helicopter in New York.”

Lloyd Blankfein chimed in, “Why not buy a property in New York and come live here for a while each year? We can meet more often.”

Ronan nodded slightly, “That’s a good idea. You can introduce me later. I’m not familiar with this area.”

Lanley said, “Lloyd has a big house on Long Island. The surroundings are nice. The party tonight is arranged there.”

“Welcome to be my neighbor.” Lloyd Blankfein smiled.

Ronan responded politely and asked, “What’s the program for tonight?”

Lloyd Blankfein said, “A traditional Wall Street party. Believe me, Ronan, you’ll like it.”

“You’re making me curious,” Ronan smiled, “I’m looking forward to it.”

Lloyd Blankfein suggested, “Let’s go to the course.”

Ronan said, “I brought my full set of equipment. Let’s go.”

The three left the rest area together, boarding the electric cart and entering the course. The early October weather in New York was pleasant, with a cool breeze that lifted spirits.

Golf could be considered one of the most common business networking methods. Playing together while discussing the game’s techniques could also bring people closer.

Ronan was extremely wary of Wall Street, but for a company to grow big and strong, it was impossible not to deal with Wall Street. Especially for a company like Netflix, which appeared very promising but, as he knew best, required massive amounts of money. It desperately needed Wall Street’s funds.

“Nice shot.”

After Ronan putted the ball into the hole, Lloyd Blankfein cheered loudly.

Lanley also clapped from the side, “Well played.”

Ronan handed the club to the caddy and said, “Just lucky.”

It was indeed luck. He had managed a birdie.

Lloyd Blankfein laughed, “I saw Jerry F. Carsonberg last time. He said you two used to play together often.”

Ronan nodded, “Yes, we practiced together often.”

Lloyd Blankfein lowered his voice, “He said you invented a new way to play.”

Lanley also became interested, leaning in and whispering, “How do you play?”

Ronan whispered a couple of sentences, then shook his head, “Can’t find a suitable hole. It’s too inhumane.”

Lloyd Blankfein said, “The hole is easy. In New York, there’s nothing you can’t find.”

Lanley also said, “Why not add an impromptu program tonight?”

Ronan said, “No, I’m a supporter of feminism.”

He didn’t blame Jerry F. Carsonberg’s idea. Such things were common among the rich. It wasn’t a big deal.

As Tom Cruise would say, golf is a sport full of passion, romance, and a touch of madness, accompanied by hills, grass, and water hazards.

Will Smith also said that when playing golf, he was entirely happy.

In Ronan’s view, the score didn’t matter. The most important thing was to have a beautiful posture. He didn’t rely on golf to make a living, so the only purpose was to have fun.

Soon, the conversation among the three shifted to business and investment.

Lanley and Lloyd Blankfein both stated that regarding Walt Disney, they personally supported Ronan, but since it involved billions of dollars in company investments, they had to be cautious.

However, they would continue to remain silent as always.

Ronan didn’t expect these people to directly support him and Relativity Entertainment. Their silence and observation were enough.

When they saw profit, even without his mobilization, these people would eagerly jump in themselves.

Nothing could be more effective than interest in temporarily aligning both sides.

“Be sure to come tonight.”

As they parted, Lloyd Blankfein invited again, “I’ll be waiting.”

Ronan smiled, “I will.” He also invited, “The day after tomorrow, I have a movie premiering in New York. If you have time, you can come to the premiere.”

Since it was a workday, Lloyd Blankfein thought for a moment and said, “It depends on my work schedule then.”

Lanley also said, “I’ll try to adjust my schedule.”

Ronan’s invitation was just a courtesy. He didn’t have high hopes and soon took his leave.

That evening, he arrived on time at Lloyd Blankfein’s villa on Long Island.

The expansive villa had become an ocean of parties. Well-dressed men chatted with each other, and meticulously dressed women moved about.

The party not only occupied the first floor of the villa but also extended into the backyard.

Even though the October weather was cool, the swimming pool still had young, beautiful women performing wet temptations.

Ronan didn’t need to look closely. With his rich experience, a glance told him these girls were all models, having undergone at least several years of model training.

It was common for young, beautiful models to appear at private gatherings of the wealthy and top business circles.

As everyone knew, the chaos in the modeling industry far surpassed that of the entertainment industry.

Many model agents often introduced their clients to the wealthy or business elites.

“Feel free to let loose here.” Lloyd Blankfein smiled at Ronan, “I wish you a pleasant evening.”

He then took a model who looked somewhat familiar to Ronan and went elsewhere.

As soon as Lloyd Blankfein left, a middle-aged woman approached, “Hello, Ronan. Do you remember me?”

Ronan looked at her. She seemed familiar, but he wasn’t sure where he had seen her.

The middle-aged woman introduced herself, “I’m Daisy Brook.”

Ronan still didn’t recall.

Daisy Brook sighed inwardly. These rich men were indeed like this, using and then forgetting. She had to remind him, “I used to be Carmen’s agent.”

Ronan suddenly remembered, “I recall now. You served Carmen Kays.”

“Yes.” Daisy Brook smiled broadly, “We’ve met twice.”

Ronan nodded slowly and asked, “How is Carmen?”

Daisy Brook said, “These past two years, Carmen has basically stopped walking the runway. I’m no longer her agent either.” She briefly introduced, “Carmen has given up her modeling career and returned to Estonia to do business. She’s now probably Estonia’s female billionaire.”

Ronan sincerely said, “Carmen is amazing.”

“Indeed.” Daisy Brook smiled, “Ordinary models are drunk on life and dreams, forever just beautiful clothes racks. But Carmen is very smart. She achieved what most supermodels can’t.”

Ronan subconsciously wanted to ask for Carmen Kays’ contact information but thought better of it.

The past was the past. Why disturb Carmen Kays’ quiet life? They had parted on good terms. Even if they met again, there wouldn’t be any resentment or hostility.

Daisy Brook waved to someone else, “Let’s not talk about Carmen.” When a tall blonde girl approached, she introduced, “Ronan, let me introduce someone to you. This is Du Chen Kolos, a model from the Netherlands.”

Chapter 883: Growing More Enchanting with Age

Under the pitch-black night sky, the flickering streetlights illuminated the dim road as a black sedan glided like a ghost into Manhattan, drawing closer to Central Park.

Inside the car, Ronan loosened his tie and placed it on the seat beside him. Finch, in the passenger seat, remained vigilant, occasionally communicating with the security vehicles ahead and behind them.

Apart from the driver, no one else was in the car.

Du Chen Kolos was quite alluring, and with Daisy Brook acting as the intermediary, if Ronan were willing, his wealth and status would make certain things easy to achieve. But Ronan had only exchanged a few casual words with Du Chen Kolos before ignoring him, even politely declining Lanley and Lloyd Blankfein’s invitation to stay at the villa for a round of golf.

Though never a good man, let alone a decent one, Ronan maintained a basic sense of caution. Some things might not happen, but one could never be too careful.

Besides, if he wanted, he could easily arrange a party with a group of Victoria’s Secret Angels. Why take such risks?

The car stopped near a building by Central Park. Ronan smoothly entered the lobby, took the elevator to the ninth floor, and knocked on the door of an apartment.

“Who is it?” came a cautious voice from inside.

Ronan spoke to the camera by the door: “It’s me.”

The door swung open, and Anne Hathaway grabbed Ronan, pulling him inside. “What brings you here so suddenly?” she asked in surprise.

Ronan kissed her deeply. “I missed you.”

Anne rolled her eyes. “Liar.”

As the night deepened, Ronan proved with his actions that he wasn’t lying.

Compared to Du Chen Kolos, compared to the beautiful models scattered throughout the villa, Ronan trusted his Princess Anne completely.

As for supermodels…

The next day, Ronan suddenly recalled something he had read in a gossip article—an unusually high number of supermodels ended up marrying Black men. It was said that Black men and supermodels were a perfect match.

Why was that?

Perhaps the journey from training to the runway to fame subjected supermodels to so many trials that it left them with certain acquired flaws, which the natural advantages of Black men could perfectly compensate for.

Ronan vaguely remembered that there had been a young Black Victoria’s Secret Angel whose proportions were so perfect they outshone all other supermodels. Of course, her features had already become quite mixed.

Taking advantage of the free time before the Mamma Mia! premiere, Ronan made a special trip to Marvel.

Since Relativity Entertainment’s full acquisition of Marvel Comics, the company, one of the largest comic publishers in the United States, had been reorganized into Marvel Entertainment, with Avi Arad continuing as Chief Executive Officer.

Now, Marvel Entertainment had smoothly completed its transition. Though Ronan appeared sufficiently trusting of Marvel’s executives, after the Stan Lee incident, he and Robert Iger had agreed to adjust the company’s leadership.

The specific plan and timing were set for after the release of Iron Man next year, using the film’s potential success to offset any instability the changes might cause.

This adjustment was necessary. Both Ronan and Robert Iger were extremely dissatisfied with Avi Arad over the Stan Lee incident. If not for the need to ensure a smooth transition at Marvel Entertainment, Robert Iger would have already taken action against Avi Arad.

The rise of new forces inevitably meant the decline of the old—this was a fundamental rule of the business world.

However, this plan remained known only to Ronan and Robert Iger; outsiders were unaware.

Marvel’s business now revolved around its film initiatives. Even with critically acclaimed and best-selling works like Civil War, the overall comic market remained sluggish—a fact no one could deny.

The company’s comic creation, much like Hollywood’s film production, served the pan-entertainment industry. Relying solely on comics and their merchandise rights would lead Marvel Entertainment to bankruptcy.

The “Avengers Initiative” was the core of Marvel’s current business. Beyond Iron Man, which had completed production and was awaiting its summer release next year, The Hulk was in preparation, and Thor and Captain America were also on the agenda. The script for the first Avengers film had already been completed.

Marvel Entertainment was steadily moving toward its former path to success.

Of course, Ronan encountered some internal disputes at Marvel Entertainment. The Creative Committee was dissatisfied with Kevin Feige and the film plans, believing that film adaptations should adhere to the comic settings.

Ronan didn’t say much, but he no longer held any illusions about the conservatives led by Avi Arad.

Before the third weekend of October arrived, Embassy Pictures held a grand premiere for Mamma Mia! on Broadway. The film, adapted from the musical of the same name, attracted the attention of many enthusiasts.

Musical films had always been a major category in North American cinema. They flourished in the 1960s and 1970s, declined in the 1990s, but experienced a brief revival after Moulin Rouge! and Chicago.

Mamma Mia! could be seen as a continuation of the nostalgia for musicals sparked by these two films. Moreover, the film starred Meryl Streep, Pierce Brosnan, and the recently popular young actress Amanda Seyfried.

At the screening hosted by Embassy Pictures earlier, including musical enthusiasts, the test audience gave the film high praise. Mamma Mia! had a long production cycle, with professional dance and vocal training for the actors being a crucial factor.

Using a voice double wasn’t impossible, but in normal Hollywood film production, no actor would choose such a performance method that could damage their reputation.

Some actors, lacking in singing and dancing abilities, used body doubles but claimed to have performed everything themselves, only to have their personas collapse later.

The two businessmen from Wall Street were too busy with work to attend the premiere. Ronan had only extended a polite invitation, knowing the likelihood of their attendance was low.

However, Harvey Weinstein had made a special trip from Los Angeles.

When Meryl Streep appeared in the VIP lounge, arm in arm with Harvey Weinstein, no one, including Ronan, found it surprising.

“I originally wanted Meryl to play the lead role of the queen,” Harvey Weinstein said to Ronan. “But the producers and director insisted on Helen Mirren.”

Meryl Streep smiled. “Harvey, we’ll have plenty of opportunities to work together in the future, won’t we?”

As she spoke, she winked at Harvey Weinstein.

Harvey Weinstein said, “Meryl is the best actress in Hollywood.”

Ronan casually replied, “Meryl’s performance in Mamma Mia! is outstanding.”

“Thank you,” Meryl Streep said. “It’s an honor to receive such praise from you, Ronan.”

Ronan nodded with a smile.

Meryl Streep was a very intelligent actress with a keen sense in certain areas. She dared to confront some political figures outside the industry but never provoked the big shots within it.

The former had limited influence on Hollywood and could highlight her leftist stance. The latter, however, could cause significant setbacks to her career.

Relativity Entertainment’s collaboration with Meryl Streep was purely business, with no personal involvement. Ronan always kept his distance from her. As for the so-called “Aunt Meryl,” only a fool would try to get close by calling her that.

Harvey Weinstein, who was extremely close to her—even intimately so—was one of the people Meryl Streep had once ruthlessly betrayed when he was down.

The illustrious reputations of Hollywood artists had never been tied to their moral character.

After Meryl Streep left, Harvey Weinstein lowered his voice and said, “Ronan, I plan to have The Queen compete for the Oscar for Best Actress.”

Ronan said, “Harvey, that’s your freedom.”

Harvey Weinstein had his own ways of survival. He could confront the chairmen or CEOs of Warner Bros. and Universal because they were merely professional managers, but he didn’t want to provoke Ronan, the boss of Relativity Entertainment.

“You don’t have any plans in the next two years, do you?” Harvey Weinstein gestured with his hand.

In his view, Ronan was close to many Hollywood actresses and might do something at the Oscars.

Ronan slowly and firmly shook his head. “The Oscars are not on the list.”

Harvey Weinstein, also a producer, understood Ronan’s meaning and couldn’t help but admire, “You always have a way. A role alone can solve the problem. For me, it’s more complicated. Take Helen Mirren, for example—she at least needs an Oscar nomination for Best Actress.”

Ronan was speechless. Harvey Weinstein’s appetite was indeed too large.

Harvey Weinstein seemed to guess what Ronan was thinking and said, “Sometimes you need a change of taste. Some people grow more enchanting with age.”

Ronan vaguely remembered that Helen Mirren was a few years older than Meryl Streep.

Pierce Brosnan then came over to greet Ronan. Though in his fifties, the retired James Bond remained as charming as ever, more of a gentleman than the first 007, Sean Connery.

In Ronan’s mind, Sean Connery could represent the British gentleman, much like traditional British gentlemen—impeccable in manners on the surface but entirely different behind the scenes.

What traditional British gentlemen and nobles were really like was something the whole world knew, especially the former colonies of the “empire where the sun never set.”

Harvey Weinstein then said, “Someone’s coming to see you. I won’t disturb you. Let’s talk another time.”

Ronan nodded slightly. “Alright, another time.”

As soon as Harvey Weinstein left, a blonde girl approached Ronan. “Long time no see,” she said, looking at him.

Ronan smiled slightly. “Hello, Amanda.”

Chapter 883: Growing More Enchanting with Age

Under the pitch-black night sky, the flickering streetlights illuminated the dim road as a black sedan glided like a ghost into Manhattan, gradually approaching Central Park.

Inside the car, Ronan loosened his tie and placed it on the seat beside him. Finch, in the passenger seat, remained vigilant, occasionally communicating with the security vehicles ahead and behind them.

Apart from the driver, there was no one else in the car.

Du Chen Kolos was quite alluring, and with Daisy Brook acting as a go-between, if Ronan had been willing, his wealth and status would have made certain things easy to achieve. But Ronan had only exchanged a few casual words with Du Chen Kolos before ignoring him, even politely declining Lanley and Lloyd Blankfein’s invitation to stay at the villa and play golf.

Though never a good man, let alone a decent one, Ronan still maintained a basic sense of caution. Some things might not happen, but one could never be too careful. Besides, if he wanted, he could easily arrange a party with a group of Victoria’s Secret Angels. Why take such risks?

The car stopped near a building by Central Park. Ronan smoothly entered the building, took the elevator to the ninth floor, and knocked on the door of an apartment.

“Who is it?” came a cautious voice from inside.

Ronan spoke to the camera by the door: “It’s me.”

The door swung open, and Anne Hathaway grabbed Ronan, pulling him inside. “What brings you here all of a sudden?” she asked in surprise.

Ronan kissed her passionately. “I missed you.”

Anne rolled her eyes. “Liar.”

As the night deepened, Ronan proved with his actions that he wasn’t lying.

Compared to Du Chen Kolos, compared to the beautiful models scattered throughout the villa, Ronan still trusted his Princess Anne completely.

As for supermodels…

The next day, Ronan suddenly thought of something he had read in a gossip article—an unusually high number of supermodels ended up marrying Black men. It was said that Black men and supermodels were a perfect match.

Why was that?

Perhaps the journey from training to the runway to fame subjected supermodels to so many trials that it created certain acquired deficiencies, which the natural advantages of Black men could perfectly compensate for.

Ronan vaguely remembered that there had been Black supermodels before. He recalled a young Black Victoria’s Secret Angel whose proportions were so perfect they outshone all other supermodels. Of course, her features were already quite mixed.

Taking advantage of the time before the premiere of Mamma Mia!, Ronan made a special trip to Marvel.

Since Relativity Entertainment’s full acquisition of Marvel Comics, the company, one of the largest comic publishers in the United States, had been reorganized into Marvel Entertainment, with Avi Arad continuing as Chief Executive Officer.

Now, Marvel Entertainment had smoothly completed its transition. Although Ronan appeared to trust Marvel’s executives, in reality, after the Stan Lee incident, he and Robert Iger had agreed to adjust Marvel’s leadership.

The specific plan and timing were set for after the release of Iron Man next year, using the film’s potential success to offset any instability the changes might cause.

This adjustment was necessary. Both Ronan and Robert Iger were extremely dissatisfied with Avi Arad over the Stan Lee incident. If not for the need to ensure a smooth transition at Marvel Entertainment, Robert Iger would have already taken action against Avi Arad.

The rise of new forces inevitably meant the decline of the old—this was a fundamental rule of the business world.

However, this plan remained known only to Ronan and Robert Iger; outsiders were unaware.

Marvel’s business now revolved around its film projects. Even with highly acclaimed and best-selling works like Civil War, the overall comic market was undeniably in decline.

The company’s comic creation, much like Hollywood’s film production, served the pan-entertainment industry. Relying solely on comics and merchandise rights would lead Marvel Entertainment to bankruptcy.

The “Avengers Initiative” was the core of Marvel’s current business. Besides Iron Man, which had completed production and was awaiting its summer release next year, The Hulk was in preparation, and Thor and Captain America were also on the agenda. The script for the first Avengers film had already been completed.

Marvel Entertainment was steadily moving toward its former path to success.

Of course, Ronan also encountered some internal disputes at Marvel Entertainment. The Creative Committee was dissatisfied with Kevin Feige and the film plans, believing that film adaptations should adhere to the comic settings.

Ronan didn’t say much, but he no longer held any illusions about the conservatives led by Avi Arad.

Before the third weekend of October arrived, Embassy Pictures held a grand premiere for Mamma Mia! on Broadway. The film, adapted from the musical of the same name, attracted the attention of many enthusiasts.

Musical films had always been a major category in North American cinema. They were extremely popular in the 1960s and 1970s, declined in the 1990s, but experienced a brief revival after Moulin Rouge! and Chicago.

Mamma Mia! could be seen as a continuation of the nostalgia for musical films sparked by these two movies. Moreover, the film starred Meryl Streep, Pierce Brosnan, and the recently popular young actress Amanda Seyfried.

At the screening hosted by Embassy Pictures earlier, including musical enthusiasts, the preview audience gave the film high praise.

Mamma Mia! had a long production cycle, with professional song and dance training for the actors being a crucial factor.

Using a voice double wasn’t impossible, but under normal circumstances in Hollywood film production, no actor would choose such a performance method that could damage their reputation.

Some actors, lacking in song and dance skills, used body doubles but claimed to have performed everything themselves, only to have their personas collapse later.

The two businessmen from Wall Street were too busy with work to attend the premiere. Ronan had only extended a polite invitation, knowing the likelihood of their attendance was low.

However, Harvey Weinstein had made a special trip from Los Angeles.

When Meryl Streep appeared in the VIP lounge, arm in arm with Harvey Weinstein, no one, including Ronan, was surprised.

“I originally wanted Meryl to play the female lead, the Queen,” Harvey Weinstein said to Ronan. “But the film’s producer and director insisted on Helen Mirren.”

Meryl Streep smiled. “Harvey, we’ll have plenty of opportunities to work together in the future, won’t we?”

As she spoke, she winked at Harvey Weinstein.

Harvey Weinstein said, “Meryl is the best actress in Hollywood.”

Ronan casually replied, “Meryl’s performance in Mamma Mia! is excellent.”

“Thank you,” Meryl Streep said. “It’s an honor to receive such praise from Ronan.”

Ronan smiled and nodded.

Meryl Streep was a very clever actress with a keen sense in certain areas. She dared to confront certain political figures outside the industry but never provoked the big shots within it.

The former had limited influence on Hollywood and could highlight Meryl Streep’s leftist stance. The latter, however, could cause significant setbacks to her career.

Relativity Entertainment’s collaboration with Meryl Streep was purely business, with no personal involvement. Ronan always kept his distance from her. As for the so-called “Aunt Meryl,” only a fool would try to get close by calling her that.

Harvey Weinstein, who was extremely close to her, even to the point of being inseparable, was one of the people Meryl Streep had once ruthlessly betrayed when he was down.

The illustrious reputations of Hollywood artists had never been tied to their moral character.

After Meryl Streep left, Harvey Weinstein lowered his voice and said, “Ronan, I plan to have The Queen compete for the Oscar for Best Actress.”

Ronan said, “Harvey, that’s your freedom.”

Harvey Weinstein had his own ways of survival. He could confront the chairmen or Chief Executive Officers of Warner Bros. and Universal because they were just professional managers, but he didn’t want to provoke Ronan, the boss of Relativity Entertainment.

“You don’t have any plans in this regard for the next two years, do you?” Harvey Weinstein gestured with his hand.

In his view, Ronan was close to many Hollywood actresses and might do something at the Oscars.

Ronan slowly and firmly shook his head. “The Oscars are not on the list.”

Harvey Weinstein, also a producer, understood Ronan’s meaning and couldn’t help but admire, “You always have a way. A role alone can solve the problem. For me, it’s sometimes more complicated. Take Helen Mirren, for example—she at least needs an Oscar nomination for Best Actress.”

Ronan was speechless. He could only say that Harvey Weinstein’s appetite was truly insatiable.

Harvey Weinstein seemed to guess what Ronan was thinking and said, “Sometimes you need a change of taste. Some people grow more enchanting with age.”

Ronan vaguely remembered that Helen Mirren was actually a few years older than Meryl Streep.

Pierce Brosnan then came over to greet Ronan. Though in his fifties, the retired James Bond was still as charming as ever, more of a gentleman than the first 007, Sean Connery.

In Ronan’s mind, Sean Connery could represent the British gentleman, much like traditional British gentlemen—impeccable in manners on the surface but entirely different behind the scenes.

What traditional British gentlemen and aristocrats were really like was something the whole world knew, especially those in the former colonies of the once “empire on which the sun never set.”

Harvey Weinstein then said, “Someone is coming to see you. I won’t disturb you. Let’s talk another time.”

Ronan nodded slightly. “Alright, another time.”

As soon as Harvey Weinstein left, a blonde girl walked up to Ronan and said, “Long time no see.”

Ronan smiled slightly. “Hello, Amanda.”

Chapter 884: Bursting into Song at the Drop of a Hat

Standing in the bustling VIP lounge, Amanda Seyfried felt a strange mix of familiarity and estrangement as she looked at the familiar figure across from her.

The familiarity came from knowing Ronan seven or eight years ago—they had quickly become close.

The estrangement stemmed from the past two years, during which Ronan had never appeared by her side unless she initiated contact.

Ronan smiled. “Amanda, you’ve grown even more beautiful.”

With age, Amanda Seyfried’s figure had become more striking, her features more refined, her eyes larger. She responded with a polite smile. “Ronan, every time we meet after a long separation, you say the same thing.”

“Because it’s true,” Ronan replied.

Amanda Seyfried sighed. “But you’ve grown busier than ever.”

Ronan understood the implication but didn’t address it. Instead, he asked, “How are your studies?”

He remembered that Amanda Seyfried was now attending the USC School of Cinematic Arts.

This change had likely come about because of him.

“Fairly well,” Amanda Seyfried said. “I’ve managed to make up for the classes I missed while filming.”

She steered the conversation back. “Several times, I saw you at events organized by the Academy. I wanted to say hello but held back—what if it had a negative impact on you?”

Ronan shook his head. “It wouldn’t have mattered.”

Amanda Seyfried asked, “How long are you staying in New York?”

“Just tonight,” Ronan replied. “I have an important company meeting tomorrow morning that I need to attend.”

Amanda Seyfried didn’t press further. “We’ll talk more when we’re back in Los Angeles.”

Ronan nodded slightly. “Alright.”

Watching the blonde girl walk away, Ronan suddenly recalled the first time he had seen her. Back then, Amanda Seyfried had seemed no older than thirteen or fourteen.

Later, she had brought him paper cupcakes, homemade drinks, and even treated him to hamburgers.

In the blink of an eye, seven or eight years had passed.

Finch approached, waiting until no one was near Ronan before leaning in and lowering his voice. “Connie just called. Steve Jobs had a relapse in India and was rushed back to San Francisco.”

Ronan was taken aback. “How is his condition?”

Steve Jobs’ health directly affected his plans and substantial investments.

“Stable for now,” Finch said quietly. “There shouldn’t be any issues in the short term.”

Ronan frowned slightly. “Have Connie reach out to Steve Jobs’ side—preferably his wife. I’ll prepare to visit him when I return.”

Finch nodded. “Understood. I’ll notify Connie right away.”

Ronan followed the film’s creative team into the theater, waiting for the screening to begin.

But his thoughts lingered on Jobs.

If Jobs continued his treatment in India, surrounded by incense and pollution, even with his wealth, it was uncertain whether he could hold on until 2010.

The “master” was powerful, but money couldn’t solve everything.

Ronan couldn’t help but worry. If the “kidney machine” wasn’t ready and Jobs passed away before then, would his massive investment in Apple yield the expected returns?

He never imagined that the “master” would become a critical factor affecting his investment returns.

Ronan knew he had to see Jobs in person to ease his mind. Even in the worst-case scenario, he had to ensure Jobs lasted until the end of the year.

But upon reflection, Ronan believed Jobs would likely live a few more years. After all, with his financial resources, the “master’s” mystical practices wouldn’t defeat him so easily.

If only Jobs hadn’t been so devoted to the “master’s” teachings—could he have lived longer?

The film began, and Ronan set aside these thoughts, focusing on the movie.

He would assess the situation after meeting Jobs.

Mamma Mia! was a classic musical film, with romantic love as its central theme.

The female lead and her mother lived together, unaware of who her father was.

Desperate to have her father walk her down the aisle, she secretly read her mother’s diary before the wedding and discovered that her mother had three lovers—any of whom could be her biological father. In a moment of panic, she sent invitations to all three based on an old address she found.

The film’s songs were iconic musical numbers, though the versions in the movie had been reworked to align more closely with pop styles. Yet, as the first song played, many familiar audience members hummed along.

Meryl Streep, Pierce Brosnan, and Amanda Seyfried all performed their own vocals. Though not professional singers, their performances captivated the audience.

Meryl Streep’s performance was particularly noteworthy—her portrayal could only be described as “uninhibited.” Dressed in overalls, she belted out songs and danced with abandon, defying her sixty years. Her dedication was undeniable.

The film’s infectious, exhilarating music was its key appeal.

Beyond the music, the story itself was engaging—appealing to mainstream tastes. It explored the differing love perspectives of two generations of women, contrasting reckless love with mature love, interwoven with themes of friendship, identity, and fulfillment.

Such themes resonated deeply with audiences of all ages, genders, and nationalities, creating an undeniable allure.

But honestly, none of that mattered.

Everyone was there to see the singing. The “Devil Wears Prada” lady sang, James Bond sang, and the world’s most untouchable daughter sang too.

The scenery was dreamlike, the stars collectively lost their minds, young lovers flirted, and a bunch of unreliable extras filled the screen.

The setting was too comfortable, the atmosphere too serene, the emotions too rich, the music too beautiful, the dancing too wild, the mother too charming, the daughter too sweet, and James Bond too handsome.

Everyone was just too lovable, making it easy for the film to create a unique atmosphere that swept up the audience.

And that atmosphere was: don’t think.

Why ponder deep thoughts? Why question life’s meaning? Why engage in philosophical debates? Why consider the film’s social significance?

Just sing. Sing along with the movie.

Just live in a drunken dream. Movies are meant to be entertainment.

In this era of economic decline, where wages were perpetually delayed, layoffs were as common as colds, job pressures were sky-high, prices soared, and wallets shrank, wasn’t the point of going to the movies to escape the weight of reality and find a little joy?

Wasn’t Pierce Brosnan’s off-key singing hilarious?

Wasn’t Meryl Streep’s performance above the neck astonishing? She was a true professional, abandoning all pretense of depth.

What? You dare mock the world’s most untouchable daughter for her big, bulging eyes and terrible singing? Her father, Brian, would teach you a lesson in minutes.

I am Brian Mills, and I speak for all fathers of daughters worldwide.

So, let’s all lose our minds and revel in the madness together.

Even after watching Mamma Mia!, Ronan, considering past films, had an unreliable thought.

Judging by past events, Amanda Seyfried truly seemed to be the world’s most untouchable daughter.

Not to mention her role in Hurricane Rescue, but even in Mamma Mia!, her three potential fathers were James Bond, Kingsman, and Tarzan’s dad, and she ended up marrying Iron Man’s father.

A clear winner in life.

The film’s supporting actor, Dominic Cooper, had already signed a long-term contract with Marvel Entertainment and would appear as Howard Stark in multiple Marvel films and TV shows.

Given the test screenings and pre-sales, Mamma Mia! was poised for success.

After its North American release, the film—originating from London’s West End—would quickly expand to overseas markets in Western Europe, led by the UK, France, and Germany.

Then, it would roll out worldwide.

This G-rated musical had virtually no sensitive content, making it suitable for most global markets.

However, Mamma Mia! was rejected by the Eastern markets.

This wasn’t due to censorship or political reasons but purely market factors.

The China Film Group politely declined Embassy Pictures’ promotional efforts for one reason: Eastern audiences didn’t care for this genre.

When the news reached Ronan, he instructed Embassy Pictures to cancel further PR plans. Musical films simply didn’t align with the tastes of audiences on the other side of the Pacific.

This was normal. Cultural differences in audience preferences were real.

Any film genre was subject to cultural influences in the market.

Even La La Land had been marketed as a romance rather than a musical when introduced to Eastern audiences.

In reality, downplaying the musical elements was a strategy to secure theater screenings and cater to local audience preferences.

This also explained the underlying fact that musical films were not favored by Eastern theaters.

Countless film enthusiasts there had said that seeing actors burst into song and dance in movies felt awkward.

Ronan included—he had once found such scenes embarrassingly unnatural.

Musical films had never taken off in the Eastern markets.

Even films imported from the other side of the Pacific had their musical elements removed or downplayed to gain broader audience acceptance.

Ultimately, Western musicals and operas had never become mainstream pop culture in Eastern markets, so musical films had no foothold.

Even with films like Frozen, many viewers—even young audiences—found it jarring when Elsa and Anna suddenly broke into song.

Chapter 885: Hairspray

The wave of musical film revival sparked by Moulin Rouge! and Chicago had yet to fade when Mamma Mia! burst onto the scene with even greater exuberance, weaving a romantic fairy tale through captivating song and dance.

Just as fashion and pop culture often revisit the past, the “retro” charm of cinema always finds a way to shine again.

Moreover, Mamma Mia! had a very precise target audience—women.

This was Relativity Entertainment’s gift to female viewers everywhere. Middle-aged women could reminisce about their youth through ABBA’s music and see themselves reflected in Meryl Streep’s portrayal of the mother. Young girls, meanwhile, could lose themselves in the beauty of a Greek island and the blissful anticipation of a wedding.

Of course, the film also delivered heartwarming themes of family and friendship.

Mamma Mia! struck a chord with the softest, most romantic parts of women’s hearts.

On its first day of release in North America, Embassy Pictures’ initial data reached Ronan, who had just finished a meeting at Relativity Tower.

The audience for Mamma Mia! on opening day was 79% female, with over 65% of viewers aged 25 or older.

The film grossed $15.42 million on its first day in North America, setting a new record for the highest opening day for a musical film.

Meryl Streep, who had previously been confined to low-budget art films, proved her box office appeal through her collaboration with Relativity Entertainment on The Devil Wears Prada and Mamma Mia!.

Regardless of any rumors surrounding Meryl Streep, one thing was undeniable—she was a consummate professional.

Hollywood had never been particularly concerned with morality when measuring a star’s worth.

Meryl Streep was also fiercely determined. With Relativity Entertainment’s support, she publicly criticized a certain group in New York on Friday, earning herself goodwill while drawing attention to the newly released film.

“More and more actors are resorting to surgery to maintain a youthful appearance, which is shocking. It’s astonishing how many performers are going under the knife,” Meryl Streep said during a press conference for Mamma Mia!, addressing the topic of aging. She directly criticized those who undergo cosmetic procedures: “I find it unacceptable. One should embrace aging and the different stages of life.”

She openly stated that she was at peace with this: “The upside is that as you get older, the roles offered to you become more interesting. You’re no longer just the pretty female lead; you get to try different things. Over the past few years, I’ve played many unique characters on screen.”

This caused a stir in the media. Plastic surgery and injections were commonplace among Hollywood stars, and the most advanced cosmetic procedures weren’t found in South Korea or Thailand, but in Beverly Hills.

Meryl Streep’s interview spread rapidly. The number of people in Hollywood who had undergone cosmetic procedures was enormous, but most remained silent during such moments.

Some couldn’t resist fighting back, accusing Meryl Streep of speaking without thinking and ignoring reality.

In some ways, they had a point.

How many Hollywood stars, at Meryl Streep’s age, could still land such significant roles?

A fan expressed their thoughts via Netflix sharing: “How many people can still get great roles in their late fifties like Meryl Streep? Think about it—those actors have it tough too.”

“Meryl Streep can say things like this precisely because of her status and achievements.”

This wasn’t the first time Meryl Streep had courted controversy to gain attention. She was well-practiced at it, and it effectively drew more eyes to Mamma Mia!.

All of this helped boost the film’s visibility, attracting more audiences to theaters.

After its first week in North America, Mamma Mia! unsurprisingly defeated Focus Features’ Pride & Prejudice to claim the top spot on the North American box office chart.

The film earned $37.75 million, setting a new record for the highest weekend gross for a musical film.

“As one of the participants in this historic weekend, we also contributed to its phenomenal success,” Meryl Streep said, continuing to promote the film and herself. “I’ve been in this industry for 30 years, and this is a weekend to fall in love with.”

Mamma Mia! wasn’t just selling tickets—it was also selling the soundtrack DVD, which had been released ahead of the film.

A significant portion of the music in the film wasn’t original; it featured 22 classic songs by the Swedish band ABBA. The soundtrack included 17 of these tracks.

In its first week of release, the soundtrack climbed to third place on the Billboard album sales chart, with sales reaching 220,000 copies.

Though ABBA was considered as legendary as Elvis Presley and The Beatles, none of their albums had ever cracked the top 10 on the Billboard North American album chart.

However, with the massive success of Mamma Mia! and its soundtrack, ABBA’s popularity soared once again.

Many predicted that, with the film’s momentum, the Mamma Mia! soundtrack would undoubtedly claim the top spot on the Billboard album sales chart the following week.

Over the past decade, eight film soundtracks had dominated the Billboard North American album sales chart, with the most impressive being the Titanic soundtrack, which led the chart for 16 weeks.

James Cameron, who despised My Heart Will Go On and even clashed with 20th Century Fox multiple times in an attempt to replace it, had inadvertently created the most successful soundtrack in film history.

The success of Mamma Mia! also marked a strong start for Relativity Entertainment in the musical film genre.

The film’s music team was a well-established group. After several face-to-face meetings, George Clinton had agreed to bring most of them into the Hannah Montana production team, embarking on a new creative journey.

Hannah Montana now had a successful musical foundation.

Success always brought more attention and attracted more interest.

A director and producer brought a project to Relativity Tower. After a meeting with George Clinton, the project landed on Ronan’s desk.

“John Waters contacted me this morning,” George Clinton recounted. “We met in the office. John Waters is planning a musical film—a remake of his 1988 film Hairspray.”

Ronan flipped through the project proposal. It seemed Mamma Mia!’s success had prompted John Waters to reach out.

Ronan wasn’t familiar with the director, but George Clinton had included a detailed profile of John Waters in the proposal.

John Waters had risen to fame in the 1970s with a series of cult films, known for their extremely bold and unconventional style.

Nicknames like “The Pope of Trash,” “The King of Filth,” and “The Father of Bad Taste” perfectly encapsulated John Waters’ cinematic approach.

His 1988 musical Hairspray was the first of his films to be embraced by mainstream cinema.

But none of these introductions impressed Ronan as much as one of John Waters’ self-written and directed films, which best reflected his style and characteristics.

The film was called Pink Flamingos.

The 300-pound “saint” in that film was likely unforgettable to many. According to the materials, that “saint” was played by a male actor.

Ronan looked up, puzzled, and asked, “John Waters is pitching a musical film?”

Did that mean the actors would sing while eating?

George Clinton explained, “John Waters rarely makes those kinds of extreme films anymore. In his view, Hairspray, which he created in 1988, is actually a white perspective—through the eyes of an overweight teenage girl—on the civil rights movement.”

Ronan asked, “So the female lead is a plus-sized girl?”

“Yes,” George Clinton continued. “In 2002, John Waters collaborated with Broadway to adapt Hairspray into a musical called Hairspray: The Musical Comedy.”

He emphasized, “Hairspray: The Musical Comedy was a huge success at the Tony Awards, receiving 13 nominations and winning 8, including Best Musical, Best Actor and Actress, Best Costume Design, and Best Original Score.”

Ronan was surprised. “The musical is very popular?”

“It’s still running at the Neil Simon Theatre on Broadway,” George Clinton said, clearly having done some preliminary research. “I specifically asked our Broadway partners and friends in the theater industry about Hairspray: The Musical Comedy. They spoke highly of it, saying it’s easy to understand, with lovable characters and universal themes that appeal to audiences of all ages.”

After reviewing the project proposal, Ronan tapped his fingers lightly and said, “At its core, this is a Cinderella story—a short, overweight girl who dreams of becoming a star.”

George Clinton added, “Oh, and John Waters mentioned to me that John Travolta has already promised to play a role in it—specifically, the female lead’s mother.”

“Cross-dressing?” Ronan couldn’t help but laugh. “Interesting.”

John Travolta’s talent in musical films was undeniable, as proven by his past performances.

But Ronan had no memory of this project called Hairspray. He couldn’t recall it at all.

The director of Pink Flamingos making a musical film?

At first glance, it seemed unreliable.

However, the musical adaptation of Hairspray, in which John Waters was deeply involved, had achieved tremendous success on Broadway.

Ronan thought for a few minutes before saying to George Clinton, “I’m going to San Francisco tomorrow to meet Steve Jobs. Arrange a meeting with John Waters—I’d like to see him when I get back.”

Chapter 886: Letting Go

San Francisco Bay Area, St. John’s Convalescent Home.

This private medical facility was renowned across the United States. After Steve Jobs returned from India with his condition stabilized, he was temporarily transferred here for recuperation.

When Ronan arrived, Laurene Jobs personally came to the entrance of the convalescent home to greet him.

“How is Steve doing?” Ronan asked with concern.

Laurene Jobs led the way, walking and speaking at the same time. “His condition has stabilized.” She smiled. “Thank you for coming to visit him.”

Ronan replied politely, “It’s the least I can do. Steve and I are both friends and business partners.”

Laurene Jobs didn’t say much more. She led Ronan toward a quiet courtyard.

Just as no one would be foolish enough to advise Steve Jobs not to go to India, Ronan had no intention of trying to persuade Laurene Jobs otherwise.

Ronan was well aware that the woman who could make a man like Steve Jobs—who was notorious for his eccentricities and controlling nature in relationships—willingly marry her was no ordinary person.

Steve Jobs’ achievements were legendary, known to all, but he also had his quirks. In matters of the heart, he was undeniably a scoundrel, a manipulator, and a control freak.

Laurene Jobs was destined to become the future female billionaire of Silicon Valley.

Frankly, if a woman didn’t possess extraordinary strength, she wouldn’t have so much—whether it was wealth or a legendary figure like Jobs.

Entering the courtyard, Steve Jobs was sitting in a chair under the corridor. His spirits were good, but he looked much thinner.

“Steve.” Laurene’s voice was loud. “Ronan is here.”

Ronan listened to the roar-like shout and looked curiously at Laurene and Jobs, wondering about their way of interacting.

Jobs waved to Ronan. “Ronan, come over and chat.”

Laurene gave Ronan an embarrassed smile. “You two talk. I’ll go prepare some refreshments.”

“Thank you.” Ronan watched her turn and leave, then walked along the corridor to Jobs’ side. “Good morning, Steve.”

Jobs shook Ronan’s hand and gestured for him to sit. “What brings you here?”

Ronan leaned back in the chair. “An old friend is sick. I had to come and see him.”

“Afraid I might die now?” Jobs was as blunt and harsh as ever. “And that it might affect your and Relativity Entertainment’s investments.”

Facing such a Jobs, Ronan didn’t deny it. “Steve, we’re tied together now.”

Even in his illness, Jobs still tried to control the conversation. “Don’t worry. Even if I die, Apple will continue on its current path, and Pixar will still execute the predetermined transaction plan with Relativity Entertainment.”

He glanced at the courtyard gate. “I’ve already discussed this with Laurene. Even in unexpected circumstances, she will carry out our plans.”

Ronan thought of Laurene and asked, “Steve, you two are very happy.”

“Of course. Laurene is my tigress.” Steve Jobs didn’t hesitate. “I’m happy enough to fly to the heavens.”

He didn’t hide this at all. “The happiness between Laurene and me is something you, a bachelor, can’t understand.”

Ronan smiled without saying anything.

Jobs seemed to be showing off. “We’ve had happy days, sad days, but never bad days.”

Ronan didn’t know how to respond. To make someone like Jobs, who often had the word “fuck” on his lips and once called the developing Windows operating system “a piece of shit” in front of Bill Gates, say such things, Laurene Jobs was indeed extraordinary.

Of course, in the media and industry circles, there were endless rumors about Laurene’s schemes.

For example, Laurene’s college roommate had told the media that Laurene’s first meeting with Jobs was meticulously planned.

But at Ronan and Jobs’ level, they didn’t see this as a problem.

For an excellent and powerful person, schemes and tactics were never derogatory terms.

Steve Jobs quickly brought the conversation back. “Pixar is already recognized as the best in the industry. I hope you don’t mess it up in the future.”

Ronan naturally replied, “I’ve paid such a high price. Of course, I want Pixar to continue to be strong.”

Jobs said, “Don’t underestimate Disney Animation Studio. They have deep roots. Once they adjust, they can catch up at any time.”

No one understood this better than Ronan. Disney’s animated films had undergone a transformation and become even stronger.

“If they fall too far behind, it won’t be easy to catch up.” Ronan said, “Disney Animation Studio—”

Jobs naturally continued, “We need to weaken Disney as much as possible.”

Ronan knew about Jobs’ grudges with Disney and asked, “Still can’t let go?”

Jobs countered, “Ten years of exploitation. If it were you, could you let go?” He reminded again, “Don’t forget what you said.”

Ronan smiled. “A continuously chaotic Disney doesn’t align with Relativity Entertainment’s interests.”

“I understand your investment in Pixar.” Jobs gripped the armrest of the chair and asked a question that had been bothering him. “Why do you keep investing in Apple?”

Ronan wasn’t surprised by Jobs’ question. “At first, I thought Steve Jobs was worth investing in, but later I found out about Apple’s smartphone development plan.”

He didn’t continue but instead asked, “Steve, why do you insist on Netflix’s shares?”

Steve Jobs looked at Ronan and slowly said, “Mobile smart terminals represent the future. I firmly believe this.” He extended his hand, gesturing the shape of a phone. “In the future, socializing, music, audio-visual, entertainment, and even finance and stocks can all be operated through this small terminal. Your Netflix is the internet company that best fits my future expectations. Like Apple, it represents the future, and the future is limitless.”

Ronan smiled. “Steve, actually, we are the same kind of people, so I don’t need to give you reasons anymore, do I?”

Jobs also smiled. “Indeed, no need.”

Focusing on both internet interactive entertainment and mobile terminals, and being the industry leader, there was no other company like Netflix.

Ronan glanced at his wristwatch. “You need to rest. I won’t disturb you for long.”

Jobs didn’t try to keep him and stood up to see him off. “Ronan, I’m a petty person. If you want me to live longer, keep Disney in chaos.”

Perhaps Jobs had his issues, but he saw things very clearly. Ronan, of course, also hoped Jobs would live a few more years. “I like a Disney that continues to be chaotic and weak.”

So, in the short term, he and Jobs had many common interests.

As for the long term, there was no need to think too much. After all, Jobs had pancreatic cancer.

Ronan left the convalescent home and made a trip to Netflix, returning to Los Angeles the same day.

The next day, at Relativity Tower, he met John Waters, whom George Clinton had arranged for him.

This “Pope of Trash” in the directing world was, contrary to his most famous character, terrifyingly thin.

After a few pleasantries, Ronan got straight to the point. “John, I want to confirm something first. From what I understand, New Line Cinema is also involved in the opera adaptation of Hairspray. Are the rights clear?”

John Waters was no newcomer to Hollywood and naturally understood Ronan’s meaning. He immediately said, “I initially planned to collaborate with New Line Cinema on this project. Two years ago, I submitted this project to New Line Cinema, and Robert Shaye also promised to invest, but I waited two years, and New Line Cinema never fulfilled their promise.”

He seemed somewhat emotional, speaking rapidly and excitedly. “Last week, I went to see Robert Shaye again, but he said all of New Line Cinema’s funds were invested in The Golden Compass and asked me to wait another year. I’ve had enough and don’t want to wait anymore. Just in time, I saw Relativity Entertainment’s Mamma Mia!. Your funds are abundant, and you have guarantees in the production of musical films.”

After saying so much, John Waters still hadn’t gotten to the point.

Ronan had to ask again, “The rights are in your hands?”

“Yes, I can guarantee that.” John Waters finally replied. “The 1988 film was something I found funding for, and the rights have always been with me. When adapting the opera, I did everything possible to retain the rights, all for the sake of making the film.”

Ronan stated, “I must declare in advance that if you collaborate with Relativity Entertainment, the film rights must belong to Relativity Entertainment. You’re a veteran in the industry and know the conventions.”

“I understand.” John Waters said. “But your company must buy them out at a reasonable price.”

Ronan said, “Let’s not talk about the buyout for now. Let’s discuss your project.”

John Waters asked, “Have you seen my proposal and script?” Seeing Ronan nod, he continued, “In a small apartment in Baltimore’s slums, I lay in bed and created this story. I once watched a local TV dance show, The Buddy Deane Show, and was quickly captivated. At that time, like all white kids, I would secretly listen to black music. We could tune into three black radio stations.”

He thought for a moment and added, “I believe this will be a resonant film, interesting while also addressing some social issues, but I won’t preach. I must clarify that there has never been a fat girl participating in the real-life Buddy Deane Show. That’s why I created the female lead. For me, a fat girl like the female lead is destined to fail. Her dream of dancing on TV represents the wishes of every discriminated person.”

Ronan thought of many things. Anti-discrimination was a good theme, especially for the North American film market in the coming years.

Chapter 887: Equality

“Best Entertainment Era.”

Stepping out of Relativity Tower, John Waters’ gaunt face carried a faint smile. This trip had not been in vain—he had reached a preliminary cooperation agreement with Ronan Anderson. The specifics would depend on the upcoming negotiations.

As for New Line Cinema and Robert Shaye, John Waters couldn’t be bothered with them. Robert Shaye had wasted two whole years of his time.

After the success of Chicago, he had wanted to adapt Hairspray into a film again, but he hadn’t received the attention he deserved.

John Waters was a free-spirited director and producer who wouldn’t tie his future to any single film company.

Musical films were currently experiencing a resurgence, and time was of the essence.

The October film market was uneventful, with few truly groundbreaking releases. In its second weekend in North America, Mamma Mia! faced competition from Sony Columbia’s The Legend of Zorro, which had just opened.

This was the sequel to the 1998 film The Mask of Zorro.

The first film had been a success, but the second had taken too long—so long that Antonio Banderas was showing his age, and Catherine Zeta-Jones’ beauty was fading.

Moreover, Hollywood was no longer the Hollywood of the nineties. The film market had changed too much, too quickly.

In terms of action films, audiences had been exposed to so many special effects spectacles that they were no longer as enamored with swashbuckling adventures as they once were.

The Legend of Zorro didn’t pose much of a threat to Mamma Mia!, earning only $16.32 million in its North American opening weekend, far below Mamma Mia!’s second-weekend earnings of $23.51 million.

Relativity Entertainment’s musical film was performing very steadily. In just ten days since its North American release, its box office had accumulated to $77.78 million.

Breaking $100 million in North America was inevitable.

Embassy Pictures’ internal projections showed that the North American box office share alone would be enough for Mamma Mia! to recoup its production budget and marketing costs.

Overseas earnings would be pure profit.

Starting this weekend, Mamma Mia! had also landed in many overseas markets. Since the musical had first appeared in London’s West End, its commercial performance in the UK was the best.

Its UK opening weekend grossed $13.15 million.

Adding other overseas markets, Mamma Mia!’s overseas opening weekend earned nearly $30 million.

If all went well, the film’s total overseas box office exceeding $100 million wouldn’t be a problem.

Meanwhile, as expected, Mamma Mia!’s soundtrack had topped the Billboard album sales chart.

The soundtrack alone had already brought in over $4 million for Embassy Pictures.

The success of Mamma Mia! had also firmly resolved Ronan to continue developing musical films.

Shai Entertainment quickly finalized negotiations with John Waters, confirming a $30 million investment to produce Hairspray, a film adaptation of the Tony Award-winning musical of the same name.

This included $5 million for John Waters’ copyright transfer fee and project greenlight bonus.

After all, this was a famous Tony Award-winning musical, and the copyright was held by an industry veteran like John Waters. There was no chance of acquiring it at a low price.

Hairspray would be officially greenlit by the end of the year, aiming for a release by the end of next year or the first half of 2007.

The most crucial deciding factor would be the choice of the female lead.

Finding a young actress in Hollywood who could sing and dance wasn’t difficult. Without exaggeration, there were some similar to Taylor Swift, who was preparing to audition for Hannah Montana.

But adding the requirement of being overweight made it much more challenging.

Finding a young actress who could sing, dance, had some acting skills, and was overweight wasn’t easy, even in Hollywood.

John Waters’ idea was to find a suitable actress and have her gain weight quickly to become overweight.

Finding a male actor wasn’t much of a problem, but whether the girls would be willing to make such a sacrifice was hard to say.

They would probably rather sleep with a director or producer than make such a choice.

If they couldn’t lose the weight, it would be a tragedy.

Even if they could, the loose skin would be terrifying.

Not every actress had the courage of Charlize Theron.

Moreover, the film required a level of overweight far beyond what Charlize Theron had done.

The audience for Hairspray wouldn’t be a problem—it wouldn’t be narrower than Mamma Mia!—and anti-discrimination was a value orientation recognized by the public.

American society was changing rapidly. This was something Ronan and anyone with even a slightly sensitive perception could feel.

The Black movement was becoming more radical, anti-discrimination activities were emerging one after another, the voice of feminism was growing louder every day, and the LGBT community was constantly raising rainbow flags for parades.

All of this would have a profound impact on Hollywood’s film production and market response.

In October, another large-scale LGBT parade erupted in the Hollywood area to show support for the Canadian community’s fight for the right to legal marriage this year.

In Los Angeles, this was already the fifth time this year.

Last year, Massachusetts became the first state in the United States to recognize same-sex marriage as legal, and more states were seeking the same.

California appeared open but faced significant resistance.

This was why Los Angeles frequently saw large-scale LGBT parades.

“Equality will be a theme that never goes out of style in American society for the next decade or more.”

Standing by the office window, Ronan looked at the rainbow flags flying outside Relativity Tower and said, “Films related to this will also become popular.”

Jessica Fielding, holding a cup of coffee, stood beside Ronan, also looking outside. “So, you specifically chose this time to produce Brokeback Mountain.”

Ronan smiled and said, “It aligns with social trends.”

Today’s large parade saw thousands of LGBT individuals march from North Hollywood through the entire Hollywood area, finally reaching Beverly Hills’ Century City.

Jessica Fielding said, “I heard that many Hollywood stars who support the LGBT community also participated in the parade.”

Ronan was quite certain. “As far as I know, Charlize Theron and Sophia Loren were there, right in front of the Academy. The organizers of this event were there too.”

“They’re very smart.” Jessica Fielding immediately understood the implications. “Hollywood has always liked to be at the forefront of such things. The promotional effect of films and television is enormous.”

She looked at Ronan. “If Brokeback Mountain wins awards, Relativity Entertainment will be ahead of everyone in Hollywood.”

Ronan said, “Just a step ahead.”

Jessica Fielding suddenly asked, “Ronan, do you support them?”

If anyone else had asked this question, Ronan wouldn’t have answered, but Jessica Fielding, like Robert Li and George Clinton, was someone he could trust.

And this was his office; the words wouldn’t spread outside.

“I wouldn’t say I support them.” Ronan was honest. “I don’t oppose, I don’t support, I let nature take its course.”

He turned to ask Jessica Fielding, “What about you? As far as I know, you’ve never had a boyfriend.”

“I…” Jessica Fielding was puzzled.

Ronan joked, “You won’t one day raise a rainbow flag, will you?”

“No.” Jessica Fielding was straightforward. “Absolutely not.”

She picked up her coffee cup and took a sip. “My view on this group is the same as yours—neither support nor opposition.”

Ronan said, “I’ve had people investigate. When the New Year comes, they’ll hold another massive parade. Brokeback Mountain will be released in North America before that.”

Jessica Fielding smiled. “You’re the best at utilizing social trends.”

Ronan smiled. “Such good conditions can’t be wasted.”

“This Hairspray is also utilizing the social trend of anti-discrimination and equality.” Jessica Fielding said, “Do you want this musical to aim for the Oscars?”

Ronan shook his head. “Not decided yet. Let’s see after the film is made.” He thought for a moment and added, “Jesse, John Waters is serving as both director and producer for this project, but the lead producer position can’t go to him. Can you oversee it?”

Jessica Fielding nodded. “The filming of Juno is going smoothly, and I’m not too busy. I can handle the preliminary preparations, but the final review will still need to be done by you.”

Ronan said, “Alright. Go see John Waters when you return to Shai Entertainment.”

“It’s about time. I’ll head back.” Jessica Fielding picked up her coffee cup, took a sip, and turned around.

This simple action, which most people could do effortlessly, caused her ample chest to sway suddenly, making Jessica Fielding’s hand shake. Coffee inevitably spilled from the raised cup.

Due to the prominence of her chest, the coffee was blocked, and the brown liquid fell onto Jessica Fielding’s white blouse.

Ronan quickly took the coffee cup from her hand. Since the position was too sensitive, he couldn’t touch it and could only ask, “Are you okay?”

“I’m fine.” Jessica Fielding looked annoyed. “It’s been a long time since this happened.”

Ronan tested the cup’s temperature and said, “At least it’s not hot.”

He quickly went to the desk, pulled out some tissues, and handed them to Jessica Fielding. She took them and gently wiped her blouse, but the stain on the white fabric was too obvious.

Jessica Fielding gave up wiping. “I’ll go change.”

Ronan pointed and asked, “Are you sure? Should I have Connie buy you a new one?”

“No need.” Jessica Fielding waved her hand. “I’m used to this. If people see, they see.”

Ronan couldn’t say more and escorted Jessica Fielding out of the office.

Jessica Fielding didn’t seem to care much. She walked confidently through the corridor and into the elevator.

Ronan shook his head, gave Connie a quick instruction, and went to a lower floor to discuss the awards season and Oscar PR with Ang Lee.

Chapter 888: A Long Road Ahead

The office floor of Relativity Tower dedicated to production had always housed a private office for Ang Lee. Since returning from the Toronto International Film Festival, Ang Lee had been coming to Relativity Tower two to three times a week, meeting with Embassy Pictures’ professionals to discuss the progress of their promotional and PR efforts.

Over the years, his collaboration with Relativity Entertainment—especially the Oscar victory of Crouching Tiger, Hidden Dragon—had given Ang Lee a profound understanding: PR was not just for awards season. Years of sustained PR work were an investment.

The promotional campaign for Crouching Tiger, Hidden Dragon had lasted over seven months. Perhaps due to his unique educational background and deep understanding of Western society, unlike other directors from the same cultural background who often scrambled at the last minute, Ang Lee had, from the very beginning, focused on building relationships with distributors and media outlets worldwide, maintaining continuous engagement.

He had always believed that the connections he cultivated would become crucial support in the future.

And indeed, they had. Brokeback Mountain was a sensitive subject, sparking endless media debates, yet supportive voices never ceased.

This support came not only from the film itself and the backing of Relativity Entertainment but also from Ang Lee’s own efforts.

From The Wedding Banquet, which had truly broken him into North America, Ang Lee had set his sights on that golden statuette—the prestigious Best Director award.

But he also understood that winning required more than just his own efforts; he needed the right partners.

Ronan Anderson and Relativity Entertainment had provided immense support, and Ang Lee had repaid them with high-quality films.

Embassy Pictures had allocated eight million dollars for the awards season PR, and with previous expenditures, including those at the Venice Film Festival, the total budget for awards promotion had reached twelve million dollars.

Now, with the LGBT rights movement gaining momentum across America, Ang Lee was certain that Brokeback Mountain was his next assault on Hollywood’s pinnacle.

To secure a win at next year’s Oscars, the renowned director had spared no effort. From Asia to Europe to the Americas, from Cannes to Venice to Toronto, he had introduced every detail of the film to media outlets worldwide, aiming to build unstoppable momentum.

He knew that while the Academy’s voters were concentrated in North America, they were spread across the globe.

And the votes of these overseas members carried the same weight as those in North America.

In North America, Embassy Pictures’ PR campaign was already in full swing.

Since Brokeback Mountain won the Golden Lion at Venice, Embassy Pictures had assembled three highly specialized PR teams to strategize.

After several Oscar campaigns, Relativity Entertainment had rapidly developed a team dedicated to awards season operations.

One team handled media relations, another focused on New York, where voters were concentrated, and the third managed PR in Los Angeles, adjusting strategies based on time and region.

“I had lunch with Todd Mumford, the vice chairman of the Directors Guild, today,” Ang Lee said to Ronan, who had just arrived in the office. “He attended a screening of Brokeback Mountain at the Toronto International Film Festival and spoke highly of it.”

Ronan nodded slightly. “The opinions of industry leaders are crucial—they can influence many people. You should pay special attention to them.”

Ang Lee replied earnestly, “My schedule for the next three months is packed. I don’t know how many lunches and dinners like this I’ll have to attend.”

Ronan couldn’t help but smile. “Lee, I know these meals are tough, but if you want to win, you’ll have to endure at least twenty of them. There’s no other way.”

Ang Lee understood that art was never the sole criterion for the Oscars. Luck, reputation, PR—all these factors could sway the final outcome.

“No matter how difficult,” Ang Lee said firmly, “I’ll see it through.”

As the film’s director and producer, the awards campaign wasn’t just about him—it involved the production company, the distributors, the core creative team, and every crew member.

The road ahead was long and arduous.

No matter how unpalatable the meals, he had to eat them. He had to build relationships with the Actors Guild, the Directors Guild, and the Film Critics Association. He had to be careful with his words and take it step by step to reach the Oscars.

Ang Lee recalled a piece of news he had heard: “I’ve heard that George Clooney’s Good Night, and Good Luck will invest over eight million dollars in its awards campaign.”

Ronan responded directly, “George Clooney’s reputation as a director doesn’t compare to yours, and Relativity isn’t short on funds.”

Embassy Pictures’ promotional offensive would soon begin—inviting Academy voters to private screenings with the cast, purchasing ad space, and hosting various parties. These were all standard promotional tactics.

But because this film was Brokeback Mountain, Ronan had specifically instructed Embassy Pictures to prepare for a highly professionalized internet water army, ready to deploy at any moment.

Ever since Harvey Weinstein hired professionals to denigrate Saving Private Ryan, Oscar PR had evolved beyond self-promotion to include suppressing strong competitors.

Back when major studios spent only two million dollars on Oscar PR for a film, Miramax was willing to spend five million.

Harvey Weinstein certainly had his unique methods, but one could never underestimate the power of money in the Oscars.

By 2010, the PR budgets for major Oscar contenders would typically reach twenty million dollars.

This had even spawned an entire industry. Now, there were marketing firms specializing in Oscar campaigns. Such practices were common in North America—large companies like Relativity Entertainment even employed lobbyists to advocate in the Senate and House of Representatives, spending considerable sums on PR, all within legal bounds.

Ang Lee said, “When it comes to filmmaking, I’m confident I can hold my own against anyone. And I’m not afraid of PR—I have the social skills to handle it.”

Ronan nodded slightly. Ang Lee’s greatest advantage over other directors from the East wasn’t his directing ability or his fusion of Eastern and Western cultures—it was his proactive integration into Hollywood’s inner circle.

“I’m worried about unexpected events,” Ang Lee said softly. “Like a director falling seriously ill or something similar.”

Ronan replied, “We can only deal with that if it happens.”

After all, the advantage of the dead was something the living could never match.

Even serious illness could earn sympathy points.

Years ago, Elizabeth Taylor had undergone a life-threatening surgery just before the Oscar voting. Though the surgery nearly killed her, she ended up winning Best Actress in a surprise victory.

The defeated Shirley MacLaine later remarked, “I lost to a tracheotomy.”

After chatting for a while, Ronan added, “No matter what happens, Lee, our goal remains the same: Best Director and Best Picture.”

Ang Lee replied, “I understand.”

Ronan then reminded him, “Make sure to communicate with the leads. If possible, they should participate in LGBT marches in Los Angeles.”

“Jake, Anne, and Michelle all attended today,” Ang Lee said, gesturing toward the Academy. “They’re over there.”

After a moment’s thought, he added, “Heath didn’t go. Michelle told me he’s been locked in his hotel room for a long time, preparing for Nolan’s new film.”

Ronan said, “I know about that—The Dark Knight.”

Though Heath Ledger had his flaws, his professionalism was beyond reproach.

To prepare for the role of the Joker, he had begun studying the character’s psychology early on.

A supporting role in name only, the Joker was essentially the protagonist, giving Heath ample room to shine.

With the spotlight firmly on the Joker, Christian Bale’s performance as Batman was significantly constrained.

Most notably, the Joker was written to effortlessly infiltrate high-security locations, omnipresent and omnipotent.

Ronan left Ang Lee’s office and went to the post-production studio on another floor, where he found David Finch.

The meticulous director had finally wrapped filming on Girls and was now deep in post-production.

Ronan specifically discussed House of Cards with David Finch. Shai Entertainment had already completed the scripts for the first season.

This was just the beginning. In the future, streaming media would dominate, and renowned directors would flock to television, seeing it as a better path to financial success.

In this era, established film directors rarely directed TV shows unless driven by personal interest.

David Finch neither refused nor agreed.

“Can Shai Entertainment send me the script first?” he asked, knowing Ronan well enough to understand that if the project wasn’t exceptional, he wouldn’t be offered a substantial fee. “I’ll decide after reading it.”

At David Finch’s level, one couldn’t force the issue. Ronan said, “I’ll have Shai Entertainment send you the script as soon as possible.”

David Finch replied, “Alright.”

Ronan then asked, “When will post-production on this film be completed?”

David Finch considered carefully before answering, “Not before March or April of next year.”

Ronan didn’t comment. A six-month post-production period was standard in the industry, and for a director like David Finch, it was even considered fast.

Not every director worked as quickly as Spielberg.

Taking the opportunity, Ronan reviewed a short clip David Finch had edited. The visual style was unmistakably Finch—dark and brooding.

Rachel McAdams, the female lead, delivered an outstanding performance, likely because the role resonated deeply with her.

This kind of film might not achieve the box office success of a tentpole, but with the right handling, it could still carve out a significant market.

As Ronan was leaving, he ran into Lindsey.

“Do you have a moment?” Lindsey asked. “I was just looking for you.”

Chapter 890: Seeking Help

Away from the standalone house, Dick Cook arrived near the swimming pool and sat down in a chair.

The one who truly managed the club was his wife, who walked over and sat beside him, asking with concern, “How did the talk go?”

Dick Cook picked up the glass of water from the table, took a sip, and shook his head slightly. “Not sure. I was kicked out.”

“Kicked out?” Cook’s wife frowned.

Dick Cook spoke with a hint of helplessness, “You know Michael Eisner’s character all too well.”

His wife fell silent for a long moment before sighing, “This time, he’s in real danger, isn’t he?”

Before her was the person Dick Cook trusted most. “If he weren’t backed into a corner, realizing the situation was dire, would Michael Eisner, given his pride, ever seek out his former subordinate Robert Iger for help?”

No one understood Michael Eisner better than this longtime subordinate.

“You’re right,” his wife agreed after some thought. “Relativity Entertainment is now a Disney shareholder. Will they cooperate with Michael Eisner?”

Dick Cook replied, “It’s difficult, but Michael Eisner must try his best. Most of the shareholders who once supported him now have ambiguous attitudes. They might very well switch to supporting Roy Disney at the shareholders’ meeting or remain neutral. Michael Eisner’s shell company has almost no funds left to continue buying Disney shares. Right now, Roy Disney holds all the advantages…”

His wife said, “Will Michael Eisner step down?”

Dick Cook didn’t answer. Though he didn’t want to admit it, the situation was truly unfavorable.

Still, if the circumstances were at all acceptable, Michael Eisner, with his pride, would never have sought help from his former subordinate Robert Iger.

“What will you do?” his wife suddenly asked.

Dick Cook smiled. “I haven’t decided yet.”

His wife leaned in closer and suddenly said, “You’re Disney’s president. You’ve worked at Disney since 1970—thirty-five years without a single day away. In terms of seniority, ability, and experience, you’re among the best at Disney.”

She glanced at her silent husband and continued, “Even Robert Iger became the Chief Executive Officer of a major entertainment media conglomerate. Why don’t you seek to advance further?”

Dick Cook shook his head. “Do you think I haven’t considered it? You have no idea how difficult that step is.”

“Roy Disney is old, and past events have proven he’s not good at running a company,” his wife suddenly said. “To take down Michael Eisner, Roy Disney needs a new Chief Executive Officer.”

Dick Cook looked at his wife and questioned, “Have you been in contact with Roy Disney?”

His wife quickly waved her hands. “No, you know I would never do something like that behind your back.” She met her husband’s gaze frankly. “I’m just thinking about your future.”

Dick Cook sighed but didn’t respond.

Though he had many grievances and had entertained other thoughts, Dick Cook had never acted on them.

Within Walt Disney, Dick Cook even had the nickname “Disney’s Kindest Man.” Otherwise, he wouldn’t have followed Michael Eisner so loyally all these years.

Michael Eisner had promoted him to the position of group president for good reason.

His wife added, “Think about it. Don’t force yourself. Whatever you decide, I’ll support you.” She sighed. “Without you, this club will have to close.”

Dick Cook remained silent, lost in thoughts of the past thirty-five years.

Starting in 1970, he had worked at Disney, initially as a steam locomotive and monorail operator in the amusement park. Later, he was transferred to the film production department, taking charge of filming and distribution, accumulating rich experience.

This struggle within Walt Disney was unlikely to end peacefully. If Michael Eisner won, it would be manageable. As long as he remained in the positions of Disney chairman and Chief Executive Officer, there would be many ways to deal with Roy Disney’s legal actions.

But what if Michael Eisner lost? What would he use to fight against Roy Disney and the coalition of Disney shareholders?

A thirty-five-year Disney veteran would likely be swept out the door.

But even if he reached out to Roy Disney, would the other side believe him?

…

Inside the white house, Michael Eisner had finished exchanging pleasantries with Robert Iger.

“Bob, when Disney acquired ABC, the first time I saw you, I knew you were talented,” Michael Eisner began reminiscing about their past. “I thought then that you would have a great future, which is why I transferred you from ABC to Disney.”

Robert Iger maintained his kind smile. “I’ve always been grateful to Mr. Eisner.”

Michael Eisner’s long-standing habits were hard to change. His autocratic style at Disney had seeped into his bones. “Among all the people I’ve mentored, you’ve done the best.”

Robert Iger smiled but didn’t think much of it. If Eisner truly appreciated him, why had he been sent to Japan years ago?

Michael Eisner couldn’t see through Robert Iger’s thoughts and continued, “You, Dick, you’re all my old subordinates and old friends. So when something comes up, I always think of you first. I can… rely on you old subordinates and old friends.”

He paused, as if the next words were hard to say, but his current predicament forced him to continue, “I can rely on you old subordinates and old friends.”

Robert Iger knew what Michael Eisner wanted from him. This was one of the many possibilities they had planned for.

Relativity Entertainment had been gradually acquiring Disney shares, becoming a company with relatively high shareholding. This was one of their goals.

Cooperating with Roy Disney in secret to squeeze Michael Eisner’s space was also meant to lead Michael Eisner to this point.

Even if he didn’t come, once things were almost ready, Relativity Entertainment would take the initiative to approach Michael Eisner.

According to their team’s assessment, the likelihood of Michael Eisner seeking out his old subordinate was very high.

After all, it was easier to establish a connection between them.

Today’s meeting was a relatively ideal outcome.

“You need help with something?” Robert Iger seemed very cooperative. His smile remained, but his words were carefully chosen. “I won’t refuse anything I can help with.”

Michael Eisner’s gaze swept over Robert Iger. “It’s not really a difficult matter. Bob, you’ve worked at Disney for many years. You must have heard about my issues with Roy Disney. Now, Roy Disney has not only united many people to sue me in the Delaware Court of Chancery but is also rallying numerous shareholders to challenge me at this year’s Disney shareholders’ meeting and remove me from all my positions.”

He revealed his true purpose. “Relativity Entertainment’s Disney shares seem to have reached three percent?”

“Relativity Entertainment holds some Disney shares,” Robert Iger slowly responded. “I’ve heard about what you mentioned. Recently, Roy Disney has indeed been in contact with Relativity Entertainment.” He explained, “Roy Disney probably wants to seek Relativity Entertainment’s support.”

Michael Eisner raised an eyebrow. “Has Relativity Entertainment made a decision?”

Robert Iger spread his hands. “Roy Disney met with Ronan, not me. I’m not entirely clear on the details.”

Michael Eisner said, “Bob, we’re old friends. I’ve never had any conflicts of interest with Relativity Entertainment. You have to help me with this!”

Even now, Michael Eisner’s words were demands, not requests.

Robert Iger had a strong sense of the bigger picture. Though the words were unpleasant, he didn’t dwell on such minor details. “To be honest, my responsibility is the company’s daily operations. This isn’t within my scope of authority. I basically have no say in it.”

Michael Eisner asked, “Ronan Anderson?”

“Yes, only Ronan can make such decisions for Relativity Entertainment.” Robert Iger was well aware that after a series of plans and Michael Eisner’s refusal to meet with Ronan in the summer, the timing for a face-to-face meeting had ripened. “Mr. Eisner, I am the Chief Executive Officer of Relativity Entertainment. I can’t overstep my authority, nor can I harm Relativity Entertainment’s interests.”

Michael Eisner looked at Robert Iger, at the courteous smile of his former subordinate, knowing it was impossible to ask for private help. He had no choice but to say, “Bob, help me arrange a meeting with Ronan.”

It seemed he would have to speak with Ronan Anderson personally.

That young man was rumored to be very difficult to deal with.

But securing one more supporter could significantly increase his chances of staying at Disney.

He couldn’t just step down in disgrace. Moreover, if he stepped down, he might even face financial ruin.

Robert Iger considered for a few seconds before saying, “I’ll contact Ronan later, but Mr. Eisner, I can’t guarantee Ronan will agree.”

Michael Eisner said, “Give me Ronan’s contact information. After you’ve contacted him, I’ll call him personally.”

Robert Iger found Ronan’s contact information and handed it to Michael Eisner. “I’ll persuade Ronan to meet with you, but I can’t promise anything else.”

“I understand.” Michael Eisner waved his hand. “Bob, that’s all for today.”

Though the tone and attitude were unpleasant, Robert Iger said nothing, got up, and left.

Michael Eisner looked at the phone number in his hand, furrowed his brow slightly, and began to think.

That evening, Ronan received a call from Robert Iger: “Michael Eisner wants to meet with you.”

The two met at the company and talked late into the night.

But Michael Eisner’s call didn’t come until the next day. They agreed to meet three days later.

Ronan and Robert Iger were also prepared.

Chapter 891: Exploiting the Crisis

Chicago. The production of The Dark Knight had officially begun. The dark silhouette of the Bat and the gleaming figure of the Joker were about to stage a battle of souls in this city.

After attending the opening ceremony, Ronan left the set and arrived at a hotel in downtown Chicago.

This was an establishment invested in by Tom Cruise, and it was also the place Ronan had carefully chosen to meet with Michael Eisner.

Entering a reception room, Ronan waited for over ten minutes before Michael Eisner arrived.

“Good morning, Ronan.” Michael Eisner took the initiative to shake Ronan’s hand.

Ronan remained calm and shook his hand in return. “Hello, Michael.”

After inviting Michael Eisner to sit and having Connie bring coffee, the reception room was soon left with just the two of them.

Michael Eisner knew there was no time or capital to waste, so he got straight to the point. “Relativity Entertainment is now a shareholder of Disney, and I am the chairman of the board of directors. In a way, we are on the same side.”

Ronan politely replied, “Relativity Entertainment is just a minor shareholder.”

“Relativity Entertainment is far from a minor shareholder,” Michael Eisner said. “Disney’s shares are dispersed, and anyone holding more than three percent can be considered a major shareholder.”

Unlike his attitude toward his old subordinate, Robert Iger, Michael Eisner treated Ronan with complete respect. He was well aware that Ronan’s status, influence, and the wealth he represented put him on equal footing.

Michael Eisner suddenly changed the subject. “I heard from Bob that you met with Roy Disney recently?”

Ronan nodded slightly. “Once. Roy Disney discussed the shareholders’ meeting at the end of the year with me.” He looked at Michael Eisner, not beating around the bush. “Michael, I heard from Bob about your last meeting. I also have some understanding of Disney.”

Michael Eisner asked, “Did Roy Disney ask for your support?”

Ronan replied, “Roy Disney told me he wants to propose a motion to remove the current chairman and Chief Executive Officer at this year’s shareholders’ meeting. He hopes I will support him.”

Hearing this, Michael Eisner showed no surprise. “Roy Disney is playing with Disney’s future.”

Ronan looked at Michael Eisner without saying a word.

Michael Eisner couldn’t avoid the key issue—this was the purpose of meeting Ronan. He slowly asked, “You… didn’t agree to Roy Disney’s request, did you?”

Ronan didn’t answer directly. “Relativity Entertainment doesn’t want to get involved in Disney’s internal affairs. We have never interfered in the internal management or disputes of any other company.”

He sighed lightly. “We have been in contact for a while. Originally, we were interested in collaborating on merchandise distribution channels. Relativity Entertainment’s decision to invest in Disney was mine. I thought we could have close cooperation in animated merchandise…”

As Michael Eisner listened, he analyzed the situation. Relativity Entertainment had always focused on its own development and had indeed never interfered in other companies’ internal struggles. Disney’s advantage in animated merchandise distribution was unparalleled worldwide, and Relativity Entertainment had long wanted to cooperate with Disney in this area.

Earlier this year, the two sides had made initial contact, but he hadn’t responded enthusiastically…

Michael Eisner probed, “Ronan, as a shareholder of Disney, you have every reason to participate in Disney’s affairs.”

Ronan smiled somewhat helplessly. “I didn’t expect things between you and Roy Disney to come to this. In my mind, you two have worked together for over twenty years and are old friends. This is ultimately an internal conflict, and you should be able to find common ground and compromise…”

Michael Eisner said, “It’s not that I want it this way—it’s Roy Disney!”

At this point, compromise was impossible.

Ronan knew this, but his words didn’t reflect it. “From an investor’s perspective, to protect Relativity Entertainment’s interests, I suggest you sit down and talk.”

“Absolutely not!” Michael Eisner’s voice was low. “I had someone reach out to Roy Disney. He made it clear that if I want to sit at the negotiating table, I must resign as chairman and Chief Executive Officer of Walt Disney.”

Ronan’s expression gradually turned serious, as if he had realized the severity of the problem.

“For us to establish closer cooperation,” Ronan said slowly, “Relativity Entertainment has invested hundreds of millions of dollars in Disney. A stable and developing Disney is in Relativity Entertainment’s best interest.”

Michael Eisner stated directly, “Unless one of us—me or Roy Disney—completely leaves, Disney will never stabilize.”

He looked at Ronan. “As a shareholder, Ronan, don’t you also have to make a choice?”

Ronan countered, “Are you suggesting I should choose to support you at the shareholders’ meeting?”

Michael Eisner deliberately reminded him, “Don’t forget who made Disney what it is today.”

Ronan didn’t respond, seemingly lost in thought.

“As everyone knows, Roy Disney is not good at management,” Michael Eisner added. “Can he lead Disney to greater development? On the contrary, if it weren’t for Roy Disney, Disney would have already entered a new era under my leadership.”

He looked at Ronan. “As a shareholder of Disney, shouldn’t you choose the leader who is best for the company’s development?”

Ronan sighed softly. “Michael, what you say makes a lot of sense, but Relativity Entertainment… well, how should I put it? We have to consider more than just long-term investment benefits.”

Michael Eisner smiled. “I can guarantee that as long as I remain in my position, Disney’s merchandise channels will be open to Relativity Entertainment. All of Relativity Entertainment’s merchandise will receive the same treatment as Disney’s own products in these channels.”

In Michael Eisner’s view, this condition was already very generous.

Ronan smiled but said, “When we first made contact, we discussed this. The Pirates of the Caribbean content would be licensed to Disney parks, and Relativity Entertainment’s products would enter Disney’s merchandise channels, including Disney Town and Disney’s boutique stores.”

The meaning was clear—this was a deal that had already been agreed upon and couldn’t be used as a condition now.

Michael Eisner’s gaze sharpened, faintly detecting the intent to exploit the situation.

These bastards—none of them were straightforward.

He probed, “Ronan, what do you want? Just say it.”

Ronan still didn’t answer directly. “Relativity Entertainment may only be a minor shareholder, but we don’t want to get involved in Disney’s internal struggles…”

Michael Eisner cursed inwardly. If he still believed such nonsense, he would be a fool!

Ronan continued, “But Relativity Entertainment’s current status, reputation, and influence have some impact on the entire industry. I’m not bragging, am I?”

Michael Eisner couldn’t deny this basic fact. In the past two or three years alone, in terms of film production and distribution, Relativity Entertainment had been one of the most outstanding companies in Hollywood.

“Of course not,” Michael Eisner said, suppressing his displeasure.

“Relativity Entertainment’s choice will influence many shareholders,” Ronan said before Michael Eisner could react. “This is Roy Disney’s view. So, Roy Disney attaches great importance to Relativity Entertainment’s choice…”

Michael Eisner understood. Roy Disney must have made some promises. “It seems Roy is offering some conditions to win Relativity Entertainment’s support.”

Ronan naturally replied, “That’s not incorrect. In addition to full cooperation in merchandise channels, Roy Disney has also promised to help Relativity Entertainment become a member of the MPAA!”

“What?” Michael Eisner was taken aback, thinking to himself, Has Roy Disney gone mad?

“That’s not all,” Ronan continued smoothly. “Roy Disney has also granted Relativity Entertainment the rights to all Disney animated film merchandise and derivatives.”

The situation between Roy Disney and Michael Eisner had reached a point of no return. There was no trust between them. Even if Michael Eisner sought verification, he wouldn’t believe Roy Disney’s words.

In this situation, as long as Ronan’s claims weren’t too outrageous, they held some credibility.

Michael Eisner shook his head. “This is impossible! Absolutely impossible!” He stared intently at Ronan. “Roy Disney would never accept such conditions.”

Ronan spread his hands, appearing open and honest. “Michael, given the current circumstances, do I have any reason to lie?”

Michael Eisner hesitated for a moment. He thought of something—Ronan’s reputation and credibility in Hollywood were excellent. He was widely regarded as one of the most honest and reliable people in the industry.

But this didn’t make him believe those words. Roy Disney was a member of the Disney family, known for his conservatism.

Moreover, Relativity Entertainment, this so-called major shareholder, was not as powerful as it seemed.

No one understood better than Michael Eisner, who had developed Walt Disney Company with his own hands, that after years of financial operations and mergers, Disney’s shares were highly dispersed.

This meant no single entity could dominate, and the biggest beneficiary was him, the so-called professional manager.

“This is unbelievable,” Michael Eisner slowly shook his head, pointing out the crux of the matter. “Roy Disney would never pay such a high price for a little support.”

He bluntly stated, “No one would give up far more than they gain for your support!”

Ronan smiled faintly. “Michael, I represent not just Relativity Entertainment, but an alliance!”

Chapter 892: Verification

Upon hearing Ronan’s last statement, Michael Eisner suddenly had an ominous premonition. Could it be that Disney, beyond himself and Roy Disney, was about to see the emergence of a third-party force?

Ronan and Robert Iger had made ample preparations and thoroughly analyzed Michael Eisner and Roy Disney. At this moment, they could somewhat guess his thoughts. “There’s no need to hide certain things,” Ronan said. “To ensure Relativity Entertainment’s investment interests, I and some investors have already reached an agreement.”

Michael Eisner knew that the investors Ronan mentioned must be Disney’s shareholders. “Who?” he asked.

“Goldman Sachs, Credit Suisse…” Ronan softly listed seven names.

“You’ve united with them?” Michael Eisner couldn’t believe it and felt a pang of distress. “You, a man of industry, have joined forces with those vampires?”

Ronan calmly replied, “It’s just a shared interest.”

Michael Eisner pondered for a moment. If what Ronan said was true, the shares he could directly influence would reach twelve percent.

This was already a formidable force. After all, if half of the shareholders cast a vote of no confidence during the resolution, according to Disney’s procedures, he would have to step down.

Michael Eisner still didn’t believe it. “They invested in Disney, and I was the one who brought them in. I’ve been in contact with them before, and they are more inclined to support Roy Disney.”

“But they also don’t believe Roy Disney can lead Disney out of its current predicament,” Ronan directly quoted Michael Eisner’s words. “However, I convinced them. Because they believe in my vision and ability in this industry, they are willing to follow the footsteps of a winner.”

Michael Eisner suddenly realized that the man before him was not just the boss of Relativity Entertainment but also Hollywood’s most recognized figure in terms of industry vision and ability.

Ronan continued, “If it weren’t for so much support, why would Roy Disney offer such favorable conditions with just Relativity Entertainment’s shares?”

Thinking about the conditions Ronan had mentioned earlier and the current conversation, Michael Eisner felt that this might not be an empty boast.

To secure such a large force’s support, Roy Disney would surely have to pay a certain price.

“You…” Michael Eisner stared at Ronan. “What conditions do you want?”

Ronan waved his hand, appearing particularly open and honest. “Michael, I’m not in a hurry to talk. You can go verify first. These investors were brought in by you, so it won’t be hard for you to contact them.”

Hearing these words, Michael Eisner actually believed them a little more.

Because whether it was true or false, one question would reveal the answer.

Michael Eisner directly said, “Ronan, let’s end it here for today.” He had to verify before deciding what to do next. “Will you be staying in Chicago for now?”

Ronan slightly nodded. “I’ll be in Chicago for the next few days.”

Michael Eisner stood up. “Let’s meet again another day.”

Ronan stood up and shook his hand. “You have my contact information. Feel free to call me anytime.”

Before leaving, Michael Eisner reiterated, “Ronan, Disney ultimately developed under my leadership.”

Ronan didn’t say much and saw Michael Eisner out of the reception room.

Michael Eisner arrived at the underground parking lot, got into his car, and once the car was on the road, he took out his phone, found a few numbers, and started dialing.

Back in the reception room, Ronan stood by the window for a while, then took out his phone and called Robert Iger.

“Is everything alright in New York?” Ronan asked.

“Rest assured,” Robert Iger’s confident voice came through the receiver. “It’s already been coordinated. They only need to verbally appease Michael Eisner without taking any actual action. However, I must remind you that if our plan doesn’t go smoothly, they will deny everything they said and continue with their original plan.”

Ronan said, “Things are going relatively smoothly on my end. Don’t forget, I’ve already found a successor for them, including us.”

Robert Iger said, “They are very satisfied with this.”

“There aren’t many people with money who want to enter Hollywood,” Ronan softly said. “If they miss this opportunity, they can only wait for Disney to slowly appreciate. Who can guarantee that even if Roy Disney wins, he will bring success to Disney?”

This was actually the most hesitant point for some of the neutral shareholders because Roy Disney’s management abilities were indeed mediocre.

Robert Iger said, “Roy Disney has asked to meet me this afternoon.”

Ronan said, “Just keep him occupied for now. We’ve already used him to force Michael Eisner into a position where he has no choice but to make a decision.”

After a few more words, Robert Iger said, “Let’s stay in touch.”

The call ended, and Ronan sat in the reception room, quietly thinking for a long time, especially about risk management.

How could there be no risks in any business investment and operation? Opportunities always come with risks.

What Ronan was considering was, if it really failed, how to wrap things up so that Relativity Entertainment could minimize its losses.

Perhaps he was being overly cautious, considering the consequences of failure before even thinking about success.

What would be the most likely outcome if it failed? Roy Disney would oust Michael Eisner, but because he couldn’t retrieve the movie rights for Pixar’s animated films, Steve Jobs would tear up the agreement. The things they wanted to get from Disney would become illusions, and the funds from the Pacific Investment Foundation, having turned into Disney shares, would all be trapped…

Relativity Entertainment could completely bear such consequences, but the speed of expansion would be greatly delayed.

Moreover, the Disney shares they had obtained might still appreciate in the future.

As noon approached, Ronan finally left the reception room, had lunch at the hotel, and then went to the set.

The production of The Dark Knight had officially begun, and since he was in Chicago, he had to show appropriate attention.

Especially to Christopher Nolan, with whom Ronan had a very harmonious relationship, both in business collaboration and personal friendship.

“It’s my luck to have your and Relativity Entertainment’s strong support.”

On a temporarily closed street, during a long break in the production, Christopher Nolan exchanged a few words with Ronan. “Ronan, without you, I wouldn’t have so much power in the production.”

Ronan smiled and said, “This is what you’ve earned with your ability and commercial success.”

Christopher Nolan suddenly asked, “Will we continue to collaborate?”

Ronan answered without hesitation, “Of course, as long as you’re willing, we can have a long-term collaboration.”

“Between The Dark Knight and the third part, I plan to shoot another movie,” Christopher Nolan simply said. “I currently have a preliminary idea, probably a sci-fi genre, and the investment might be very high.”

Ronan thought of a name and, without showing any reaction, said, “I believe in your ability and strength. Relativity Entertainment and I will support you.”

Unlike other directors, Ronan was very clear that Christopher Nolan had always been a director with very strong commercial attributes.

Christopher Nolan said, “Once my idea is finalized, I’ll have Jonathan write the script first, and I’ll give it to you immediately after it’s completed.”

Ronan slightly nodded. “Alright.” He thought for a moment and still asked, “Can you tell me about your idea?”

Christopher Nolan didn’t hide it and said, “It’s roughly about dreams and theft.”

Ronan instantly understood; it should be the commercial blockbuster Inception.

After chatting for a while, Christopher Nolan went to prepare for the next scene, and Ronan stood in the rest area, silently observing.

The previous Inception was undoubtedly a huge success, with both reputation and box office that could be described as explosive.

He remembered that the male lead was Leonardo DiCaprio.

But Relativity Entertainment had never collaborated with Leonardo, so if Shai Entertainment invested in Inception, they would definitely have to replace the male lead.

Actors, or rather, actors of the same caliber as Leonardo, were easy for Relativity Entertainment to find.

Several yellow school buses entered the set, and Ronan saw Heath Ledger carrying a Joker mask. The Australian actor looked much thinner, and his demeanor had an inexplicable change.

The production had signed strict restrictive clauses with Heath Ledger, so there was no need to worry about him causing trouble during the shoot.

Additionally, following Ronan’s suggestion, the Dark Knight production had hired professional psychological counselors for the main actors.

According to the script, both the Joker and Batman had serious psychological issues.

Ronan didn’t want to see any problems with the actors during the production.

Relatively speaking, Christian Bale had better adjustment abilities, but he had also expressed some dissatisfaction with the role setting early on.

After all, going from the protagonist to essentially a supporting role, even handing over the protagonist’s prestige to another character, would naturally lead to some complaints.

This didn’t bother Ronan, as Christopher Nolan had already convinced Christian Bale.

No matter what, this was ultimately a Batman movie.

The shoot began quickly and proceeded quite smoothly. With the script setting the Joker as overpowered, half of the afternoon passed unnoticed.

Approaching four in the afternoon, Connie received a phone call and then came over to say, “Michael Eisner’s assistant called to schedule a meeting tomorrow morning at the hotel.”

Ronan waved his hand. “Alright.”

Connie went to return the call, and as Ronan was about to leave, Charles Roven, the producer representing Warner Bros, suddenly approached him.

“Do you have time, Ronan,” Charles Roven directly said. “I want to talk to you about the third Batman movie.”

Chapter 893: Warner Bros’ Request

The crew was still filming when Ronan and Charles Roven stepped into a nearby coffee shop, finding a quiet booth.

“The Dark Knight has already begun filming,” Charles Roven began. “If all goes well, the film will be officially released in the summer of 2007. I’ve discussed it in detail with Christopher Nolan—he will only direct the planned Batman trilogy. Once The Dark Knight Rises is complete, he will step away from the series.”

Ronan smiled. “Charles, believe me, what Director Nolan leaves behind for Warner Bros will be an incredibly valuable asset.”

The trilogy was the pinnacle of superhero films in both critical acclaim and commercial success. The humanized Batman, brought down from his pedestal, had earned Warner Bros immense prestige.

But on the other hand, the films’ style had profoundly influenced Warner Bros.

This influence extended beyond Warner Bros itself to the audience. Whenever they saw Batman or any DC superhero adaptation, they inevitably thought of Christopher Nolan’s trilogy and the humanized Batman.

As a result, subsequent Batman films and related projects would inevitably face unfair scrutiny from fans…

No one understood better than Ronan that this trilogy had both elevated and constrained DC’s superhero films.

Charles Roven agreed. “I believe that too. The Batman films have been reborn under your and Christopher Nolan’s hands.”

Ronan looked at Charles Roven, knowing that he hadn’t come just to offer praise.

Sure enough, Charles Roven changed the subject. “Such a masterpiece is rare, so… well, how to put it, Warner Bros wants to keep the Batman trilogy entirely to itself.”

Ronan had a hunch but remained composed. “We already have an agreement, don’t we? Relativity Entertainment only has investment rights and corresponding profit-sharing rights. The copyright for these three films belongs entirely to Warner Bros.”

Charles Roven admitted, “To be honest, many Warner Bros executives have spoken to me. They want the Batman films to become entirely Warner Bros productions.”

Ronan suddenly smiled. “So, you want to kick Relativity Entertainment out?”

“No, no…” Charles Roven quickly explained. “Warner Bros doesn’t mean that. We want to buy out the investment agreement between Warner Bros and Relativity Entertainment regarding the Batman trilogy ahead of time.”

Ronan was firm. “Impossible. The funds for The Dark Knight have already been invested. Relativity Entertainment has made extensive plans for the promotion of The Dark Knight, some of which have even been submitted to Warner Bros. Relativity Entertainment cannot withdraw.”

Charles Roven knew that getting Relativity Entertainment to withdraw from The Dark Knight was impossible. In reality, Kevin Tsujihara hadn’t even discussed The Dark Knight with him.

“This film, The Dark Knight, will still proceed according to the signed agreement,” Charles Roven said. “But Relativity Entertainment will withdraw from the investment and production of the trilogy’s final installment, The Dark Knight Rises.”

Ronan asked, “Warner Bros wants to complete the production independently?”

Charles Roven didn’t deny it. “This is Batman, one of Warner Bros and DC Comics’ biggest brands.”

Ronan sighed. “Charles, I’ve always valued contractual integrity. Breaking a contract midway is something I can’t do…”

Charles Roven interrupted Ronan. “Warner Bros can buy out the remaining contract.”

“This isn’t about paying to buy out,” Ronan shook his head. “Relativity Entertainment dares to invest in such top-tier productions and doesn’t lack the funds.”

Charles Roven understood and asked, “Ronan, what are your conditions?”

Ronan didn’t answer but instead said, “The first film, Batman Begins, had a global box office of six hundred forty million dollars. I won’t go into the details of the other merchandise income. As a sequel, The Dark Knight’s box office will undoubtedly surpass the first, and I estimate it could reach one billion dollars. The third film’s box office will likely exceed the second…”

Charles Roven said, “It could also decline.”

Ronan spread his hands. “Does Warner Bros think it will decline? How about this—we maintain the investment agreement, and Relativity Entertainment sets a guaranteed box office and income. Any excess will belong entirely to Relativity Entertainment…”

“Don’t joke around,” Charles Roven smiled. “Even if I agree, Warner Bros’ board of directors won’t.”

Ronan directly stated, “So, why should Relativity Entertainment give up such a profitable project?”

Charles Roven could only ask again, “Ronan, tell me your conditions.”

The promotion and distribution of The Dark Knight Rises were in Warner Bros’ hands, putting Relativity Entertainment in a relatively passive position. This wasn’t a project they absolutely had to have.

Moreover, Relativity Entertainment was fully engaged in dealing with Disney, and the next phase involved 20th Century Fox. They couldn’t afford to clash with Warner Bros.

Besides, they had already dug a big hole for Warner Bros, and Warner Bros would have to focus more on itself in the future.

But Ronan would never give up easily and had to show a strong stance.

“Taking a step back would cause significant losses for Relativity Entertainment,” Ronan said smoothly. “But considering the long-standing good cooperation between Relativity Entertainment and Warner Bros, and my friendship with Kevin, I can take that step.”

Charles Roven slightly relaxed.

Ronan continued, “Warner Bros doesn’t need to buy out, nor does it need to pay Relativity Entertainment compensation…”

Hearing this, Charles Roven became tense because not asking for money often meant bigger trouble.

As he expected, Ronan calmly said, “I remember that New Line Cinema, a subsidiary of Warner Bros, has completed the integration of the film and television rights for Tolkien’s Lord of the Rings series. How about this—Warner Bros transfers the rights to The Hobbit to Relativity Entertainment.”

Charles Roven had mentally prepared himself but was still shocked by the audacity of the demand. Without thinking, he immediately found an excuse to refuse, “New Line Cinema, although a subsidiary of Warner Bros, operates independently. We have an agreement with Robert Shaye and cannot interfere with New Line Cinema. Warner Bros can’t do this.”

Ronan, of course, didn’t believe this excuse. When New Line Cinema had suffered a major defeat with The Golden Compass, Warner Bros had immediately removed Robert Shaye and brought New Line Cinema completely under its control.

He also knew the likelihood was slim and used this time to think about what Warner Bros would be willing to pay and what they might offer in exchange.

“This puts me in a difficult position,” Ronan said, thinking. “I have to give an account to everyone in the company.”

Charles Roven said, “As a friend, let me say this, Ronan—your conditions must at least be within Warner Bros’ acceptable range.”

Ronan acted as if he was listening to advice. “Alright, let me think.” After a moment, he said, “Warner Bros supports Relativity Entertainment’s entry into the MPAA and also provides fifty million dollars in compensation.”

Charles Roven ignored the latter part. “Entry into the MPAA?”

Ronan said, “It’s just a matter of nodding in agreement. It’s not troublesome for Warner Bros.”

“This is difficult,” Charles Roven said honestly. “Warner Bros won’t agree.”

Ronan spread his hands. “This won’t harm Warner Bros’ interests. Unlike 20th Century Fox and other companies, Relativity Entertainment doesn’t have fundamental conflicts of interest with Warner Bros.”

Charles Roven said, “This isn’t something I can decide.” He reminded, “Both supporting your entry into the MPAA and asking for compensation—your price is too high.”

Ronan thought for a moment, looking very troubled, and after a while, said, “Relativity Entertainment can give up the compensation, but I want the remake rights to several old Warner Bros films.”

Charles Roven’s heart stirred. “Which ones?”

Ronan smiled. “Not very famous, and the investment isn’t high.”

Charles Roven said, “Alright, I can truthfully report this to Warner Bros management. It’s not something I can decide.”

Ronan was very calm. “No rush, we have plenty of time.” He specifically said, “It’s best to wait until after The Dark Knight is released before we formally negotiate.”

Charles Roven understood the implication—once The Dark Knight truly became a box office hit, the conditions might no longer be the same.

Perhaps continuing to cooperate with Relativity Entertainment on The Dark Knight Rises was also an option?

Although he had such thoughts, Charles Roven didn’t have the corresponding authority. This was ultimately a matter for Kevin Tsujihara to decide.

Charles Roven ended the meeting. “I’ll contact you when there’s news from above.”

“Alright,” Ronan wasn’t anxious at all. “My conditions are actually quite simple.”

In reality, from the moment the new Batman trilogy cooperation agreement was signed, the initiative had been in Relativity Entertainment’s hands.

Leaving the outdoor filming location and returning to the hotel, Ronan said to Connie, “Get me a detailed list of Warner Bros’ film library.”

A few months ago, he had considered the matter of It due to his connection with Stephen King.

The film and television adaptation rights for this novel had long been in Warner Bros’ hands and were adapted into a film in the early nineties. Although it wasn’t very successful, generally, companies like Warner Bros wouldn’t easily give up the rights to films in their library.

Connie worked efficiently. After Ronan had dinner, a detailed film list was already placed in the hotel suite’s office.

Ronan easily found the name It and then browsed through some old film titles, finding another familiar name—A Star Is Born!

Then, he circled a few more small-budget film titles that caught his eye and specifically had Connie note them down for future use.

The next day, Ronan didn’t go to the set but waited in the hotel for Michael Eisner to come.

Chapter 894: Step by Step Pressure

In the reception room, Michael Eisner looked at Ronan sitting across from him, unsure of how to begin.

In just one day, he had gathered enough information to understand the situation.

Michael Eisner had confirmed that Ronan Anderson represented not only Relativity Entertainment but also several major Wall Street investment firms.

Some had openly stated that Ronan Anderson was the most successful person in Hollywood at the moment, and investing with him would lead to greater profits.

Michael Eisner had dealt with Wall Street many times and was familiar with their profit-driven nature.

He was also aware of Disney’s situation, but would these investors really have no objections?

Yet, he still had many concerns.

“I’ve looked into it, and what you said is mostly true,” Michael Eisner said, having no better options. “Ronan, I still mean what I said yesterday. Tell me your conditions.”

Ronan calmly replied, “Michael, after thinking it over last night, I believe that establishing a close partnership between Relativity Entertainment and Walt Disney would be beneficial for both of us.”

Michael Eisner wasn’t blind to reality, but years of being in a position of power and making unilateral decisions made it difficult for him to back down. He had become more restrained and said, “I agree with your point.”

He knew he didn’t have the upper hand, and empty words wouldn’t be persuasive. He decided to make a concession: “At the shareholders’ meeting at the end of the year, you and your alliance will fully support me. Disney will help Relativity Entertainment enter the MPAA, and all merchandise sales channels will be fully opened to Relativity Entertainment’s products.”

Ronan didn’t respond to Michael Eisner’s offer but instead said, “You need to stay in your position at Disney for these things to truly happen.”

Michael Eisner was trying to gain the upper hand: “So, you must support me.”

Ronan asked, “Is the Disney board of directors still under your control?”

“Of course!” Michael Eisner was very confident about this. “I’ve been at Disney for over twenty years. The board may have a few people who oppose me, but overall, my decisions can pass through the board.”

Ronan believed this. If the Disney board could have resolved Michael Eisner’s issue, Roy Disney wouldn’t have chosen the shareholders’ meeting.

Last year, Roy Disney had even been forced out of the Disney board by Michael Eisner.

Ronan continued, “In other words, normal business operations and transactions can be resolved within the scope of Disney’s procedures.”

Michael Eisner didn’t quite understand Ronan’s meaning and thought carefully for a moment before saying, “I won’t let another incident like Michael Ovitz happen.”

As long as the procedures were correct, there would be no legal issues.

The lawsuit in the Delaware Court of Chancery had also taught Michael Eisner a lesson.

Ronan asked again, “Michael, have you considered whether the supporters you’ve secured, along with the alliance behind me, can ensure you won’t be ousted at the shareholders’ meeting?”

Michael Eisner wanted to say yes, but after thinking carefully, he said, “The chances are high.”

Ronan, however, was merciless: “From what I know, both you and Roy Disney have only a minority of supporters among the shareholders. Most shareholders will support whoever can bring them profits.”

Michael Eisner said again, “I’m the one who developed Disney into the entertainment media conglomerate it is today.”

Hearing this self-indulgent remark, Ronan could only sigh inwardly. Over time, the once ambitious Michael Eisner had completely changed.

“From what I understand, many neutral shareholders are choosing to support Roy Disney,” Ronan continued, shattering Michael Eisner’s illusions. “Not you, the current chairman.”

He raised his hand to stop Michael Eisner from speaking: “Strictly speaking, I am also a neutral shareholder of Disney. I understand their thoughts.”

Michael Eisner was somewhat displeased and asked, “Then why don’t you support Roy Disney?”

Ronan raised two fingers: “Two reasons.” He listed them one by one: “First, Bob asked me to support you out of old friendship. Second, Relativity Entertainment wants to secure more benefits.”

Hearing the second point, Michael Eisner immediately realized that the conditions he had just offered might not satisfy Ronan Anderson and Relativity Entertainment.

Michael Eisner looked at Ronan and said, “What do you want?”

“Relativity Entertainment and Disney will collaborate,” Ronan’s answer was ambiguous. “We will fully boost Disney’s stock price, expand Disney’s new business, and let everyone see that Disney’s situation is rapidly improving and will soon turn around. If this can be achieved, how many neutral shareholders will support Roy Disney?”

He emphasized, “Roy Disney is only uniting people to oust you and has no plans for the future.”

Michael Eisner stared at Ronan, unable to understand this young man, but responded, “Whoever can bring profits will be supported by the neutral shareholders.”

Ronan said, “So, the key issue is here.”

“Do you have a solution?” Michael Eisner asked doubtfully.

Ronan gradually revealed his intentions: “I am confident that Roy Disney will not win at the shareholders’ meeting.”

Michael Eisner didn’t ask for specific methods but was full of vigilance: “Tell me, Ronan, what do you want?”

No matter how proud and confident Michael Eisner was, he knew that it would ultimately come down to an exchange of interests.

“Actually, I don’t want much, besides what you mentioned, there aren’t many things,” Ronan, of course, wanted to ask for a high price first, so he could negotiate later: “I heard that ESPN’s performance has declined significantly this year. Why not sell it to Relativity Entertainment? Also, all the copyrights to Disney’s animated films, including those from Pixar.”

Michael Eisner seemed like a cat whose tail had been stepped on, suddenly standing up: “This is absolutely impossible!”

Without the support of Relativity Entertainment and Ronan Anderson, he might be ousted at the shareholders’ meeting, but agreeing to such conditions would immediately get him removed by the board.

ESPN was the only profitable TV station under Walt Disney.

Those animated features were the foundation of Disney’s identity!

Michael Eisner firmly said, “Ronan, if these are your conditions, there’s no need for further discussion.”

Ronan slowly said, “If you lose at the shareholders’ meeting, will resigning solve the problem? Will Roy Disney let you off? Is there any room for reconciliation between you?”

Michael Eisner slightly closed his eyes. At this point in the negotiations, he could see that Ronan Anderson had been prepared since meeting Robert Iger.

How to make Relativity Entertainment profit from Disney!

These conditions were extremely excessive, and Michael Eisner couldn’t agree, but he was also thinking about his own way out.

After years of planning and utilizing various situations, Ronan pressed step by step: “Losing the position of Disney chairman and Chief Executive Officer, losing the support of the Disney board and management, what will be the outcome of the lawsuit in the Delaware Court of Chancery? If you lose, how will you pay the compensation of over two hundred million dollars?”

Michael Eisner slowly sat down. If these became reality, with Roy Disney pursuing him relentlessly, he would likely end up in bankruptcy.

Ronan continued, “On the other hand, if you can show the shareholders hope and quick profits, will they continue to bite you?”

Michael Eisner’s heart sank, but he still had his bottom line. He mustered all his courage and said, “Even if I go bankrupt, I can’t agree to your conditions.”

Even if he agreed, it wouldn’t pass the board!

Ronan nodded and suddenly said, “I demand that Disney return all the copyrights of Pixar’s animated films to Pixar.”

Michael Eisner looked up at Ronan, understanding that this was a negotiation: “This seems unrelated to the shareholders’ meeting, doesn’t it?”

Ronan calmly said, “Steve Jobs will assist you, announcing to the public that Pixar will continue to collaborate with Disney… Well, my suggestion is that Disney announces the acquisition of Pixar, releasing the news that the Pixar executives, led by Ed Catmull and John Lasseter, will fully take over Disney Animation Studio.”

Michael Eisner asked, “Will Pixar join Relativity Entertainment?”

Ronan didn’t deny it: “In the eyes of the public, Pixar is about to become part of Disney, and the revival of Disney animation is imminent.”

Michael Eisner asked, “Is there anything else?”

Ronan said, “Relativity Entertainment and Walt Disney will establish a strategic partnership. We can negotiate many licenses, such as ‘Pirates of the Caribbean,’ Peppa Pig, and the Minions. These can all send signals to the outside world.”

“This isn’t enough,” Michael Eisner shook his head.

Ronan continued, “Relativity Entertainment and Walt Disney will negotiate collaborations on live-action films, involving up to twenty films, with me personally serving as the producer. Correspondingly, Disney Animation Studio will grant licenses to Relativity…”

Michael Eisner said, “Disney’s animated films are not up for discussion!”

Ronan said, “I don’t want the animated films? You give Relativity Entertainment the corresponding live-action film licenses, including the use of music and songs, and then we announce to the public that we are collaborating on live-action films.”

“We can collaborate on this!” Michael Eisner knew that live-action films were not sensitive.

Ronan said, “Relativity Entertainment wants licenses. As for collaboration, of course, like the previous ones, it’s for the public and shareholders to see.”

Compared to the initial conditions, these did not cross Michael Eisner’s bottom line. Michael Eisner also weighed the feasibility.

If these businesses were announced, some of Disney’s shareholders would definitely waver.

The two talked for an entire day, covering more content. For the sake of his position and his own safety, Michael Eisner left feeling much more at ease.

Chapter 895: Good News

California, Emeryville, outside the Pixar Industrial Park.

Many well-informed entertainment and business media reporters had arrived early at the Pixar Industrial Park, patiently awaiting the rumored big shot.

A reporter who arrived late hurriedly asked a colleague after getting out of the car: “Is the news true? Did Michael Eisner really come to Pixar?”

“Of course it’s true,” the responding reporter said solemnly. “I saw Michael Eisner enter Pixar with my own eyes this morning.”

Someone interjected: “If the rumors are true and Walt Disney acquires Pixar, the landscape of Hollywood will change again.”

The latecomer added: “This might be the beginning of Disney animation’s revival.”

The group discussed various possibilities, but everyone understood that if Walt Disney could acquire Pixar, the struggling Disney might see a new turn of events.

After waiting nearly two hours, just as the reporters were growing impatient, a black sedan pulled up at the industrial park entrance.

Inside the park, an electric car slowly approached.

A sharp-eyed reporter immediately spotted the person in the electric car and said: “He’s out! Michael Eisner is out!”

Others saw him too and quickly surrounded him, blocking the entrance to the Pixar Industrial Park.

Although security personnel at the entrance were doing their best to maintain order, the moment Michael Eisner appeared, dozens of reporters swarmed around him.

Michael Eisner did not immediately get into the car. With the assistance of his entourage, he briefly accepted an interview.

“Mr. Eisner, there are reports that your visit to Pixar is to discuss Disney’s acquisition of Pixar with Steve Jobs. Is this true?” the reporter at the front asked hurriedly.

Michael Eisner pressed his hands down, exuding confidence, and the scene quickly quieted. He smiled and said: “It’s true. I represent the Walt Disney Company and have formally extended an acquisition offer to Pixar today.”

The scene immediately erupted in excitement. Rumors were one thing, but hearing it from Michael Eisner’s mouth was entirely different.

Another reporter asked: “But there has always been conflict between Disney and Pixar…”

“Disney and Pixar, and Steve and I, don’t have significant conflicts,” Michael Eisner denied, speaking eloquently. “In fact, since the first half of this year, Steve and I have met several times to discuss Disney’s full acquisition of Pixar. After a long effort, both sides have basically reached an agreement.”

As he spoke, Michael Eisner recalled the meeting he called after returning from Chicago, gathering the board members who supported him. The acquisition of Pixar and the cooperation talks with Relativity Entertainment immediately received their full support.

This also gave them hope.

If Michael Eisner were to lose, Roy Disney would surely settle scores with them.

Moreover, the Shareholders United, led by Roy Disney, was not only suing Michael Eisner in the Delaware Court of Chancery but also the Walt Disney board of directors.

“Mr. Eisner!” another reporter asked. “Why does Disney want to acquire Pixar?”

Michael Eisner said: “Pixar is undoubtedly the leader in Hollywood animation production today. With ten years of cooperation with Disney, both sides know each other well and are willing to deepen their cooperation based on previous foundations. Disney also needs Pixar to revive its animation glory.”

These reasons were compelling. Disney animation had declined, and acquiring Pixar was undoubtedly a shortcut to revival.

After answering a few more questions, Michael Eisner got into the car and left the Pixar Industrial Park.

Led by Netflix sharing, online media published related news within ten minutes, and the video of Michael Eisner’s interview appeared prominently on Netflix Video.

That afternoon, Steve Jobs also accepted an interview from reporters as he left the Pixar Industrial Park.

“Pixar has, in principle, accepted Disney’s acquisition offer,” Steve Jobs said calmly. “We are a content producer. To develop further, we need sufficiently broad marketing channels. In terms of animation production, no company in Hollywood can compare to Disney.”

These words were very persuasive because everyone knew that Disney had the best animation distribution and sales channels.

Steve Jobs also answered a few key questions from the media reporters: “Disney needs Pixar’s production, and Pixar needs Disney’s channels. The two companies are joining forces. Starting next week, Pixar will formally begin negotiations with Disney on the acquisition. This process may take several months or even half a year, but I believe this is the right decision.”

The Walt Disney Company smoothly passed this transaction through the board of directors’ approval. Some within Disney were thinking further ahead, such as having Pixar assist in rebuilding the Disney Animation Studio.

Some even suggested that John Lasseter take on the role of overall animation production supervisor for Disney.

Both Pixar and Walt Disney moved quickly, and their negotiation teams were swiftly assembled to begin formal acquisition talks.

Meanwhile, under Michael Eisner’s full promotion, Pixar successfully reclaimed the copyrights to its related works.

Influenced by this good news from Pixar, the investment market somewhat restored its confidence in Walt Disney. Many believed that with Pixar’s joining, Walt Disney would surely revive its foundational animated film business.

The Disney stock price, which had been slowly rising due to Roy Disney and Michael Eisner’s acquisition, reacted very quickly, immediately rising. Within a short week, the total increase approached five percent.

The originally pessimistic faction of Michael Eisner suddenly felt that Walt Disney’s future would still be in their control.

Michael Eisner’s voice among Disney shareholders grew louder again.

“I know what has happened recently, but everyone has misunderstood me, thinking that I have done nothing these past few years, causing Disney’s development to stagnate.”

At a cocktail party attended by several Disney shareholders, Michael Eisner spoke confidently: “But many things are more important to do than to say! I am not like Roy Disney, who always talks big. I, Michael Eisner, am a man of action! Roy Disney has been running his mouth this past year, thinking about seizing power! But I have been working hard for Disney’s future. I have done a lot of work, and you will see it soon!”

With the background of Disney and Pixar’s negotiations, Michael Eisner’s image in the eyes of shareholders was subtly changing. It seemed that the arrogant man they had previously criticized had become the helmsman of Disney in the eighties and nineties again.

Frankly, a significant number of shareholders cared less about who sat in the chairman and Chief Executive Officer positions and more about investment returns and the value of their stocks.

At the end of October, the traditional Halloween season arrived, and Relativity Entertainment’s “The Purge 4” was another huge success, continuing to showcase its production prowess.

Just entering November, Chris Renaud, the director and producer from Shai Entertainment Animation Studio, officially revealed in an interview with The Hollywood Reporter that Peppa Pig, the studio’s flagship animated character, had brought in a staggering total of over one billion dollars in revenue for Relativity Entertainment in just a few years since its creation.

Over the years, the pink pig had been the hottest children’s animated character in the English-speaking market, without a doubt!

Chris Renaud believed that if Relativity Entertainment were not a new company with many deficiencies in animation merchandise marketing channels, this sales figure would have seen a massive increase! To further expand the market, Relativity Entertainment was in talks with Walt Disney about cooperating to develop Peppa Pig.

As everyone knew, Disney’s animation marketing and promotion channels were second to none.

This good news was quickly confirmed by media reporters at Disney!

Michael Eisner claimed that Disney would fully cooperate with Relativity Entertainment next year, and both sides were currently in negotiations.

Just three days later, Relativity Entertainment and Walt Disney held a joint press conference. Michael Eisner and Robert Iger, representing their respective companies, formally signed the licensing contract for “Pirates of the Caribbean.”

Relativity Entertainment, through upfront fees plus backend shares, formally licensed Disneyland to use any content or characters related to the movie in its themed entertainment projects…

Additionally, Robert Iger also revealed several ongoing cooperation talks with Disney.

Since this contract had been signed, the credibility of the cooperation negotiations between Relativity Entertainment and Disney had greatly increased.

Robert Iger mainly announced three aspects: Relativity Entertainment would jointly develop Minions and Peppa Pig merchandise with Disney, and both sides had initiated preliminary negotiations; Walt Disney would license the live-action film production rights for Disney animated features to Relativity Entertainment, and both sides would jointly develop this series, with top producer Ronan Anderson personally overseeing it, and the total number of future cooperative live-action films could exceed twenty; Walt Disney would dispatch personnel to participate in the filming and production of Relativity Entertainment’s fairy tale movie “Alice in Wonderland” to lay the foundation for the next step of cooperation between the two parties.

All this news was confirmed by Michael Eisner.

Disney and Relativity Entertainment’s negotiation teams were also being assembled, and some personnel had already made initial contact.

Under a series of good news, Walt Disney was highly anticipated. This long-declining old company seemed about to be reborn.

Facing the aggressive Roy Disney and the lawsuit that would surely be lost if not fully defended, Michael Eisner, while ensuring a certain bottom line, also showed sufficient determination.

Chapter 896: Change

In a luxurious apartment in Manhattan’s Upper East Side, Lanley made a special visit to Lloyd Blankfein.

“How do you see Disney’s current situation?” Lanley asked.

Lloyd Blankfein replied, “Ronan Anderson is still the same Ronan Anderson—first using Roy Disney to push Michael Eisner into a corner, then collaborating with Michael Eisner. The two are like water and fire, completely unable to communicate…”

Lanley chuckled, “Simple and direct, yet highly effective.”

Lloyd Blankfein sighed, “Ronan shouldn’t have gone to Hollywood. Wall Street is where he truly belongs.”

“A perfect persona with a completely opposite inner self,” Lanley remarked naturally. “We must be cautious around him to avoid being tricked.”

Lloyd Blankfein remained composed, “He’s also wary of us. This is just the usual dynamic between capital and corporations.”

Unspoken was the fact that the major firms on Wall Street were equally guarded against each other. The infighting within Wall Street was often brutal.

Gazing at the ocean view outside the window, Lanley said, “Regardless, Ronan Anderson has achieved the desired effect. In less than half a month, Disney’s stock price has risen by over ten percent and continues to climb.”

Lloyd Blankfein nodded, “At least regarding Disney, our interests align with Ronan Anderson’s.” He then asked, “What do you plan to do?”

“Just make a few statements, say a few words,” Lanley replied, clearly in high spirits. “No need to invest real resources, yet we could gain hundreds of millions in profit. Why not?”

Lloyd Blankfein slowly nodded, “I share your view. Ronan Anderson has done most of the groundwork. We just need to cheer him on.”

Lanley added, “Strictly speaking, this is also a way to revitalize an otherwise unsuccessful investment.”

“Don’t forget, Ronan has already lined up potential successors,” Lloyd Blankfein said. “Wall Street is crowded. It’s best for those below to stay below.”

Lanley laughed, “I completely agree.”

The positive news about Disney seemed to explode in November.

Relativity Entertainment’s film collaborations were seen as effectively addressing Disney’s weaker live-action film business, while the acquisition of Pixar was considered the key to reviving Disney Animation.

Like professional film critics, North America had no shortage of analysts and experts who prioritized money over integrity. Media outlets were filled with news and commentary about Disney’s imminent recovery from its slump.

Wall Street was not to be outdone. Several top investment firms and market forecasting agencies expressed strong optimism about Disney’s future prospects.

Even Goldman Sachs hinted at the possibility of increasing its stake in Disney.

Then, insiders leaked to the media and online that John Lasseter and Ed Catmull, the pillars of Pixar, were already in negotiations with Walt Disney regarding their personal compensation packages.

The negotiations between Walt Disney and Relativity Entertainment were progressing smoothly. After Relativity secured the rights to Pirates of the Caribbean, Disney Animation Studio also signed a formal agreement with Shai Entertainment, granting them the rights to produce live-action adaptations of all their animated features and related copyrights.

Disney did not place as much importance on the live-action rights to their animated films as they did on the original animations.

Obtaining the rights to Disney’s classic animated features was like taking Disney’s life—even under Michael Eisner’s control, the board of directors could not approve such a move.

But the live-action film rights were a different matter. In the eyes of most Disney executives, as long as the conditions were right, licensing was not out of the question.

Many even believed that trading these rights for Relativity’s cooperation in live-action films was a highly profitable deal.

The public viewed this as the beginning of a strategic partnership between Relativity Entertainment and Disney. However, like the Pirates of the Caribbean licensing agreement, the specific terms of this contract remained confidential as a trade secret.

In reality, with Michael Eisner, the chairman and Chief Executive Officer, pushing full steam ahead, Relativity Entertainment secured the live-action adaptation rights Ronan had long coveted. This included not only the right to produce live-action films but also the use of all original characters for promotional marketing, as well as the automatic right to use or adapt original songs and voice acting.

Given the broad freedom of the licensing agreement and its adherence to Disney’s formal procedures, legal and industry standards, it would pose no problem for Relativity to eventually cut ties with Walt Disney and independently invest in productions.

Faced with the choice between immediate demise and continuing in a role that, while not ideal, was within psychological limits, Michael Eisner chose the latter.

The consequences of the former were too severe for anyone to bear.

As everyone knew, the stock market was a peculiar place where some could sell concepts worth billions, while others used false technologies to become famous American billionaire beauties.

All the positive news was reflected in the stock market.

Disney’s once stagnant stock gradually regained its vitality. By mid-November, its activity had returned to levels reminiscent of the mid-1990s.

Relativity Entertainment no longer needed to do much. Seeing the potential for profit, major investors were not about to miss such an opportunity.

But Ronan was well aware of the dangers of financial addiction. He drew a line—before crossing it, Relativity Entertainment had to exit.

In Century City, at the top floor of Relativity Tower, in Ronan’s private reception room, the aging Roy Disney glared at Ronan, his voice icy. “Is this your idea of integrity? Ronan Anderson, what are you trying to do!”

Ronan replied, “The collaboration between Relativity Entertainment and Disney is a win-win situation. What’s the problem with that?”

Roy Disney’s eyes burned with fury as he stared at Ronan. “You said you wouldn’t support Michael Eisner!”

Ronan spread his hands, as calm and honest as ever. “I never said I would support Michael Eisner at the shareholders’ meeting.”

“At this point, do you really need to deny it?” Roy Disney roared. “This is outright betrayal!”

Ronan stated directly, “I have no need to deny anything.”

Even someone as good-natured as Roy Disney could not contain his anger. “Relativity Entertainment’s actions are clearly in support of Michael Eisner!”

Ronan shook his head. “This is a normal business collaboration, benefiting both Relativity Entertainment and Walt Disney. Roy, don’t you want to see Disney benefit?”

Roy Disney was furious. “Michael Eisner is selling out Disney’s interests! Your schemes won’t succeed. I will publicly denounce you in the media!”

Ronan sighed. “I have a clear conscience.”

Of course, his conscience only considered the interests of Relativity Entertainment, so he naturally felt no guilt.

Roy Disney left Relativity Tower in a rage and immediately used the media outlets that supported him to publish a series of statements against Ronan and Michael Eisner.

But to Disney’s management, few cared about Roy Disney’s words because they were already on opposing sides.

Roy Disney’s influence in the media was actually quite limited. He had been away from the front lines for far too long.

Disney’s shareholders, rather than supporting Roy Disney or the Disney family, were more dissatisfied with Michael Eisner’s recent performance.

In truth, after Frank Wells’ plane crash in 1994, Michael Eisner had become Disney’s dictator, but at the time, almost no one opposed him.

Because Michael Eisner brought enormous profits, allowing shareholders’ investments to continuously appreciate.

The intermediate shareholders, who held the most Disney shares, also significantly changed their attitudes toward Roy Disney and Michael Eisner.

The steadily rising Disney stock price delighted the shareholders.

In Burbank, at the Walt Disney headquarters, Mario Brady, a famous investor from Sacramento, visited Michael Eisner’s office under the pretense of seeing an old friend.

“Last time, we were misled by Roy Disney,” Mario Brady said without a hint of embarrassment, smiling. “Roy Disney blinded us, preventing us from seeing the truth. Fortunately, we came to our senses in time…”

Michael Eisner wanted to slap this man across the face but, considering the upcoming shareholders’ meeting, suppressed his anger, waved his hand, and said, “Mario, we are old friends and partners. I always believed you would return to the right path and continue to support me.”

“Of course!” Mario Brady’s attitude was very clear. “My investment partners and I have always been your supporters. You can rest assured about that.”

Michael Eisner knew this was a critical time. “I will ensure the interests of all shareholders.”

Compared to their last meeting, the atmosphere between the two was unusually harmonious, as if nothing had ever happened. It was a truly pleasant interaction.

When Mario Brady took his leave, Michael Eisner personally escorted him to the first-floor lobby.

Upon returning to his office, Michael Eisner received several calls from shareholders who had previously been on the fence. Now, each one clearly distanced themselves from Roy Disney, expressing their belief that Michael Eisner would continue to lead Disney forward.

The situation was improving, and Michael Eisner breathed a sigh of relief. As long as he could weather this shareholders’ meeting, he would have ample time to plan his counterattack against Roy Disney.

In the past, considering Roy Disney’s kindness toward him, he had been too soft-hearted.

Michael Eisner believed that as long as he removed Roy Disney, this “tumor,” and ensured Disney remained under his control, Disney would continue to be a rapidly growing entertainment and media conglomerate.

Chapter 897: The Tragic Young Man

Relativity Tower, Robert Iger arrived at Ronan’s office early in the morning.

“The plan is progressing smoothly overall,” Robert Iger said, lifting the red tea Connie had brought him before taking a sip. “The biggest potential for unexpected issues is on Wall Street.”

He took a sip of the tea and continued, “Those firms on Wall Street might make some moves to maximize their interests.”

Ronan said, “No matter what they do, we’ll withdraw as soon as we achieve our set goals.”

Hearing this, Robert Iger visibly relaxed. “Actually, I was a bit worried before coming over…”

Ronan smiled. “Worried that I’m getting too involved in finance and the stock market?”

“Yes,” Robert Iger admitted. “Too many company executives have tasted the benefits here, thinking it’s a shortcut to profit and success, only to end up…”

He didn’t finish, but the implication was clear.

Ronan said, “We are a physical company, and everything is based on physical business. Even Wall Street can’t do much to us in terms of physical operations. But if we delve too deeply into the financial market, pouring most of our company’s resources into short selling or hedging, we’ll just become a piece of fat meat on Wall Street’s chopping block.”

Robert Iger was truly reassured. “Your way of thinking is Relativity Entertainment’s fortune.”

Wall Street seemed calm in its dealings with Relativity Entertainment, partly because there were currently many aligned interests, but also because they were waiting for an opportunity.

Waiting for Relativity Entertainment to fully enter the financial market.

That was Wall Street’s home turf!

Ronan said, “In others’ eyes, this might seem conservative.”

“Being conservative and cautious is a virtue,” Robert Iger said. “Being brave only when necessary and cautious at other times isn’t a bad thing.”

At this point, he finally mentioned, “Lloyd Blankfein from Goldman Sachs sent an invitation. They’re planning to short Disney and asked if we want to participate.”

“What a temptation,” Ronan said, even though he wasn’t well-versed in finance, he knew this was a good opportunity to short Disney. “I can almost see the massive profits. The allure of financial opium is terrifying.”

Robert Iger understood Ronan’s meaning and said, “If we divert a huge amount of funds to participate, the control won’t be in our hands. That’s not Relativity Entertainment’s intended battlefield, and we’ll lose all initiative.”

Ronan said, “Let’s just watch and see.” He asked, “Does Goldman Sachs have a timeline?”

Robert Iger said, “They’re using Disney’s shareholders’ meeting as a node, waiting for us to complete the promised transaction.”

Ronan thought for a moment and said, “Send a reply to Lloyd Blankfein. Relativity Entertainment is currently tight on funds, so we won’t be participating in this feast. We wish them success.”

This was also true, as Relativity Entertainment was about to formally acquire Pixar, which required a significant amount of funds.

Robert Iger said, “I’ll reply to Lloyd Blankfein this afternoon.”

Ronan added, “Since they plan to get deeply involved, Bob, you communicate with them and have them do some work, like letting certain people see the good investment opportunities in Disney, bringing us sufficient returns.”

“This won’t be difficult,” Robert Iger said. “We still hold some initiative.”

The so-called good news was actually largely manufactured by Relativity Entertainment. If Ronan wanted, he could burst this bubble at any time.

Of course, bursting it prematurely wouldn’t benefit either the Wall Street firms or Relativity Entertainment.

Ronan stood up and walked to the south window, looking towards Burbank. “Hopefully, there won’t be any surprises.”

Robert Iger joined him. “At this point, Michael Eisner can only continue down this path. Actually, Roy Disney isn’t his biggest enemy; time is. By the time he realized the real threat Roy Disney posed, it was already too late, and there wasn’t enough time to respond.”

Ronan said, “Otherwise, we wouldn’t have had this opportunity.”

Robert Iger continued, “This opportunity is also something we worked hard to create.”

Relativity Entertainment’s secret alliance with Roy Disney had severely limited Michael Eisner’s operational space.

“Pixar has reclaimed the copyrights for their animated features, and we’ve gotten what we wanted,” Ronan said solemnly. “There are two main tasks left: completing the final negotiations with Pixar and signing the official acquisition agreement. Your team is responsible for this.”

Robert Iger said, “To avoid media and prying eyes, our negotiation team with Pixar has been conducting secret talks in India. The specific conditions are basically settled; we’re just waiting for the right time to sign the formal contract.”

After a moment of thought, he continued, “Then there’s Disney’s shares. Relativity Entertainment currently holds three percent of Disney’s shares. Given the current market conditions, these shares have appreciated by seventeen percent. If we can successfully sell them, the profit margin could reach one hundred and fifty million dollars. Of course, I’m talking about selling through the stock market, which will inevitably cause stock price fluctuations…”

Ronan said, “So, the best way is still to find a large investor.”

Robert Iger said very seriously, “After all, it’s Disney. There will definitely be many people who want to invest.”

Disney, one of Hollywood’s traditional Big Six, the world’s leading animated film production giant, and the strongest seller of animated product merchandise.

There would certainly be people who want to invest in such a company!

Relativity Entertainment would complete the acquisition of Pixar in the third week of December, right after Disney’s shareholders’ meeting. Pixar had already reclaimed all the copyrights for their animated features and shorts from Disney.

From Disney’s first animated film, Snow White, to the last successful hand-drawn animated feature in 1999, Tarzan, Relativity Entertainment had obtained all the rights to produce live-action films and merchandise. This meant that, given the right opportunity, Shai Entertainment could completely replicate the widely popular stories and songs from Disney movies and create live-action fairy tale films.

Correspondingly, Disney had lost the right to produce live-action films.

Not to mention others, Beauty and the Beast, The Little Mermaid, Aladdin, Cinderella, and the live-action version of The Lion King could mean tens of billions, even hundreds of billions of dollars in revenue.

Additionally, Ronan was poaching talent from Disney Animation Studio. Not the computer animation technicians whose teams were far inferior to Pixar’s, but the older generation of Disney hand-drawn animation creators.

This group, with the decline of hand-drawn animation, had been marginalized within Disney and might even face layoffs.

But they were precisely the inheritors of Disney’s princess legacy.

As long as they could accept and absorb new ideas, these people had a high chance of designing brand-new princesses suitable for the new era.

The experience of Disney Animation Studio’s return to glory was key: Pixar joining Disney, with the two major teams of John Lasseter and Ed Catmull taking full control of Disney’s animation department. The traditional creators left behind in Disney Animation Studio also played a crucial role.

No one understood better than these guys what kind of animated princesses the world’s audience truly needed!

Although Relativity Entertainment was far from being able to swallow Disney whole, Ronan had long since planned with Robert Iger, who was extremely familiar with Disney, to seize Disney’s content, poach Disney’s talent, and further create chaos within Disney, making this traditional giant continue to weaken.

Two of Walt Disney’s major businesses had already fallen into Relativity Entertainment’s hands.

Pixar and Marvel Comics!

The main remaining task was to find a good buyer and sell Disney’s shares for a good price.

As for playing the short selling and hedging game with Wall Street, Ronan remained conservative and cautious. That was an unfamiliar and very dangerous field.

Frankly, there were quite a few people who wanted to invest in or replace the Big Six, but truly capable ones were rare.

Moreover, by Ronan’s standards, it wasn’t just about finding a buyer. Ideally, they would also introduce an ambitious individual with some power and a desire to compete for control into Disney.

Thus, turning Walt Disney’s two-way struggle into a three-way standoff.

The internal strife within Walt Disney wouldn’t be easy to resolve in a short time. By the time they managed to unify internally, the landscape of Hollywood might have undergone entirely new changes.

One step behind could mean falling behind step by step.

Based on current results, Relativity Entertainment was already in an unbeatable position and would have ample room to maneuver in the future.

Such an ambitious individual might be hard for others to find, but Ronan had long been prepared and was even somewhat familiar with them.

A new force in Hollywood had officially entered the scene this year. Their strength wasn’t overwhelming, but the funds they could quickly mobilize might even surpass those of Hollywood’s traditional giants.

Ronan had dealt with them several times and done a lot of groundwork.

This company was called Maple Leaf Entertainment, with two super backers—Ryan Kavanaugh, who had persuaded numerous small and medium-sized Wall Street investment firms to provide financing, and the tragic young man David Ellison, who, if his business venture failed, would have to return to Oracle to inherit a fortune of billions.

Before Thanksgiving weekend, Relativity had a very special family-friendly movie premiering, with Bryant the spy returning to represent dads worldwide.

Ronan had specially sent premiere invitations to Ryan Kavanaugh and David Ellison, planning to have a good talk with these two.

But before that, someone suddenly came to visit regarding Disney’s shares.

It turned out that the appeal of Hollywood’s traditional giants was immense. There were super-rich second-generation heirs aiming to develop in Hollywood, and tragic young men who, if they couldn’t make it in movies, would have to go home to inherit billions—not just David Ellison.

Chapter 898: A Request to Purchase

“Hello, Mr. Anderson.”

In the reception room, a white man older than Ronan introduced himself with a smile: “I’m Travis Knight from Laika animation studio. Your production company, Shai Entertainment, has been in contact with me. Unfortunately, Transformers chose Michael Bay as the director.”

Upon hearing this introduction, Ronan immediately knew who he was. He shook hands and said, “I was the one who had Shai Entertainment reach out to you. I thought you would be a good choice for director, but later, Michael Bay joined the project, and I had to make a choice.”

Travis Knight didn’t seem to have any unnecessary emotions about it. His mind was generally quite clear: “Compared to Michael Bay, I indeed don’t have the same persuasive power as a director.”

Ronan smiled and asked, “What brings you here today?”

Apart from Transformers, Relativity Entertainment had no other connections with Travis Knight. This Nike heir, a true super-rich second-generation, shouldn’t be seeking out a director’s job.

Travis Knight replied, “I am a shareholder of Disney, a very small one. I got the shares from my father. I wasn’t particularly interested in Disney before, but recently, with all the disputes surrounding Disney, I’ve started paying attention.”

He smiled and said, “I am aware of Disney’s situation. Mr. Anderson, you hold some Disney shares, and it seems you’re supporting Michael Eisner?”

Ronan remained composed: “I need to protect Relativity Entertainment’s investment interests.”

Travis Knight said, “I’ve always been interested in investing in major Hollywood companies.”

Ronan asked, “Are you looking to buy Relativity Entertainment’s Disney shares?”

“Yes,” Travis Knight admitted. “I want to become a major shareholder of Disney. Disney has the channels that Laika animation studio needs.”

This seemed like a very ambitious young man.

To some extent, it fit Travis Knight’s persona as a super-rich second-generation making his own way in Hollywood.

But Ronan became more vigilant: “Disney has many shareholders. Why come to me?”

Travis Knight naturally replied, “If Relativity Entertainment is willing to sell its Disney shares to me, I believe more people will be willing to trade with me afterward.”

This made sense, but Ronan still didn’t relax his guard. Travis Knight’s reasoning was sufficient and fit his persona, but what other motives might be hidden behind it?

Ronan had very little trust in strangers.

Or perhaps, having been accustomed to setting traps, he naturally suspected others of doing the same.

Travis Knight said, “Mr. Anderson, I am very sincere. Laika studio also needs Disney’s channels for promotion. This is a shortcut to cooperate with Disney.”

This instantly reminded Ronan that as an animation studio, Disney’s channels were extremely attractive to Laika.

In the face of such a huge attraction, could someone be secretly pushing Travis Knight from behind?

Travis Knight then mentioned the key point: “I am willing to buy Relativity Entertainment’s Disney shares at a ten percent premium over the market price.”

This price was very sincere, and even Ronan was somewhat tempted.

If there were no potential buyers, Ronan might have to consider it seriously.

“Sorry, Mr. Knight,” Ronan said with a faint smile. “Relativity Entertainment holds Disney shares to strengthen cooperation with Disney. Disney shares are non-negotiable for me.”

Travis Knight said, “We can discuss the price further.”

Ronan smiled and insisted, “In the short term, Relativity Entertainment has no intention of selling Disney shares.”

This didn’t completely close the door. The so-called non-negotiable item, in another sense, meant the price wasn’t high enough.

Travis Knight prepared to leave, standing up and saying, “Mr. Anderson, I suggest you think about it.”

Ronan shook hands with him: “Mr. Knight’s kindness, Relativity Entertainment and I appreciate it.”

Travis Knight took out a business card and handed it to Ronan with both hands: “This is my contact information. We can strengthen our communication in the future.”

Ronan politely exchanged business cards with him and saw Travis Knight out of the reception room.

Back in the office, Ronan called Connie and said, “Have someone keep an eye on Travis Knight. Check if he has any connections with Disney’s top executives, especially Michael Eisner and Roy Disney.”

Connie immediately agreed.

Although Ronan didn’t firmly reject the offer, he was very cautious. Before Maple Leaf Entertainment was completely settled, Travis Knight could also serve as a backup option.

Even if there were problems, it might still be useful as a bargaining chip.

On the other side, Travis Knight left Relativity Tower and, in less than an hour, appeared at a yacht club in Santa Monica.

He boarded a small boat and soon, not far from the shore, boarded a large yacht.

On the top deck of the yacht, Travis Knight met an elderly man with white hair—Roy Disney.

“How did the talk go?” Roy Disney asked.

Travis Knight briefly described the situation: “Not very optimistic. Ronan Anderson’s willingness to sell isn’t strong. Of course, he didn’t completely refuse, probably because the price I offered isn’t high enough.”

Roy Disney’s face darkened: “A ten percent premium isn’t enough?”

Travis Knight said, “From my interaction with him, Ronan Anderson is very cautious. Maybe he has some suspicions.”

Roy Disney said, “Keep in touch with him.”

Travis Knight said, “I will try to buy the shares held by Relativity Entertainment, but I won’t do more, and I can’t offer a price higher than a ten percent premium.”

He emphasized, “Don’t forget your promise.”

Roy Disney said, “If I succeed, Disney will sign a generous distribution contract with Laika studio.”

“That’s it.” Travis Knight waved his hand: “I’m leaving.”

Roy Disney called out to him: “Have someone leak to the media that you are preparing to buy Relativity Entertainment’s Disney shares.”

Travis Knight understood Roy Disney’s intention: “Unless the transaction actually happens, it won’t have much effect.”

Roy Disney insisted: “Even a little effect is good.”

Although he had made various efforts and continuously spoken through the media, he couldn’t stop the spread of a series of positive news about Disney. Michael Eisner was clearly turning the tide.

Most importantly, his recent actions and remarks were a bit excessive, immediately causing a backlash from the middle-ground shareholders who originally supported him. They criticized him for acting out of self-interest and harming the entire Walt Disney company.

Roy Disney could feel that behind this, it wasn’t just Ronan Anderson and Relativity Entertainment. There were other powerful forces involved, and everything they did, especially driving up Disney’s stock price, had deceived too many eyes.

Shareholders all liked rising stock prices, and Relativity Entertainment’s cooperation with Disney was the key to this stock price increase.

If Roy Disney did nothing, the stock price would continue to rise. If he made a big fuss to disrupt things, would the shareholders watch Disney’s stock price be pulled down by him?

Because of his recent actions, some middle-ground shareholders had already changed their stance of supporting Roy Disney.

Roy Disney realized that in such a short time, this was almost an unsolvable problem for him.

If he didn’t act, the middle-ground shareholders would abandon him; if he did act, the middle-ground shareholders would also abandon him.

Roy Disney couldn’t just give up, so he thought of another strategy and found Travis Knight, who had previously approached Disney for cooperation.

If he could break through from Ronan Anderson and Relativity Entertainment, he might be able to dismantle the interest alliance represented by them.

Such a person was hard to find. No one in the industry was willing to take the lead in offending a top-tier figure like Ronan Anderson. Travis Knight was someone Roy Disney had found with great difficulty. After all, such an outsider super-rich second-generation didn’t particularly care about Relativity Entertainment’s massive power.

Roy Disney experienced the same sense of powerlessness that Michael Eisner had felt before. But this old man, who wanted to revive the Disney family, had a very determined will despite his easygoing personality.

No matter what, Roy Disney would continue this battle.

Moreover, to some extent, he was indeed on the side of justice.

The day after Ronan met with Travis Knight, some entertainment and financial media published related news, claiming that negotiations between Relativity Entertainment and Disney had broken down. Relativity Entertainment was preparing to sell its three percent Disney shares, and there were even reports of a buyer taking over at a ten percent premium.

But as soon as the report was published, Ronan, while attending a promotional event for Hurricane Rescue 2, personally denied the truth of the news.

“Relativity Entertainment and Disney will become strategic partners. The negotiations are going very smoothly,” Ronan assured the media: “As early as after the New Year, both parties may sign a series of agreements.”

The news about Relativity Entertainment selling Disney shares didn’t cause much reaction. After several large Wall Street institutions entered the scene, these could no longer affect the overall trend.

Several financial institutions wanted to seek more benefits from Disney using financial means.

With Robert Iger’s support, although Ronan wouldn’t let Relativity Entertainment get too involved in financial games, he wouldn’t miss out on the benefits that should be obtained.

The weekend before Thanksgiving, the new family-friendly movie Hurricane Rescue 2 held a grand premiere in Los Angeles. The two actual controllers of Maple Leaf Entertainment, Ryan Kavanaugh and David Ellison, both accepted Ronan’s invitation and came to the premiere venue.

Chapter 899: The Power to Make It Happen

Two years ago, Hurricane Rescue had taken the world by storm, from North America to international markets, sparking intense reactions and earning high praise from audiences. With a production and marketing budget of seventy million dollars, it had grossed four hundred and forty-five million dollars worldwide.

Audiences were particularly drawn to the character of Brian Mills, the agent who would stop at nothing to protect his children.

“I don’t know who you are. I don’t know what you want. If you’re looking for ransom, I can tell you I don’t have money. But what I do have are a very particular set of skills, skills I have acquired over a very long career. Skills that make me a nightmare for people like you. If you let my daughter go now, that’ll be the end of it. I will not look for you, I will not pursue you. But if you don’t, I will look for you, I will find you, and I will kill you.”

This iconic declaration of a father’s protection had left a lasting impression on many viewers.

In fact, thanks to Relativity Entertainment’s promotion, rumors had even spread online that Liam Neeson’s daughter was not to be messed with.

For parents, if their children were ever threatened, they would go to any lengths to save them. This was precisely what resonated most with audiences about Hurricane Rescue and Brian Mills.

Thus, the series had attracted a large family audience, despite the significant violent content in the films.

The premiere of Hurricane Rescue 2 was held at the Sheikh Theater, a grand event. Embassy Pictures had full confidence in this sequel.

Ronan arrived early at the premiere theater, accompanied by Robert Iger.

“Wall Street has made it clear that they’re leaving this entirely in your hands,” Robert Iger said, standing at the door of a second-floor lounge, watching the guests walk the red carpet below. “How do you plan to talk to them?”

Ronan had already thought it through. “Directly. No need to beat around the bush.”

Robert Iger hesitated. “But what if they—”

Ronan interrupted, “I’ve done extensive research on Ryan Kavanaugh and David Ellison. Both are eager to make a big splash in Hollywood, but the industry’s insular nature has made it difficult for them to break in quickly. They’ve told me more than once that they want to invest in Hollywood’s top projects and companies. Now, with an opportunity to enter Disney presenting itself, do you think they’ll pass it up?”

Robert Iger considered carefully before responding, “There’s precedent for external funds acquiring one of the Big Six outside of Disney. If I had enough capital, I certainly wouldn’t let it slip away.”

Ronan continued, “Sony Entertainment’s acquisition of Columbia Pictures and Viacom’s acquisition of Paramount both started with becoming major shareholders. I’m concerned they might not realize this. I’ve mentioned cases where major Hollywood studios were acquired by outside groups, specifically pointing out that Disney is the only one that hasn’t been acquired by outsiders.”

“The internal power struggle at Disney,” Robert Iger mused, “might get even more interesting.”

After chatting for a while, seeing that it was about time, the two entered the VIP lounge. Given the scale of tonight’s premiere, Ryan Kavanaugh and David Ellison hadn’t arrived yet.

Ronan found director Jerry Abrams and asked about Lost.

The series was set to debut on Netflix Streaming Media after the New Year. Depending on its performance, they would decide whether to produce a second season.

Jerry Abrams had signed a three-film directing deal with Relativity Entertainment and would subsequently direct Hurricane Rescue 3, the final installment of the trilogy.

“I have a new film idea,” Jerry Abrams said, his first choice for collaboration still being Relativity Entertainment due to their pleasant working relationship. “I want to shoot a sci-fi film in the style of a mockumentary.”

Ronan nodded slightly. “Do you have a script?”

Jerry Abrams shook his head. “Not yet. Once it’s written, I’ll come to you first.”

“Alright,” Ronan said. “I’m looking forward to it.”

Jerry Katzenberg went to greet Robert Iger. Just then, Amanda Seyfried, who had just entered the VIP lounge, approached.

“Hi, Ronan,” Amanda Seyfried said, her delicate features tinged with a hint of resentment. “Why can’t I get a hold of you since you’ve been back in Los Angeles?”

Ronan smiled. “Sorry, work has been overwhelming lately.”

Between handling daily operations and strategizing about Disney, which involved two major factions within Disney, Pixar, Steve Jobs, several Wall Street investment firms, and two newly wealthy individuals, any significant oversight could lead to disaster. He simply didn’t have the energy for anything else.

It wasn’t just Amanda Seyfried; even Tom Cruise and Will Smith’s invitation to watch the Manchester derby in the UK had been declined by Ronan.

Gianna Quan had also called him last week, claiming to have a surprise, but Ronan didn’t want any complications and hadn’t met with her.

The live-action rights to Pixar and Disney’s fairy tales were crucial for Relativity Entertainment’s future.

Amanda Seyfried pressed on, “You must have time now…”

Ronan had already spotted Ryan Kavanaugh and David Ellison and could only apologize. “I might be a bit busy.”

Amanda Seyfried wasn’t oblivious; seeing the two men approaching, she said, “Alright, let’s talk later when you have time.”

Ryan Kavanaugh and David Ellison reached Ronan, shaking his hand. The former couldn’t help but express his admiration, “Another sequel! The Purge 4 has already grossed nearly sixty million dollars in North America since its release last month. Will this one be even more successful?”

Ronan modestly replied, “It’s all thanks to the hard work of everyone at the company.”

“How many major franchises does Relativity Entertainment have?” Ryan Kavanaugh asked. “It’s too many, isn’t it?”

David Ellison confirmed, “In this regard, Relativity Entertainment is definitely number one in Hollywood.”

Ronan explained, “It’s mainly because we prioritize films that can be turned into series when selecting projects.”

Ryan Kavanaugh added, “That’s Relativity Entertainment’s foundation. With these franchises, Relativity Entertainment can maintain profitability.” He seemed to be hinting, “Like Walt Disney with its classic animated features.”

Ronan smiled and steered the conversation toward Disney. “That’s not a fair comparison. How much value have those classic animated films created for Disney?”

Ryan Kavanaugh suddenly lowered his voice. “Ronan, can you reveal why you’re interested in the live-action rights to Disney’s animated films?”

Ronan replied, “Live-action adaptations of animated films can be quite interesting. Shai Entertainment is currently producing a live-action version of Alice in Wonderland, and Disney wants to learn from Relativity Entertainment in this area.”

David Ellison interjected, “Is Relativity Entertainment planning to fully collaborate with Disney?”

Ronan said, “We’re in talks. It depends on the outcome of the negotiations.”

Ryan Kavanaugh’s voice dropped even lower. “I saw in the media that you’re considering selling Disney shares. Are the negotiations not going well?”

Ronan understood; these two were also keeping an eye on Disney.

“Let’s talk somewhere else,” Ronan suggested, gesturing to the people around them. “This isn’t the place for such a conversation.”

With people coming and going, it wasn’t suitable for discussing private matters. Ryan Kavanaugh said, “We’re guests, so we’ll follow your lead as the host.”

Ronan gestured for them to follow. “This way, please.”

He led the way out of the VIP lounge, with Ryan Kavanaugh and David Ellison following.

In the second-floor lounge, Ronan invited the two to sit and got straight to the point. “Ryan, David, since we met, you’ve been asking about Disney. We’re old friends, so there’s no need to beat around the bush. Could it be that you’re interested in Relativity Entertainment’s Disney shares?”

Ryan Kavanaugh and David Ellison exchanged glances. Ryan spoke first, “Ronan, you know our situation with Maple Leaf Entertainment very well. Breaking into Hollywood isn’t easy. David and I have been closely following Disney’s developments and feel it’s an excellent entry point.”

Ronan remained silent, simply observing the two.

David Ellison said, “The Big Six are traditional powers, but five of them have undergone significant changes and been acquired by outsiders. Ronan, if you’re considering selling Disney shares, you must prioritize Maple Leaf Entertainment.”

They were well-informed about Disney’s recent situation. Most of Ryan Kavanaugh’s funds came from various niche investment firms on Wall Street. They knew that Ronan and Relativity Entertainment represented not just themselves but a collective.

If Maple Leaf Entertainment could become Disney’s largest shareholder, how many detours could they avoid? How many years of struggle could they save?

Ryan Kavanaugh probed, “Ronan, is it true that you’re selling shares?”

“Relativity Entertainment’s negotiations with Disney are going very smoothly,” Ronan maintained before the Disney shareholders’ meeting, regardless of whom he spoke to. He half-truthed, “An agreement between the two sides will be reached soon. Therefore, Disney shares aren’t particularly useful to Relativity Entertainment. With Disney’s stock price rising, it’s a good opportunity for liquidation.”

Ryan Kavanaugh said, “Please prioritize Maple Leaf Entertainment.”

Ronan replied, “Travis Knight from Laika Studios has indeed contacted me, expressing strong interest in acquisition. You’ve followed this news, so you know he has the capability.”

These two were certainly aware of Travis Knight’s background.

David Ellison said, “We have the power too.”

Chapter 900: An Opportunity Not to Be Missed

Anyone familiar with Maple Leaf Entertainment would never doubt their financial strength. After careful consideration, Ronan had always believed that Ryan Kavanaugh and David Ellison were the most suitable candidates to take over.

They not only had money but were also eager to make their mark in Hollywood.

“I believe in your capabilities,” Ronan said. “This is indeed an opportunity for you.”

Perhaps because all the groundwork had been laid beforehand, the series of preparations they had made earlier had paid off. Without needing Ronan to sell them on it, the two men had already developed a keen interest in Disney.

Ryan Kavanaugh said, “The traditional powers in Hollywood have already been divided up. Finding an opportunity to enter the game is too difficult. If we miss Disney, we might not get another chance.”

David Ellison, being younger, was more direct: “Ronan, since you’re willing to sell those Disney shares, why not prioritize us?”

Ronan put on a thoughtful expression. “This isn’t a small deal. Compared to someone I don’t know well like Travis Knight, I trust you more.”

Ryan Kavanaugh smiled. “Ronan, what are your requirements? Just say it.”

“To be honest, I represent more than just Relativity Entertainment,” Ronan said straightforwardly, as the two had already mentioned this earlier. “In total, there are over twelve percent of Disney’s shares. I’ve promised them that I will stand with them, and at Disney’s current stock price, these shares are worth a total of three and a half billion dollars.”

Ryan Kavanaugh had the bearing of a top tycoon: “Money isn’t a problem for David and me.”

David Ellison said, “In as little as two weeks, Maple Leaf Entertainment can raise three billion dollars.”

Ronan knew very well that when it came to cash, these two were just as flush as Relativity Entertainment.

“But there’s one thing,” Ryan Kavanaugh said, though he wasn’t reckless despite his wealth. “Disney’s stock price is a bit inflated right now…”

Ronan raised his hand to cut him off. “Ryan, do you know Travis Knight’s offer? He’s willing to buy these shares at a ten percent premium over the trading price.”

He smiled and said, “These aren’t just Relativity Entertainment’s shares; there are many partners involved. I can’t sell them at a low price for personal reasons. Otherwise, I wouldn’t be able to explain it to my partners.”

Ryan Kavanaugh and David Ellison exchanged a glance, seemingly considering Ronan’s words.

Ronan continued, “This is over twelve percent of the shares. If the deal goes through, Maple Leaf Entertainment will become Disney’s largest shareholder, making it easy to enter the board of directors.”

Ryan Kavanaugh couldn’t help but say, “The largest shareholder…”

The temptation was too great because this capital not only meant that Maple Leaf Entertainment had the qualifications to participate in the game but also represented a significant voice.

David Ellison said, “Ronan, can you guarantee that you represent your partners?”

Ronan said, “I can guarantee that. The authorization letter will be sent from New York soon.”

Ryan Kavanaugh was interested in the shares but had doubts about the price. “At this price…”

Ronan interjected, “I have no reason to lie. You can verify this with Travis Knight. If you have doubts about the price, I can only choose someone else.”

He spoke at a measured pace: “Financial industry forecasts suggest that Disney’s stock price will continue to rise.”

Ronan vaguely remembered that when Robert Iger had just taken office, Walt Disney’s market value had exceeded forty billion dollars.

But now, even with the stock price surging, Disney’s total market value was less than thirty-five billion dollars.

Strictly speaking, this was inseparable from Relativity Entertainment.

Without the Pirates of the Caribbean series, the internal struggles becoming more intense, and Pixar deliberately delaying the production of animated features, all of which had seriously affected Disney’s performance, leading to a stock price far below what it once was.

“Wait,” Ryan Kavanaugh said. “The main issue is that Disney is quite chaotic right now.”

Ronan suddenly smiled. “Ryan, David, if it were a stable company, say, like Relativity Entertainment, how much influence could you gain by joining? How much could you achieve? Frankly, do you, Maple Leaf Entertainment, only want to be Disney’s largest shareholder?”

These words struck a chord with Ryan Kavanaugh and David Ellison. How could ambitious young men like them be content with just being Disney’s largest shareholder?

Ronan continued, “With other companies, even if you become the largest shareholder, controlling the company would be extremely difficult. But Disney is different. Disney is currently very chaotic, with internal conflicts arising constantly. The two factions led by Michael Eisner and Roy Disney are at each other’s throats. This is precisely your opportunity!”

David Ellison seemed moved by Ronan’s words. After all, it was simple logic, much like their situation in Hollywood. If it were a stable company, newcomers would inevitably face rejection from the established powers, but a chaotic company could offer outsiders countless opportunities.

Ryan Kavanaugh pulled David Ellison aside and took the initiative to say, “Ronan, if we really become Disney’s shareholders, what should we do?”

Ronan calmly said, “Support Michael Eisner and let Disney continue to be chaotic. I believe that with your vision and abilities, you will surely find opportunities in the chaos and seize them.”

“Can’t we support Roy Disney?” David Ellison asked.

Ronan said, “Roy Disney represents the conservative faction of Disney. They won’t welcome newcomers. Even if they do now, they will reject you later. Moreover, if Roy Disney wins, Disney might stabilize…”

Ryan Kavanaugh had already put himself in the situation: “A stable Disney would be very unfavorable for Maple Leaf Entertainment. If Michael Eisner remains in the positions of chairman and Chief Executive Officer, the two major factions of Disney will continue to fight internally.”

Ronan nodded slightly. “Indeed.”

These words didn’t need to be hidden. As long as Maple Leaf Entertainment became Disney’s largest shareholder, they would become reality. Anyone with a bit of business sense could easily understand.

Ryan Kavanaugh and David Ellison didn’t want to be just shareholders; they would inevitably face this situation.

The two exchanged a glance, and Ryan Kavanaugh said, “Ronan, give us two days to consider. You must wait two days. On the morning of the third day, David and I will give you a clear answer.”

Ronan thought for a moment and said, “Alright. As friends, I can promise that I won’t reach an agreement with anyone else during these two days.”

Ryan Kavanaugh and David Ellison stood up and shook hands with Ronan one by one. They didn’t stay to watch the premiere of Hurricane Rescue 2 and left directly.

The two got into the same car after leaving the Sheikh Theater.

“This is a good opportunity,” David Ellison said eagerly.

“I know,” Ryan Kavanaugh said, though his investment vision had some issues, leading to the bankruptcy of his previous hedge fund. However, Disney’s matters were straightforward, and he saw them very clearly. “I think Ronan Anderson sought us out today specifically for this.”

David Ellison asked, “Are you saying that Ronan Anderson has ulterior motives?”

Ryan Kavanaugh thought carefully for a moment and said, “Even if it’s a trap, can you resist not jumping in?”

David Ellison said, “This might be our only chance to get involved with one of the Big Six.”

Ryan Kavanaugh sighed. “Ronan Anderson has already seen through us. He knows we can’t refuse and won’t refuse.”

Ronan entered the theater and sat down next to Robert Iger.

Robert Iger immediately asked in a low voice, “How did the talks go?”

“About as expected,” Ronan also lowered his voice. “Two ambitious and well-funded men, how could they refuse a real opportunity to make a big move in Hollywood?”

Robert Iger said, “This does seem like a chance to control a major company.”

Ronan said, “The biggest disagreement might be the price, but I’ve already clearly mentioned Travis Knight’s offer to them. Maple Leaf Entertainment shouldn’t offer less than a ten percent premium. Bob, organize the team and prepare for secret negotiations with Maple Leaf Entertainment.”

Robert Iger smiled and said, “The team is already prepared, just waiting for your good news.”

After this contact with Ryan Kavanaugh and David Ellison, Ronan was even more confident: “There won’t be any major surprises.”

The two spoke softly for a while, and Ronan’s attention gradually shifted to the movie playing on the big screen.

The plot wasn’t much different from the first one, but this time, the daughter had to rescue the father, and then the father had to rescue the daughter again.

Apart from the bond between father and daughter, the biggest highlight of the film was still the non-stop, highly tense action scenes.

Since it appeared years ahead of schedule, Liam Neeson hadn’t yet aged to the point where he couldn’t fight. Additionally, after Hurricane Rescue, this retired agent with boundless paternal love had starred in action films like Batman: The Dark Knight, maintaining his physical training, which resulted in extremely well-executed action scenes.

Of course, like the first film, the villains were basically weak.

Brian killed his way through, dealing with the so-called gang members as easily as cutting through melons.

This could be considered a kind of alternative realism—gang members without professional training couldn’t possibly become god-like opponents.

Although the film had many flaws, it was still a commercial movie with plenty of highlights.

As long as it continued to succeed commercially, Liam Neeson’s path of rescue was just beginning.

Shai Entertainment’s scriptwriting department had already created several rescue-themed films, allowing Liam Neeson to choose freely.

Even if Liam Neeson wanted to go into space to rescue astronauts, it wouldn’t be a problem.

In short, as long as Liam Neeson was willing to cooperate, he could save people, save the world, save the sky, and save the air!

Chapter 901: The Deal is Set

“Another commercial film churned out by the Ronan Anderson assembly line under Relativity Entertainment—formulaic to the extreme!”

As Hurricane Rescue 2 hit theaters across North America, reviews poured in, and the film critics were far from impressed.

On its opening day, the professional reception for Hurricane Rescue 2 was disastrous. Rotten Tomatoes, aggregating over fifty critic reviews, gave it a rotten score of just thirty-two percent.

Fortunately, CinemaScore’s live audience rating came in at an “A-,” not outstanding, but respectable for a commercial film.

Media reception was decent as well.

The Hollywood Reporter’s review was particularly representative: “Relativity’s sequel is a textbook example of how to craft an exciting, successful, and satisfying fast-food film.”

Among ordinary viewers, the most-liked comment on Netflix sharing summed up the general sentiment: “Fans of the first film who want more of the same will get exactly what they’re hoping for.”

Thus, the film’s box office performance on its first day in North America was strong, raking in twenty-one million, two hundred eighty thousand dollars across three thousand nine hundred eighty theaters.

By the second day, Hurricane Rescue 2’s critical reception continued to slide, with Rotten Tomatoes dropping to twenty-four percent, yet its daily box office rose by nearly ten percent.

Since the turn of the millennium, countless films with sky-high Rotten Tomatoes scores had flopped at the box office, while just as many critically panned films had gone on to achieve massive commercial success.

The divide between critics and the mainstream film market was growing wider.

Hollywood’s commercial films were breaking away from traditional Hollywood models.

Shai Entertainment officially announced on Saturday that Hurricane Rescue 3 had been greenlit. Director Jerry Abrams and the two leads, Liam Neeson and Amanda Seyfried, would all return.

Additionally, Hurricane Rescue 3 would serve as the final installment in the series.

But Relativity’s collaboration with Liam Neeson was far from over. Once the third film wrapped, a new rescue-themed movie would be in the works.

A script about a plane hijacking had already been sent to Liam by Shai Entertainment.

The veteran actor saw great potential in the “money-making” prospects of working with Relativity.

Liam Neeson was getting older. His Best Actor Oscar nomination for Schindler’s List years ago had done little to boost his career, and in recent years, he had struggled to maintain even second-tier status in Hollywood.

But after teaming up with Relativity, his fame, status, and star power had skyrocketed, earning him praise as a late bloomer.

Clearly, his past role in Schindler’s List and the Oscar nomination had faded into obscurity.

This man, tempered by time, had successfully reinvented himself as an action star after a string of action films.

And time and again, his action roles had proven to be a hit with audiences.

After the weekend, Hurricane Rescue 2’s opening weekend box office numbers were in. Despite competition from 20th Century Fox’s Unstoppable and Paramount’s New Happy Family, it secured the top spot on the North American box office chart with sixty-one million, six hundred eighty thousand dollars.

The commercial appeal of sequel films was undeniable.

In several overseas markets where the film opened the same weekend, Hurricane Rescue 2 also demonstrated strong box office draw.

In the UK, its opening weekend grossed thirteen million, nine hundred ten thousand dollars; in Australia, eight million, seven hundred ninety thousand; and in France, it nearly hit ten million…

In its first weekend alone, the film raked in forty-one million, two hundred thousand dollars overseas.

Based on market findings and collected data, Embassy Pictures predicted that Hurricane Rescue 2 would land around two hundred seventy million dollars in North America, with global box office exceeding five hundred million being a near certainty.

The strategy of serialized films had made Relativity what it was today. For the foreseeable future, Ronan’s focus would remain on franchise films.

Sequels allowed studios to rake in profits more easily, cultivate fan economies, and achieve widespread popularity.

For film studios, the fundamental purpose of making a movie was to create commercial value.

Thus, ensuring long-term, stable returns was key. Investing in a brand-new film carried far greater risk than investing in a sequel to a classic.

Looking at Relativity’s annual slate, successful sequels made up more than half of their releases.

This approach not only reduced marketing and distribution costs but also effectively lowered risk.

With Hurricane Rescue 2 now in wide release, Relativity’s 2005 lineup had only one film left to debut—Brokeback Mountain.

Directed by Ang Lee, this film’s release strategy was entirely different, targeting awards season with the ultimate goal of the Oscars.

Ronan had two clear objectives in mind—Best Director and Best Picture.

Meanwhile, word came from Maple Leaf Entertainment. After brief consideration, Ryan Kavanaugh and David Ellison had personally called Ronan to declare their intention to become Disney’s largest shareholder!

For Maple Leaf Entertainment, and for these two ambitious men eager to make their mark in Hollywood, this opportunity might never come again.

Monday morning, Ronan met with the two men once more at Relativity Tower.

Robert Iger was also present. His first order of business was to show Ryan and David the stock authorization documents outside of Relativity Entertainment.

“There are a few points I need to clarify upfront,” Robert said, playing the rare role of the bad cop. “Our negotiations must remain confidential. Apart from necessary legal and accounting professionals, I hope you both will handle the talks personally.”

Ryan responded, “No problem. Similarly, we’ll need Relativity to keep this confidential.”

He assumed others would think the same way—surely there were others interested in Disney’s shares. If negotiations were conducted openly, competitors might emerge, driving up the cost.

Robert agreed. “Understood.” He then moved to his second point: “This deal must be completed in cash. You’ll need to secure the funds by mid-December.”

For most, twenty-odd days would be an incredibly tight and difficult deadline, but Ryan Kavanaugh and David Ellison were no ordinary men.

Ryan was confident he could persuade Wall Street investors to continue backing them. After all, they had already boarded the Maple Leaf ship, and the potential for additional investment was limitless.

David had already spoken with his father. Larry Ellison was fully supportive, both in attitude and financially.

“No problem,” Ryan said. “Funding won’t be an issue. Since David and I are committed to this deal, money isn’t a concern.”

He added, “I’d like to begin negotiations as soon as possible.”

Ronan replied, “Bob will personally oversee the negotiations on Relativity’s end. We’ll start this week.”

David chimed in, “Good!”

This preliminary agreement meant Ryan and David had accepted the premium acquisition terms, with the premium no less than ten percent.

The exact price would depend on further negotiations.

Ronan said, “I’ve always believed Relativity and Maple Leaf can reach a consensus and explore more collaborations. It seems we’re on the same side.”

Ryan smiled. “Hope we remain allies in the future.”

“We will,” Ronan assured. “Relativity values every friend and every friendship.”

If Hollywood were filled with newcomers like Ryan Kavanaugh and David Ellison, how much easier would things be for Relativity? They might not even need to bother with film production—just rely on friends to strike it rich.

After discussing for a while longer, they clarified some directional terms and set the tone for negotiations.

Ryan and David didn’t linger, taking their leave to secure funding.

In the reception room, Ronan reminded Robert, “Bob, control the pace of the negotiations. Stick to the plan as much as possible, but use your discretion.”

Robert replied, “I understand. Once they’re on our ship, they won’t be getting off.”

Ronan said, “Maple Leaf and Pixar—this wraps up the Disney plan. Once it’s done, we can take it easy for a while.”

Robert then asked, “What about the MPAA seat?”

Ronan sighed. “Even with Disney and our potential agreement with Warner Bros, it’s still incredibly difficult. After all, if just one of the six opposes, it’s impossible. The so-called support for Relativity joining the MPAA is more of a condition I’ve thrown out as bait.”

Robert said, “This will take time.” He then asked, “Any word from Warner Bros?”

Ronan shook his head. “Charles Roven and I talked last time, but there’s been no follow-up. I suspect there’s internal disagreement at Warner Bros, or maybe they think my terms are too steep.”

“Warner Bros’ management can be inscrutable,” Robert agreed. “I wouldn’t be surprised by whatever Kevin Tsujihara ultimately decides.”

Ronan said, “I hope one day Warner Bros will sell us the rights to Justice League.”

Robert shook his head. “That’s basically impossible.”

Ronan dropped the subject and instead instructed, “Alright, the major aspects are settled. The remaining negotiations with Maple Leaf and Pixar are in your hands.”

With Robert handling these matters, Ronan was at ease. With Robert’s capabilities, there would be no mistakes.

Relativity’s development path had always been clear—follow Disney’s lead, then leave Disney with nowhere to go.

With Marvel Studios and Pixar under their belt, and the live-action rights to classic animated features secured, what came next?

It seemed George Lucas would be retiring in a few years.

Chapter 902: The Circle of Tech Enthusiasts

Before Thanksgiving, the USC School of Cinematic Arts alumni association, led by Ronan, George Lucas, Ron Howard, and Robert Zemeckis, held a gathering at the Beverly Hills club.

One thing that couldn’t be ignored was that, whether on this side of the Pacific or the other, a person’s position in the alumni association was always closely tied to their social status—it was impossible to separate the two.

Thus, despite his relatively short tenure, Ronan had become one of the directors of the alumni association.

The gathering was entirely funded by Ronan himself and took the form of a cocktail party, primarily to facilitate networking among alumni.

USC School of Cinematic Arts alumni had always been a major force in Hollywood.

Starting from George Lucas mentoring Ron Howard, Steven Spielberg, and Robert Zemeckis, the organization had been moving toward a direction of collective development.

Now, whether it was Spielberg’s DreamWorks, Ronan’s Relativity Entertainment, or George Lucas’s Lucasfilm, there were numerous USC School of Cinematic Arts graduates.

“Actually, leveraging the power of USC alumni…”

Walking through the banquet hall, Jessica Felton whispered to Ronan, “It’s also very helpful for making a push for the Oscars.”

Ronan replied, “I’ve already thought of that. Mutual assistance within our means is one of the principles advocated by the alumni association.”

Jessica Felton said, “By the way, I just saw David Ellison.”

Ronan nodded slightly, “Although he dropped out, he’s still considered a USC alum. It’s normal for him to be here if someone helped introduce him.”

Jessica Felton turned her head to look at Ronan, “I remember you were also part of the dropout army.”

“There was no other way,” Ronan said helplessly. “If I hadn’t dropped out to take over Shai Entertainment, it would have gone bankrupt.”

The two arrived at a small circle together. Ronan greeted George Lucas, Ron Howard, and Robert Zemeckis one by one, then formally introduced Jessica Felton to them.

Compared to Ronan, Jessica Felton was a bona fide graduate of the USC School of Cinematic Arts and came from a technical background, sharing many common topics with George Lucas and Robert Zemeckis.

Dressed in an evening gown, Jessica Felton was naturally striking, and with her considerable reputation in the industry, she attracted a lot of attention.

“This is your official girlfriend?” Ron Howard seemed to have misunderstood, “Ronan, you two make a great pair.”

Ronan gratefully explained, “We’re good friends, not a couple.”

Ron Howard understood, “I’ve heard many people at the Academy mention Jessica. She’s a very capable woman, rare in Hollywood.”

Ronan didn’t feel like saying more and glanced at Jessica Felton, who was discussing computer CG technology with George Lucas and Robert Zemeckis.

These tech enthusiasts seemed to have endless topics to discuss.

“CG production is inseparable from editing and compositing,” Jessica Felton shared her own insights. “Using editing and compositing techniques can effectively reduce the cost of CG production…”

She noticed Ronan’s gaze and turned her head to smile.

Robert Zemeckis embarrassedly said, “Whenever I talk about new technology, I always forget everything else.”

George Lucas seriously said, “Jesse, I hope you can visit Industrial Light & Magic soon. Your theories can help them.”

Ronan interjected, “George, are you trying to poach someone in front of me?”

George Lucas laughed, “Don’t worry, I’m inviting Jesse to teach theory at Industrial Light & Magic.”

Jessica Felton said, “It would be my honor.”

Ronan had just been joking and deliberately said, “Jesse, I hope you can bring back a few experts in special effects from Industrial Light & Magic.”

Everyone couldn’t help but laugh.

George Lucas asked, “I heard you got the live-action film rights to those Disney fairy tale animated features?”

“Yes,” the agreement had been signed, so Ronan saw no need to hide it. “I’ve always believed this is a very valuable asset. It’s a shame we couldn’t get the rights to those classic animated features.”

George Lucas said, “Those are Disney’s core assets. They would never sell them.”

Ron Howard curiously asked, “Will there be a market for turning those animated films into live-action movies?”

“Computer special effects are developing rapidly, advancing by leaps and bounds,” Ronan replied. “Even with current CG production technology, realizing the beautiful and fantastical worlds from fairy tales isn’t very difficult.”

Jessica Felton added, “The production costs will be very high.”

Ronan nodded, “But these animated films have a huge influence, affecting more than one generation, bringing a massive potential audience. Like Robert’s current project, Alice in Wonderland—if we can create a real yet dreamlike fairy tale world, I believe many consumers will be willing to pay for it.”

George Lucas said, “Your vision for film production is unmatched. I believe you will succeed.”

Robert Zemeckis, however, said, “Technology is the key to the success or failure of this type of film.”

Ronan looked at the people around him and said, “I’ve never worried about that. When it comes to technical control, I have Jesse.”

“I’ve heard people say,” Robert Zemeckis said, “Jesse is a tech enthusiast.”

Jessica Felton modestly replied, “I still have much to learn from everyone.”

After chatting for a while, everyone went their separate ways. Ronan spoke with several screenwriters.

These were mostly screenwriters who had been in the industry for a long time but hadn’t made a breakthrough, currently working hard to create their own screenwriting projects.

Ronan could give them some green lights but wouldn’t offer too many favors, asking them to send the electronic versions of their scripts to his work email. Regardless of the outcome, he would respond to them.

Then, Ronan saw the late-arriving Steven Spielberg.

Although not a graduate of the USC School of Cinematic Arts, Spielberg had always considered himself a USC alum and had even donated to the school multiple times.

Ronan remembered that Spielberg had once directly donated a building to the USC School of Cinematic Arts.

“Long time no see, Ronan,” Spielberg immediately found Ronan.

Ronan shook his hand, “Steven, you’ve been too busy lately.”

Spielberg quietly asked, “I heard Jeffrey Katzenberg mention something about Disney. What are your plans?”

Ronan, of course, wouldn’t tell the truth, “Cooperating with Disney is profitable.”

“Is that so?” Spielberg didn’t quite believe it, “Why do I feel your intentions aren’t that simple?”

Ronan laughed, “What intentions could I have? I just want the company to profit from it.”

This sounded reasonable, so Spielberg didn’t press further. Instead, he said, “Jeffrey Katzenberg is a bit disappointed that you supported Michael Eisner.”

Ronan understood the feud between Katzenberg and Michael Eisner, “I can only say I’m sorry about that.”

This concerned the vital interests of Relativity Entertainment, even the survival and development space of Relativity in Hollywood in the future. Ronan couldn’t afford to damage himself just to consider someone else’s feelings or thoughts.

But Ronan also had doubts—what was the point of Spielberg bringing this up?

Spielberg seemed to have just mentioned it in passing, as if there was no other purpose, then changed the subject, “Relativity Entertainment has obtained so many rights to Disney’s classic animated films. Are you interested in collaborating with DreamWorks? We would only participate in the investment, not seeking rights or control.”

Ronan hadn’t expected that as soon as the rights were obtained, someone would come forward wanting a share. He could only say that Spielberg, as the best director among businessmen, had a very keen sense of smell.

“Thank you for DreamWorks’ kindness,” Ronan, of course, wouldn’t agree, casually making up an excuse, “These projects are jointly developed by Relativity Entertainment and Walt Disney. Disney is in charge, and I don’t have the authority to decide on new investors.”

Since the public message was that Disney and Relativity Entertainment were collaborating on live-action film projects, Spielberg believed it to some extent and said, “When there’s an opportunity, I’ll talk to Disney.”

Ronan smiled, “Sure. A three-way collaboration could also share the risks.”

These polite words came out of his mouth effortlessly.

Spielberg asked, “By the way, we still have a director’s contract. Do you have a suitable film project?”

At that time, Relativity Entertainment and DreamWorks Animation Studio had revised their agreement. After Shrek the Third, they gave up distributing DreamWorks Animation Studio’s feature films.

One of the conditions was that Spielberg would direct a film for Relativity Entertainment.

Ronan slightly shook his head, “Not yet. If there’s a suitable project, I’ll send it to you first.”

Spielberg nodded, “Alright.” He pointed to the other side, “I’m going to chat with George.”

This DreamWorks big shot had recently been dedicated to reviving DreamWorks, seemingly regaining his former ambition.

Of course, the process hadn’t been very smooth.

Especially the relationship with Jeffrey Katzenberg, which had always been rocky. Their power struggle hadn’t subsided even as DreamWorks returned to the right track.

Ronan had previously had more contact with Jeffrey Katzenberg and could somewhat guess his thoughts. Having been kicked out of Disney by Michael Eisner, Jeffrey Katzenberg wouldn’t give up power, especially control over the animation studio.

Even if the other party was the famously good-natured Spielberg, it wouldn’t matter.

When it came to major interests and power struggles, there was no distinction between good and bad.

For the past six months, there had been rumors in Hollywood circles that DreamWorks Animation Studio and Universal Pictures were getting cozy, as if Jeffrey Katzenberg was ready to abandon Spielberg at any moment.

For rumors to spread to such an extent, they couldn’t be completely false.

At the very least, Katzenberg had indeed been in contact with Universal Pictures.

Chapter 903: The Problem at Hand

“Ladies and gentlemen! Ladies and gentlemen, allow me to introduce you.”

In a small circle within the banquet hall, David Ellison introduced several people: “This is Ronan Anderson, my good friend! My best partner!”

These were all people David Ellison was relatively familiar with, many of whom were graduates he had met at the USC School of Cinematic Arts.

Ronan maintained a polite smile as he shook hands with each of them.

For now, his relationship with David Ellison was indeed in its honeymoon period.

As the crowd dispersed, David Ellison said, “This opportunity to enter Disney wouldn’t have been possible without you.”

Ronan replied, “Since we’re both selling shares, I naturally prioritized selling to friends and trusted partners.”

“Father is very pleased with this deal,” David Ellison said. “He’s very interested in me becoming a major shareholder and even a board member of Disney.”

Ronan knew well that someone like Larry Ellison was never afraid of competition and often initiated battles himself. Perhaps in the eyes of such a man, this was indeed a good opportunity to enter Disney.

Given Disney’s chaotic situation, there was indeed hope to contend for control of Disney.

“Entering Disney is just the beginning,” Ronan said. “I hope you can join Disney’s board of directors as soon as possible.”

David Ellison was confident: “We’ve discussed it, and having Michael Eisner stay on is most beneficial for Maple Leaf Entertainment.”

Ronan nodded slowly and suggested, “After the deal is done, as new forces, it will be difficult to quickly break through. It would be best to find a suitable proxy among Disney’s senior executives.”

David Ellison said, “That’s a good suggestion. I’ll discuss it with Ryan.”

Ronan’s suggestions were actually beneficial to David Ellison and Ryan Kavanaugh, but the hidden purpose was to keep Disney in a state of continued chaos.

Only when Maple Leaf Entertainment gained some influence within Disney would a tripartite balance emerge.

David Ellison then said, “Ronan, if there’s anything you need from me in the future, just say the word.”

Ronan didn’t stand on ceremony: “I have a Pacific Investment Foundation with a fixed annual return. If you have spare funds, you can consider investing.”

David Ellison said, “I’ve heard of it. I’ll look into it later.”

Ronan left Scott Swift’s contact information with David Ellison. Since they were in their honeymoon period, he wanted to secure as many benefits as possible.

Besides, this was also helping David Ellison secure a backup plan. If his Hollywood investments failed, he would still have the Pacific Investment Foundation to fall back on.

Previously, David Ellison and his sister Megan Ellison had both faced significant challenges in Hollywood.

David Ellison’s situation was slightly better since he focused mainly on commercial films. Megan Ellison’s company, which specialized in art films, had once been on the verge of bankruptcy.

Megan Ellison’s Annapurna Pictures had invested in eight films, seven of which had lost money.

These weren’t just Hollywood accounting losses; they were actual financial losses.

Megan Ellison’s unique taste in films had once made her a prominent figure in Hollywood. Directors like Paul Thomas Anderson, Kathryn Bigelow, David O. Russell, the Coen brothers, and the Sunglasses King, who struggled in major studios, quickly gathered around Annapurna Pictures.

Within just eight years of its establishment, Annapurna Pictures had garnered 52 Oscar nominations.

Compared to its impressive Oscar nominations, Annapurna’s commercial performance was dismal: films with investments starting in the tens of millions of dollars often earned little, with many critically acclaimed art films barely making over a million dollars at the box office.

The last news Ronan had seen about Megan Ellison wasn’t about her being praised by film critics for her success and artistic taste, but about Larry Ellison having to step in personally to resolve his daughter’s $200 million debt and losses, and to intervene in the company’s operations.

Of course, as someone naturally endowed with financial prowess, Megan Ellison had the capital to continue her ventures in art films.

No matter how things turned out, her father would always be there to bail her out.

Compared to his sister, David Ellison also had a tough time later on. A typical example was his repeated investments in the Terminator franchise, which made audiences groan at the mere mention of the name.

Perhaps a rich second-generation heir who didn’t want to make Terminator movies wasn’t a good pilot.

Additionally, after Ang Lee won his second Oscar, he started experimenting with technology.

Many people were puzzled: why did Ang Lee get funding for a second technology-driven film after messing up the first one?

The answer was simple: the backer not only had money but was also quite capricious with it.

The investor behind Ang Lee was David Ellison.

No one knew how much of the siblings’ adventurous spirit came from their billionaire father. But one thing was certain: besides the massive inheritance, Larry Ellison had also passed on his boundless confidence to his children.

Ronan vaguely remembered hearing about a biography of Larry Ellison titled What’s the Difference Between God and Larry Ellison? God Thinks He’s Not Ellison.

After chatting with David Ellison about the Pacific Investment Foundation, Ronan found George Lucas, who was momentarily alone.

“Those live-action fairy tale movies you mentioned,” George Lucas kindly reminded, “to achieve the desired effect, the special effects will inevitably require a high investment.”

Ronan smiled and said, “With Industrial Light & Magic’s strong support, I’ve never worried about the special effects.” He then asked, “The special effects in Star Wars represent the industry’s highest standard. George, does this mean I won’t be able to see any more Star Wars movies?”

George Lucas calmly replied, “When it’s time to end, it’s time to end. I’m old and don’t have the energy to continue.”

“You, old?” Ronan’s probe was so subtle it was imperceptible. “Clint Eastwood, that old cowboy, is still making films.”

George Lucas adjusted his glasses: “The situations are different. Hollywood today can no longer inspire my creative passion.”

Ronan thought about the implication behind these words. George Lucas had made so much money that it was hard to find enough motivation to continue making films.

“I’ve been thinking,” George Lucas said, “maybe it’s time for me to retire.”

Ronan naturally responded, “Retire?”

George Lucas was very serious, clearly not joking: “There will come a day for retirement. I don’t want to be like Clint, directing films at eighty.”

Ronan asked, “Do you have a retirement plan?”

“Not yet,” George Lucas said. “It’s just an idea.”

Ronan shook his head: “If you retire, Lucasfilm will be without a leader. Everyone in the industry knows you haven’t groomed a successor for Lucasfilm.”

George Lucas sighed: “That’s why I haven’t decided yet.”

Ronan slowly said, “It’s your freedom, and I shouldn’t say much. But… George, don’t leave any regrets.”

As someone who knew George Lucas well, Ronan’s words stirred something in the “Father of Star Wars.” He said, “Some regrets are destined to last a lifetime.”

Ronan put on a very curious expression: “Can you tell me about them? Maybe I can help.”

George Lucas smiled and said, “It’s no secret. Lucasfilm has never been able to reclaim the copyright for Star Wars: A New Hope.”

Ronan followed up: “I remember it’s in the hands of 20th Century Fox, right?”

“Yes,” George Lucas shook his head. “Lucasfilm has tried to buy it back several times, all to no avail.”

Ronan said, “There must be a way.”

George Lucas was rather open-minded: “It’s too difficult.”

The party continued until nearly eleven o’clock, with guests gradually taking their leave. The subsequent cleanup was handled by the club, so there was no need to worry.

After meeting up with Jessica Felton, Ronan also prepared to leave the club.

“You’ve been drinking?” Ronan could smell a faint hint of alcohol.

Jessica Felton nodded slightly: “I ran into a few old classmates. Out of politeness, I had a little.”

Ronan said, “Don’t drive. I’ll take you home. Have the club send someone to bring your car back.”

Jessica Felton didn’t refuse and got into Ronan’s Rolls-Royce. The car soon drove towards the outskirts of Beverly Hills.

“You said you want to make live-action versions of Disney’s classic animated films?” Jessica Felton asked. “Does that include The Lion King?”

Ronan glanced at her and said, “Of course. Such a sensational work, if it were… no, it should be a live-animal version, it would definitely attract countless viewers.”

Jessica Felton said, “I’ve been thinking about the problems with this film.”

“Thinking about what?” Ronan cooperatively asked.

Jessica Felton said, “This film becoming a live… animal version can only be achieved through CGI. It might be difficult now, but with Hollywood’s technological development, it will soon be possible. But Ronan, if a group of real wild animals appear on the big screen and start speaking English, won’t that be very awkward?”

She further explained, “Animated characters speaking English and wild animals speaking English—just imagining it feels completely different.”

Ronan honestly replied, “It is indeed awkward, but it’s not a big problem. With the influence of the animated film, even if we just use a copy-and-paste production method, we can ensure enough viewers are willing to pay.”

“Alright,” Jessica Felton said. “You’re the boss. You decide.”

The car soon stopped in front of Jessica Felton’s small villa. She got out of the car and waved to Ronan: “It’s late. Go back early.”

Ronan pointed to her feet: “Be careful walking in those high heels.”

On the way back, Ronan imagined lions speaking, chattering divine beast hunting dogs, and a chorus of various animals. It was indeed very strange.

Chapter 904: The Princess Plan

As Disney’s plans gradually neared full completion, whether it was Robert Iger’s negotiations with Maple Leaf Entertainment or the acquisition discussions between Relativity Entertainment in India and Pixar, everything was progressing smoothly. Ronan could finally relax and take a breather.

Thanksgiving arrived, and Ronan invited Gianna Quan and her friends to Future World Estate.

In short, it was a time to share the holiday and enjoy good food together.

After securing the opportunity to act alongside Will Smith, Gianna Quan became even more enthusiastic and dedicated. The previous times Ronan had declined her invitations due to his busy schedule, she had thought he wasn’t very satisfied, so she had gone back to the world’s largest country and brought over another “friend.”

With Gianna Quan as a prime example, her two friends were equally enthusiastic and proactive in enjoying the holiday festivities.

Ronan also confirmed that what Gianna Quan had said was mostly true. The Korean beauty Claudia Kim and the actress Sun Yi-jin were not only stunning but also had distinctive features. They weren’t the type that looked like they were mass-produced from the same mold. Even if they had undergone cosmetic procedures, it was likely just minor adjustments, similar to Hollywood stars like Scarlett Johansson.

Over the course of two days, Ronan transformed into Chen Bolin and filmed a series of tragic incidents from the Korean entertainment industry…

Additionally, the gathering was held entirely within the estate, so there was no need to worry about any lingering concerns.

After Thanksgiving, Ronan directly had Gianna Quan take the two Korean actresses to meet Andrew, the deputy director of the production department at Shai Entertainment. He would arrange suitable roles for them.

Of course, these wouldn’t be major roles, just female supporting roles with some screen time.

But it would be enough for them to return and launch a wave of international star operations.

This small matter didn’t require Ronan’s attention. Relativity Entertainment had many film and television projects under production, and roles like these that didn’t affect the overall project were numerous.

During the Thanksgiving schedule, Hurricane Rescue 2 continued to screen in North America, earning another thirty-one million eight hundred seventy thousand dollars in its second weekend.

Thanks to the Thanksgiving holiday boost, the film’s North American box office easily surpassed one hundred million dollars, with the global box office reaching two hundred thirty-two million eight hundred thousand dollars.

Meanwhile, The Purge 4, which had been released before Halloween, was taken off screens after just five weeks. Its North American box office totaled eighty-five million one hundred ten thousand dollars.

Although the overseas response was mediocre, it still brought in over thirty million dollars, pushing the film’s global box office past one hundred million dollars.

With a production budget of only eight million dollars, the profit was substantial, and the fifth installment was naturally put on the production schedule.

These low-budget horror films, while not earning exceptionally high revenues per installment, contributed hundreds of millions in net profit to Relativity Entertainment with each trilogy completed.

More importantly, Relativity Entertainment now had multiple such series.

The Purge, Resident Evil, Deadly Curve, Final Destination, Saw…

The first installments had already been successful, and others like Death Has Left, The Human Skin Inn, and Dawn of the Dead were in the process of being serialized.

There were also plans in the works, such as the horror universe plan that Ronan had discussed with James Wan.

Right after the Thanksgiving holiday, James Wan submitted a plan to Ronan. The plan only included a story outline involving multiple supernatural investigation stories based on the Warren couple. Based on the thematic ideas, James Wan tentatively set three series titles: The Conjuring, Annabelle, and Insidious.

He planned to use these three films as the main storyline and then expand into more related horror films.

Ronan approved this plan and would have James Wan serve as the producer for this series.

Additionally, Ronan formally invited James Wan to join Shai Entertainment as a producer, similar to Jessica Felton.

This was a highly rewarding position, offering not only the usual compensation for producers and directors but also a small amount of stock options from Shai Entertainment.

James Wan was entirely deserving of such rewards.

After brief consideration, James Wan accepted Ronan’s invitation.

For a Chinese-American director like James Wan, this meant not only an increase in income but also a rapid rise in status.

This was Hollywood, after all, where Chinese-American directors often had to work much harder to achieve the same recognition as other directors.

But Ronan and Relativity Entertainment provided James Wan with a shortcut.

Moreover, Relativity Entertainment had always provided a relatively fair platform for all directors and producers, not making decisions based on skin color or other factors.

For James Wan at this stage, there was no better choice than Relativity Entertainment.

This infinitely valuable Chinese-American director thus officially became part of the Relativity system and would be tied to Relativity Entertainment for many years to come.

Ronan also believed that the commercial value one James Wan could bring exceeded that of ten ordinary Oscar-nominated directors.

Many might look down on commercial directors like James Wan, but looking at the difficult circumstances of artistic masters—often taking years to secure funding for a low-budget film—compared to commercial directors who always secured large investments, it was clear what Hollywood production companies generally preferred.

If Ronan had to choose between James Wan and David Lynch a thousand times, he would choose James Wan every time.

This wasn’t a matter of personal preference but a decision based on his position.

James Wan enthusiastically dove into the scriptwriting for the “Horror Universe.” He first chose Insidious.

According to James Wan’s plot setup, although the Warren couple wouldn’t be the absolute protagonists of Insidious, they would have significant roles, leading into the subsequent The Conjuring.

James Wan was even considering how to connect the Warren couple’s supernatural investigations with Saw.

This way, they could leverage the influence of Saw to preheat and promote the new horror film.

Additionally, James Wan would set aside time next year to direct a few episodes of American Horror Story.

For this newly launched series, having James Wan as the director to establish its reputation was crucial.

In the horror genre, James Wan indeed had unique insights.

From after Thanksgiving to mid-December, aside from James Wan’s “Horror Universe” plan, Ronan also approved several film and television project plans.

On the television series front, the rights for Shameless had been secured, and preparations were officially underway.

For film projects, after the completion of the large-scale script for The Teddy Bear, Ronan approved the project, and the title was confirmed as The Teddy Bear.

This would be a comedy with a very large scale.

Meanwhile, Slumdog Millionaire, whose script had been completed long ago, was officially greenlit. Shai Entertainment began contacting Danny Boyle, the director of Trainspotting, and securing this second-tier director wasn’t difficult.

James Cameron’s Avatar special effects supervisor, Neil Blomkamp, after completing a phase of work, formally handed over his duties to the crew. From Wellington to Los Angeles, he prepared for a feature film in his career, adapting his short film Alien in Johannesburg into the screenplay for District 9!

Ronan had another long conversation with Neil Blomkamp and approved the project. Compared to the large investments of traditional sci-fi films, District 9 had a budget of only thirty million dollars.

This also meant that director Neil Blomkamp had to save money and shoot in the form of a mockumentary.

Marvel Entertainment’s film plans were also progressing. As Joss Whedon’s The Hulk was about to start filming, Thor began preparations, and work on Captain America was also underway.

The production of animated features was steadily advancing. Ronan approved a new project from Shai Entertainment Animation Studio, an animated film adapted from How to Train Your Dragon.

At the same time, Chris Renaud submitted another brand-new project to Ronan, an animated feature adapted from the famous children’s storybook Old Lester’s Story.

Ronan remembered having seen such an animated film. Given the fame of the original work and the increasingly mature team at Shai Entertainment Animation Studio, he approved the project.

Shai Entertainment Animation Studio also adhered to low-budget adaptations for this project. The production plan submitted by Chris Renaud had a budget of only sixty million dollars.

Moreover, the target audience for the film was very clear: children under twelve.

If they could capture the interest of this group, each child viewer would bring in an entire family.

Originally, Ronan had also found a children’s comic called Big Hero 6 from Marvel Comics, but the style of Shai Entertainment Animation Studio clearly didn’t match Big White, so it had to be put on hold for now.

Relativity Entertainment was poaching from Disney Animation Studio, preparing to establish a new animation department focused on traditional themes of truth, goodness, and beauty. Big White was more suited to their style.

There were also new types of princess series films.

That is, the Princess Plan.

Princesses of the new era couldn’t wait for princes to rescue them, nor could they be appendages to princes. They needed stronger personalities.

Undoubtedly, it was difficult for Relativity Entertainment to make breakthroughs in this area, as they lacked sufficient accumulation. Poaching was the fastest way.

Every step of the Disney plan was interconnected. With the addition of a new force, Disney’s internal situation would become even more turbulent. Moreover, without the assistance of Pixar, it would be even harder for Disney Animation Studio to revive, giving Relativity Entertainment many opportunities to poach talent.

They might even be able to poach an entire animation production team.

Those classic animated features had built Disney’s glory, and Disney was holding onto them tightly. But if they severed the lifeline of Disney Animation Studio, how many more years would Disney need to recover the glory of animation production?

Falling behind once might lead to falling further behind, and then sinking entirely.

This situation had played out many times in Hollywood. Hollywood initially had more than just the Big Six companies!

A few days before the Disney shareholders’ meeting, good news finally arrived. Relativity Entertainment and Maple Leaf Entertainment had reached a final agreement.

Chapter 905: The Disney Animation Team

In the large conference room of Relativity Entertainment, as Ronan and Ryan Kavanaugh, representing Maple Leaf Entertainment, formally signed the contract, nearly twenty people in the room burst into applause.

The applause was thunderous, the atmosphere lively.

Besides the necessary professional and notary personnel, there were also representatives from Wall Street present.

Following Relativity Entertainment, representatives from various investment institutions subsequently signed stock transfer agreements with Maple Leaf Entertainment one by one.

“Pleasure doing business.”

“Pleasure doing business!”

Ronan shook hands with Ryan Kavanaugh and David Ellison in turn.

David Ellison excitedly said, “I propose a toast to our collaboration!”

This received a positive response from many.

Ronan quietly instructed Connie, who then had someone bring in champagne and glasses.

This deal left everyone in the room very satisfied. Ryan Kavanaugh and David Ellison had obtained the coveted shares of a major Hollywood company, becoming the largest shareholders of Walt Disney.

The temporary alliance, including Ronan, successfully offloaded Disney’s burden and secured substantial returns.

“Cheers!”

Ronan was the first to raise his glass.

Following that, there was a chorus of responses: “Cheers!”

Everyone raised their glasses and drank together. The atmosphere in the conference room was harmonious and lively, with all parties achieving their goals.

Others gradually left the scene. The representatives from Wall Street, after completing the necessary procedures, would quickly return to New York. After all, companies led by Goldman Sachs and Credit Suisse still had plans for Disney in the stock market.

Ronan and Relativity Entertainment had completed the transaction and would not participate in subsequent actions.

However, Wall Street’s plans required the cooperation of Relativity Entertainment, and Robert Iger was prepared to discuss further with them.

After another drink, Ronan personally escorted Ryan Kavanaugh and David Ellison out of Relativity Tower.

As the saying goes from the other side of the Pacific, these two were like messengers of fortune.

The Disney shares that Relativity Entertainment had previously acquired, apart from the small portion recently sold in the stock market due to Disney’s continuous stock price rise, amounted to 2.9% in this transaction with Maple Leaf. Maple Leaf Entertainment ultimately acquired them at an 11.5% premium, with the total transaction amount reaching 1.2 billion dollars.

Including the portion previously sold in the stock market, after deducting various taxes and fees, Relativity Entertainment made a profit of nearly 220 million dollars from this transaction.

After years of planning and preparation, Ronan not only obtained the live-action film rights to Disney’s classic animated films and acquired Pixar but was also poaching the Disney Animation Studio team and had gained enormous profits.

Relativity Entertainment had both gains and secured broader development space.

The Disney Animation Studio might remain in decline for a long time, and Relativity Entertainment’s animations would effectively fill this market gap.

As everyone knows, once an animated film succeeds, its income often far exceeds that of live-action films.

The former Walt Disney, to sell merchandise, made many films that were outrageously profit-driven.

For example, Elsa’s transformation show was practically emptying the wallets of young girls.

Ronan had brought in Robert Iger, seized a large number of Disney’s resources, and in the future, would be even more outrageously profit-driven than the former Walt Disney.

Back in the office, Ronan handled some movie project approvals. Connie then knocked and entered.

“The first installment of 500 million dollars from Maple Leaf Entertainment has arrived,” Connie said quickly. “The remaining amount will be paid within three days.”

Ronan nodded slightly. “Including the 200 million dollars already paid as a deposit, only 500 million dollars remain.”

It had to be said that Ryan Kavanaugh and David Ellison’s ability to raise funds was outstanding.

Another point that could not be ignored was that Maple Leaf Entertainment had obtained high investments but had no corresponding projects, so the funds were all tied up.

Companies like Relativity Entertainment, Warner Bros., and Universal maintained large distribution teams year-round and had to pay for expensive promotional costs, so the company had to retain a large amount of liquid funds.

In some ways, this was also a reason why large companies had to focus on commercial films.

Because only large films that could continuously produce high returns could ensure the efficiency of salary expenditures. Although an art film might cost only a fraction of a top-tier commercial blockbuster, its profit margin was often lower.

If a movie company invested on a slightly larger scale and continued to focus on art film projects, the results were often tragic.

On the other hand, if top-tier commercial production projects flopped one after another, the massive team expenditures could drag down a movie company.

Connie then said, “Scott has sent a message. David Ellison has already contacted him, and there is a high possibility of investing in the Pacific Foundation in the future.”

Ronan asked, “Does he still have money?”

Connie replied, “According to our research and analysis team, the funds David Ellison invested in Disney are highly likely to have come from Larry Ellison. David Ellison is already an adult. His mother established a substantial trust fund for him years ago, and Larry Ellison has been continuously injecting funds into the trust fund over the years…”

Ronan understood what was going on. “Sure enough, he’s a super-rich second generation.”

Strictly speaking, he, who had inherited Shai Entertainment, could also be considered a rich second generation, but compared to David Ellison, the difference was too significant.

Connie finally said, “Robert has sent a message. The contact with Chris Buck’s team from Disney Animation Studio has reached a critical stage. Chris Buck wants to meet you and hear your promises directly.”

“When?” Ronan asked.

Connie replied, “Robert says the best time is this afternoon.”

Ronan nodded. “Alright.” He thought for a moment and asked, “Has the location been arranged?”

Connie said, “Robert has arranged for a yacht club in Santa Monica. This club has long been jointly acquired by Will Smith and Tom Cruise.”

Ronan had no objections. “Alright.”

After finishing his work, he went to the restaurant for lunch. Ronan then left Century City by car.

The black Rolls-Royce Phantom had not gone far along Santa Monica Boulevard when it encountered a traffic jam near the intersection at the edge of West Hollywood.

Several police cars, with sirens blaring, rushed forward from the auxiliary road.

Finch shouted into the communicator, “Stop the car! Numbers 2 and 3, come over and stay alert!”

Ronan sat steadily in the car. Although curious, he had no intention of getting out. Personal safety was more important than anything else.

Two cars moved over, guarding the Rolls-Royce Phantom closely.

At the same time, a bodyguard went to find out what was happening.

Ronan glanced at his wristwatch and called Robert Lee. After hanging up, Finch said, “I’ve found out. Less than 300 meters ahead, two robbers were robbing a convenience store and happened to encounter a patrol officer. They took the convenience store owner hostage and are currently in a standoff with the police. The robbers only have handguns, so it should be resolved quickly. Let’s wait a while.”

Such incidents were not uncommon in Los Angeles, and the distance from the car was considerable. With many bodyguards, it posed no real threat.

Just as Ronan was about to nod, before he could speak, a burst of rapid gunfire suddenly came from ahead.

Finch was a bit surprised. “They engaged so quickly?”

Including him, all the bodyguards vigilantly looked ahead.

After waiting for a while, the long line of congested cars gradually began to move. The police had personnel directing traffic. The black Rolls-Royce Phantom, sandwiched between two bodyguard cars, passed through the congested area.

Through the car window, Ronan saw the convenience store with its glass door shattered, with faint traces of blood…

As they neared Santa Monica, Finch said, “There’s confirmed news. The police just shot and killed the two robbers. The kidnapped Black hostage and two bystanders were unfortunately killed.”

Ronan was speechless. “That’s the LAPD’s style.”

Finch directly said, “They always work roughly.”

Ronan didn’t know what to say. Maybe it should be described differently?

The LAPD, to prevent the robbers from using the hostage as a threat, decisively shot and killed the hostage. To prevent the robbers from taking more bystanders as hostages, they decisively shot and killed the bystanders…

This incident caused Ronan to be late.

“Sorry, I was delayed by the LAPD handling a case on the way here.”

Inside the yacht club, Ronan shook hands with the middle-aged man wearing glasses. “It’s a pleasure to meet you, Mr. Buck.”

Chris Buck said, “It’s an honor to meet you, a Hollywood legend.”

Ronan looked at Robert Lee and said, “I heard from Robert that you wanted to see me, so I came immediately.”

Chris Buck said, “My team and I have worked at Disney Animation Studio for over a decade. The decision to leave was not easy.”

Ronan said, “I understand.”

He highly valued Chris Buck. This seemingly ordinary Disney employee represented a very large animation production team from Disney Animation Studio.

This team initially collaborated with Jeffrey Katzenberg to produce “The Lion King” and later led the production of animated features such as “Pocahontas,” “Mulan,” and “Tarzan.”

Although there were inevitable personnel changes over the years, the core team led by Chris Buck had not undergone significant changes.

Without exaggeration, Chris Buck and his team represented the tradition and legacy of Disney Animation Studio.

However, they were no longer valued. After the decline of hand-drawn animation, Michael Eisner’s focus shifted to live-action films, and he once considered dismantling the hand-drawn animation department.

Chris Buck and his team had to adapt, transitioning to computer animation production.

But their two computer-animated features, “Treasure Planet” and “Brother Bear,” fell far short of expectations, leading to further marginalization of Disney Animation Studio.

Over the past two years, Disney had consumed too much energy in internal struggles. The once top-tier animation studio had gradually been forgotten.

Chris Buck and his team had to consider their future.

Should they stay at Disney and wait for internal stability, or leave Disney to seek a new creative environment?

This was a choice they had to face.

Chapter 906: The Three-Way Struggle for Supremacy

“There’s something I need to tell you,” Chris Buck reminded. “I must inform you in advance that several of us, including myself, have non-compete agreements with Disney.”

Ronan was already aware of the situation. “You can rest assured. Relativity Entertainment will cover all penalty fees.”

These individuals were not Disney executives, so the penalty fees for breaching their non-compete agreements were not particularly high. Not everyone on the team had signed such agreements—only about a dozen core members. The total amount was roughly fifty million dollars.

Compared to the value of inheriting Disney’s animation production team, this penalty fee was negligible.

Chris Buck felt slightly reassured and asked, “If we join Relativity Entertainment, will we be part of Shai Entertainment Animation Studio?”

This was one of his major concerns. Judging from several animations, the style of Shai Entertainment Animation Studio did not align with theirs at all.

“No,” Ronan answered without hesitation. “You will be an independent animation production department under Shai Entertainment, just like Shai Animation Studio. In the future, if things go well, both you and Shai Animation Studio could become subsidiaries of Relativity Entertainment.”

This response alleviated some of Chris Buck’s concerns. He continued, “What about production?”

Ronan said, “While maintaining your excellent traditional values of truth, goodness, and beauty, you must also incorporate new ideas that align with societal trends. A film’s success cannot be separated from social reality. I sought you out not to have you produce parody comedies like DreamWorks Animation or Shai Animation Studio, but to create new fairy tale films that meet the needs of the new era!”

Chris Buck suddenly showed a hint of helplessness. “We’ve encountered many difficulties in computer animation production.”

“This is not difficult to resolve,” Ronan said directly, as the Disney shareholders’ meeting was imminent, and there was no need to hide anything. “Pixar can provide you with comprehensive assistance.”

Chris Buck immediately realized the implications behind these words. “What? Pixar?” He looked up at Ronan, somewhat shocked, and asked, “You… Relativity Entertainment is going to collaborate with Pixar?”

Ronan said, “I have already reached an agreement with Steve Jobs and other Pixar shareholders. Relativity Entertainment will acquire Pixar.”

“This…” Chris Buck needed time to process this news. After a while, he gradually calmed down. “Michael Eisner ruined Disney Animation.”

Ronan slowly said, “Chris, Relativity Entertainment is very sincere.”

Chris Buck said, “I need to discuss this with the team members before giving you a reply.”

Ronan nodded slightly. “I await your good news.”

Chris Buck stood up and shook hands with Ronan. “Emotionally, I don’t want to leave Disney Animation Studio, where I’ve worked for over a decade. But sometimes, people have no choice but to make decisions.”

Ronan was full of sincerity. “You won’t regret choosing Relativity Entertainment.”

After the face-to-face meeting ended, Chris Buck immediately found his old partner, Byron Howard, and others who were waiting for news to discuss the matter together.

Chris Buck detailed his meeting with Ronan.

“Ronan Anderson and Relativity Entertainment are indeed very sincere,” Byron Howard said. “We’ve become Hollywood’s team of failures, unappreciated within Disney, yet he personally met with you and promised us significant creative freedom.”

Another core team member, Rich Moore, who had joined Disney relatively recently and did not have as deep feelings for the company, said, “It’s not just our team. After 1999, the entire Disney Animation Studio has been marginalized. If we don’t leave, are we just waiting to be fired?”

Byron Howard first remained silent, then said, “Disney is no longer the Disney it used to be.”

Several others agreed. They had seen Disney’s recent situation very clearly.

Chris Buck remained silent, seemingly struggling to make a decision.

Byron Howard looked at him and said, “Chris, at this point, do you still have illusions about Roy Disney?”

“It’s not about having illusions,” Chris Buck said, looking at everyone present. “If Roy can win at the Disney shareholders’ meeting, it will end Michael Eisner’s autocratic rule, and Disney is very likely to return to the right track and stabilize again.”

Rich Moore chimed in, “The Disney shareholders’ meeting is coming up. Given the current situation, can Roy Disney win?”

No one answered. The answer was obvious. Currently, Disney’s stock price was rising, and most neutral shareholders were on Michael Eisner’s side. Roy Disney’s chances of winning were diminishing.

Byron Howard patted his old friend on the shoulder. “It’s time to make a decision.”

Chris Buck first nodded, then shook his head. “Have some patience, wait a little longer, give me two more days. We’re not in a hurry for these two days. Ronan Anderson and Relativity Entertainment won’t change their minds because of these two days. Let’s wait for the results of the shareholders’ meeting.”

Rich Moore and Byron Howard exchanged glances and said, “Alright, but Chris, don’t have too much hope for Roy Disney.”

Byron Howard said, “Even if Roy Disney wins, does he have the ability to manage Walt Disney?”

Chris Buck had nothing to say. Roy Disney was a good man but not a good manager or operator.

In mid-December, the entire Los Angeles film industry was focused on the awards season. Embassy Pictures’ Brokeback Mountain, distributed in ten theaters, began its limited release in Los Angeles and New York, where Oscar voters were concentrated.

The main creative team worked daily to push for awards. Ang Lee, dressed in a suit, appeared at various banquets and parties in Beverly Hills. Apart from Heath Ledger, who was filming The Dark Knight, major actors like Anne Hathaway and Jake Gyllenhaal not only attended promotional events but also participated in another large-scale gay parade in the Los Angeles area.

Canada, America’s northern neighbor, officially passed the same-sex marriage bill, followed by two more states in the U.S. joining the ranks.

The gay community was greatly encouraged, and various activities emerged one after another.

Hollywood had many conservatives, but even more liberals. The voice for equality, driven by some people, grew louder.

This was a societal trend that no individual or company could stop.

Although Utah explicitly restricted the screening of Brokeback Mountain within the state and continuously issued critical statements, the supportive public opinion for Brokeback Mountain was even more overwhelming.

Sometimes, one had to admire the white liberals. Perhaps the earliest white liberals were tricking those minority groups into selling their lives on their pirate ship, but after a long time and with great effort, many genuine white liberals emerged.

When the white liberal wave appeared, whether real or fake, smart people would choose to go with the flow.

Even if they found it unpleasant, they would not express it or make it public.

Since its release, Brokeback Mountain had received a series of preliminary award nominations and won Best Director and Best Picture awards, becoming a hot contender for the Oscars alongside Capote and Good Night, and Good Luck.

Capote also caught Ronan’s attention because it was another gay-themed film.

As the media put it, Capote showed audiences that not all gay men were cowboys; some were effeminate New York intellectuals.

Fortunately, Capote’s director, Bennett Miller, had limited credentials, and the production company was a small firm called Infinite Media. The distributor, Sony Classics, could not invest too many resources in this non-Sony film.

By mid-December, Ang Lee had eaten nearly twenty servings of “plastic-tasting chicken.” Brokeback Mountain gradually became the top favorite for the Oscars.

Meanwhile, the Walt Disney shareholders’ meeting was held in Burbank.

Since Relativity Entertainment held no Disney shares, Ronan could not participate in the shareholders’ meeting. However, he heard that during the two-day meeting, the conservative faction led by Roy Disney and the management faction led by Michael Eisner engaged in an unusually fierce confrontation.

At a critical moment, a third faction intervened. Ryan Kavanaugh and David Ellison, representing Maple Leaf Entertainment, along with several other small shareholders, nominated Dick Cook to take over as chairman and Chief Executive Officer of Walt Disney.

It was clear that Dick Cook, originally a staunch supporter of Michael Eisner, had privately reached an agreement with Ryan Kavanaugh and David Ellison, becoming the spokesperson for Maple Leaf Entertainment’s interests in Walt Disney.

The conflict among the three factions threw the Disney shareholders’ meeting into chaos, with some shareholders angrily leaving early.

Roy Disney’s motion to remove Michael Eisner as chairman and Chief Executive Officer of Walt Disney failed due to insufficient support, far from half.

However, at the shareholders’ meeting, the stubborn old man Roy Disney stated that he would never give up and would unite with some shareholders, including the Disney family, to continue suing Michael Eisner for malfeasance in the Delaware Court of Chancery!

Michael Eisner retained his position and became the winner, but he was not joyful. Instead, he was wary of the emergence of the third faction.

He knew that Ronan and Relativity Entertainment had abandoned him during the shareholders’ meeting, choosing to maximize their interests.

Additionally, Michael Eisner was furious about Dick Cook’s betrayal.

The third faction was rising, and Walt Disney was more chaotic than before. Returning to the right track was impossible in the short term.

Michael Eisner felt powerless, but to protect himself, he had to stay in his position.

Walt Disney thus entered a new phase of a three-way struggle for supremacy.

Chapter 907: Plan Completed

Century City, Relativity Tower.

“The first board meeting after Disney’s shareholders’ meeting had only one theme—argument.”

Robert Iger shared the latest developments with Ronan: “I never expected Disney’s kindest man, Dick Cook, to side with Ryan Kavanaugh and David Ellison.”

Ronan was also surprised. “Ryan Kavanaugh and David Ellison are quite charismatic.”

After all, when wealth accumulates to a certain level, people tend to exude all kinds of inexplicable charm.

Robert Iger said, “Dick Cook’s change of stance has given Michael Eisner a powerful opposing voice within the board.”

Ronan bluntly replied, “Let them fight all they want. I hope this war lasts a few more years.” He then asked, “How are the negotiations with Wall Street going?”

Wall Street was shorting Disney, but much of the initiative lay in Relativity Entertainment’s hands. Only Relativity could sound the charge.

United by mutual interests, Ronan, though not directly involved, still had to secure the greatest possible benefits for Relativity Entertainment.

Robert Iger replied, “It’s settled. They’ve made a substantial profit this time, and since our terms are far from their bottom line, the negotiations went smoothly.”

He added, “Led by Goldman Sachs and Credit Suisse, these firms are providing a one-time investment of one billion dollars to the Pacific Investment Foundation at a fixed annual return rate of four percent, with a four-year term.”

Ronan said, “An average of less than one hundred and fifty million dollars per firm—still a decent deal.”

“Such returns are too low for Wall Street,” Robert Iger remarked. “They’d rather play a Ponzi scheme than settle for stable fixed returns.”

He continued, “With this funding, completing the acquisition of Pixar will still allow Relativity Entertainment to maintain a very healthy cash flow.”

Ronan nodded and asked, “When do we announce it?”

“Tomorrow,” Robert Iger said. “They’re already prepared.”

A few days before Christmas 2005, Relativity Entertainment’s Chief Executive Officer, Robert Iger, announced through an official Netflix sharing account that due to irreconcilable differences in negotiations, Relativity Entertainment was terminating all cooperation talks with Walt Disney Company.

The team from Relativity Entertainment that had been negotiating daily at Disney’s Burbank headquarters was also recalled to Relativity Tower.

A day later, Steve Jobs also announced via Netflix sharing that due to irreconcilable differences in production philosophy, Pixar was unilaterally terminating acquisition talks with Walt Disney. Pixar would end all cooperation with Walt Disney upon the expiration of their distribution contract on December 31st.

Not only through Netflix sharing, but Steve Jobs also stepped forward for media interviews, declaring he could no longer tolerate Michael Eisner’s arrogant and autocratic behavior.

After years of being exploited by Walt Disney, Pixar and Steve Jobs finally had their revenge.

The decade-long entanglement between Pixar and Walt Disney had come to an end.

After losing Pixar, the production team led by Chris Buck and Byron Howard from Disney Animation Studio formally submitted their resignations, announcing their departure.

Michael Eisner had never favored Disney Animation Studio in recent years. Coupled with the internal power struggles following the shareholders’ meeting, once the penalty fees were paid, he had no intention of retaining the animation production team led by Chris Buck and Byron Howard.

Although Disney Animation Studio had more than one production team, it had lost its most Disney-traditional creative force.

With Pixar completely severing ties with Disney, and Chris Buck and Byron Howard’s team leaving to join Shai Entertainment, reviving Disney Animation had become a distant prospect.

Disney’s top executives were temporarily preoccupied with other matters. As Disney’s stock price fluctuated wildly, a series of problems arose.

Ronan no longer paid attention to these developments. No matter who ended up controlling Disney, they would inherit a massive mess.

After Christmas, Ronan turned his attention to Ang Lee and Brokeback Mountain’s Oscar campaign.

In the recently announced Golden Globe nominations, Brokeback Mountain received seven nominations, including Best Director and Best Motion Picture – Drama.

Simultaneously, the film secured key nominations in several critical bellwether awards.

Ang Lee received a Best Director nomination from the Directors Guild, and Brokeback Mountain was nominated for Best Picture by the Producers Guild, among others.

The Directors Guild’s choice for Best Director of the year had always been one of the most reliable Oscar indicators. In nearly seventy years of history, only six Directors Guild winners had failed to ultimately win the Oscar for Best Director.

On December 31st, the Academy of Motion Picture Arts and Sciences began sending ballots to nearly six thousand judges worldwide, marking the final sprint of the Oscar campaign.

On the same day, Pixar’s distribution contract with Walt Disney officially expired.

On the first day of the new year, Ronan welcomed Steve Jobs, Ed Catmull, John Lasseter, Andrew Stanton, and other top executives from Pixar at Relativity Tower.

In the presence of witnesses from all sides, Ronan, representing Relativity Entertainment, signed the official acquisition agreement with Steve Jobs, representing Pixar.

Relativity Entertainment acquired Pixar through a combination of cash and stock exchange, making Pixar a wholly-owned subsidiary of Relativity Entertainment.

In the press room, as Ronan and Steve Jobs shook hands, the media photographers who had been waiting below pressed their camera shutters, capturing the moment.

The executives from Relativity Entertainment and Pixar applauded. Robert Lee, who had initially represented Relativity Entertainment, and John Lasseter, who had represented Pixar, even shared a hearty embrace.

Both parties were highly satisfied with the deal.

Relativity Entertainment had secured Hollywood’s leading animation content producer and the world’s foremost provider of animation technology.

Pixar, in turn, gained stable distribution channels and ample funding.

Jobs pulled Ronan in front of the media for photos, his face adorned with a rare radiant smile.

Considering Jobs’ recent health condition, the signing ceremony did not include an interview segment. Ronan accompanied him back to the lounge, leaving Robert Iger and Ed Catmull to handle the media.

Back in the lounge, seated on a spacious single sofa, Steve Jobs said, “Ronan, I never thought the day we’d become true partners would come so soon.”

Ronan casually replied, “We’ve always been close partners.”

Jobs had another purpose in bringing up these words. “I’ll help you get into Apple’s board of directors. I hope you’ll support me.”

Ronan solemnly replied, “As long as you remain in charge at Apple, I’ll be your most steadfast partner.”

Given past experiences, supporting Steve Jobs fully aligned with his investment interests in Apple.

Jobs rarely said, “Thank you.”

Ronan slightly nodded. “You’re welcome.”

In reality, Jobs had never lacked opponents within Apple, especially regarding the smartphone project, which faced strong resistance from the personal computer business faction.

Large corporations always had internal conflicts. For normal development, these conflicts had to be suppressed within a certain range; otherwise, Walt Disney would serve as a cautionary tale.

Ronan asked, “When will Apple’s first-generation smartphone hit the market?”

Jobs pondered for a moment. “We’re aiming for this year, but testing isn’t complete yet, so we can’t be sure.”

Ronan directly said, “Steve, when you release the trial models, remember to give me one.”

Jobs replied, “Sure.”

Their conversation never returned to Pixar. With the deal done, Steve Jobs no longer held any shares in Pixar. The studio now belonged entirely to Relativity Entertainment.

Ronan and Jobs didn’t chat for long before Laurene Jobs entered, reminding Jobs it was time to rest.

Ever since Jobs had fainted in India, his health had not been ideal. Fortunately, he had stayed in North America and had not returned to India for his guru’s “super treatment.”

After seeing Jobs off, Ronan let out a long sigh. Acquiring Pixar meant not only gaining the industry’s top animation studio and all its copyrights for Relativity Entertainment but also securing the crucial animation production technology.

Most of Hollywood’s computer-animated films now used equipment and technology developed by Pixar.

Of course, this deal came at a high price for Relativity Entertainment.

Relativity Entertainment acquired Pixar for a total of six point three billion dollars, paid through a combination of cash and stock exchange.

For the cash portion, the Pacific Investment Foundation and Bank of America provided one point five billion and eight hundred million dollars respectively through investment and loans. Relativity Entertainment used one point seven billion dollars from its accumulated cash reserves, totaling four billion dollars.

The remaining two point three billion dollars, under Steve Jobs’ unwavering conditions, had to be paid in Netflix stock as per Jobs’ request.

Steve Jobs received four point one percent of Netflix’s shares, making him the third-largest shareholder after Ronan and Goldman Sachs.

However, Ronan still held seventy-three percent of Netflix’s shares through Relativity Entertainment, maintaining absolute control over Netflix.

Such acquisitions of high-quality companies inevitably required premium pricing, and Relativity Entertainment was no exception.

With Pixar officially under Relativity Entertainment’s umbrella, the animation production team led by Chris Buck also joined Shai Entertainment, establishing an independent animation department—Princess Animation Studio.

Thus, the Disney plan that Ronan and Robert Iger had been planning and executing for years was finally completed.

Chapter 908: Not Working Properly

Emeryville, California, Pixar Industrial Park.

Under the guidance of Ed Catmull and John Lasseter, Ronan, as the new owner, toured every department of Pixar Animation Studio.

This place was different from the orderly Relativity Entertainment and the tense and busy DreamWorks Animation Studio that Ronan had seen before.

Pixar had a unique and mature company culture.

From managers to ordinary employees, Pixar’s staff were like a group of big kids, and the company was like a playground.

If someone unfamiliar with Pixar came here, they would definitely think this company was failing, with everyone from top to bottom slacking off.

As John Lasseter put it, to make a good animated film at Pixar, you had to “not work properly.”

This so-called “not working properly” didn’t mean slacking off or cutting corners, but rather that the animators never treated creation as a bitter “job” to do for the boss, but instead approached it with great enthusiasm as a “hobby,” something they “played” with for themselves.

In Pixar’s philosophy, only in such a relaxed, joyful, and energetic atmosphere could great works emerge.

And it was precisely these factors that shaped the teams at Pixar Animation Studio.

The history of Pixar’s founding and growth was the history of the development of computer CG animation.

Ronan had no intention of changing Pixar’s atmosphere, nor would he impose his own ideas on them.

Of course, he couldn’t let them run wild without limits; some reins were necessary.

Ed Catmull continued to serve as the Chief Executive Officer of Pixar Animation Studio, and John Lasseter, in addition to continuing as the Art and Technology Director of Pixar, also took on the same role at the Princess Animation Studio.

Apart from the change in ownership to Ronan and the transfer of animation project approval rights from Steve Jobs to Ronan, Pixar Animation Studio didn’t undergo any major changes after the acquisition.

After touring the large Pixar playground filled with peculiar toys and peculiar employees, Ronan followed Ed Catmull and John Lasseter into a conference room.

“This is the office prepared for you,” Ed Catmull introduced. “We haven’t decorated it yet; we don’t know what style you prefer.”

Ronan looked around. The office had a strong Pixar cartoon vibe, with Pixar character toys everywhere. Even the desk lamp was the famous Luxo Jr.

“This is fine,” Ronan said. He wouldn’t be staying here long. “I like this free style.”

John Lasseter, who had dealt with Ronan many times, knew that Ronan wasn’t the kind of person who demanded much in trivial matters. He said, “I believe Pixar Animation Studio and Relativity Entertainment can achieve seamless integration.”

Ronan smiled and said, “We will work towards that direction. Later, Robert Iger and the people from Embassy Pictures will come to discuss marketing with you. All of Relativity Entertainment’s channels are Pixar’s channels.”

Pixar Animation Studio was already a wholly-owned subsidiary of Relativity Entertainment; there was no doubt about this.

Ed Catmull smiled and said, “Let me talk about Pixar’s current and next phase of work plans.”

Ronan said, “I’m not an expert in technology, but I do have some judgment when it comes to film projects.”

John Lasseter chimed in, “Ronan’s vision is absolutely top-tier in Hollywood.”

“Technologically, Pixar has been developing new hardware plugins and animation software,” Ed Catmull got to the point. “Technological development has always been a major expense for Pixar Animation Studio.”

He then turned to the animated feature projects: “Due to Disney, The Incredibles has not been completed. Now that we don’t have to consider Disney, The Incredibles will finish its final touches in about a month.”

Ronan said, “Embassy Pictures has already drafted a preliminary promotion and distribution plan for The Incredibles. The schedule is for this summer, specifically May or June. You can discuss the exact timing with Garcia-Rodriguez.”

Ed Catmull continued, “Cars is also nearing completion. We expect to finish all production by April. This film…”

Ronan had already instructed Embassy Pictures to make the necessary preparations. He said, “As long as conditions allow, the release schedule can be set for this year.”

“There is one project that has started production but is not yet completed,” Ed Catmull said. “A project about a mouse that can create top-tier cuisine, called Ratatouille.”

“I’ve already seen the script; it’s excellent,” Ronan knew about this film. According to the traditional translation style of the company that introduced Pixar’s animated films from the other side of the Pacific, it should be called Food Rush. He asked, “When can this film be completed?”

John Lasseter replied, “Originally planned for completion in 2006, but due to the Disney incident, it’s estimated to be around May or June 2007.”

Ronan nodded slowly, “No rush, proceed according to your plan.”

Ed Catmull also said, “There is a project ready for approval, a sci-fi theme about the Earth’s environment, called WALL-E, directed by Andrew Stanton, with John as the producer.”

On the surface, the scripts and plans for these projects had been sent to Ronan long ago, and he had seen them, but his deeper impressions came from the movies he had seen before.

Those who have seen WALL-E would surely have a very deep impression.

These were all animated feature projects that Pixar had approved before. Although the person who approved them was Steve Jobs, now that Ronan was in charge, he would fully support them.

Ed Catmull continued, “There is another project that needs your approval. The relevant script and plan will be sent to your office soon. This is a project initiated by Peter Docter, a story about adventure and travel.”

Ronan had a rough guess; it should be Up.

“I will give you a reply as soon as possible,” Ronan thought for a moment and then said, “The copyright for Toy Story has returned. I hope you can allocate some resources to prepare for the third installment.”

Ed Catmull and John Lasseter exchanged glances, seemingly a bit worried.

Ronan decided to be straightforward: “Ed, John, Pixar doesn’t need to change its style, nor does it need to adapt to Relativity Entertainment. Everything should be made according to your style and philosophy.”

Hearing this, Ed Catmull and John Lasseter’s slightly raised concerns were put at ease.

Despite the promises made before the acquisition, the two were still worried that Ronan and Relativity Entertainment would excessively interfere with Pixar’s daily operations.

Ronan added, “You can freely express your imagination in original animation projects. I only have one condition: Pixar must allocate some resources to produce sequels to big-selling movies.”

He didn’t hide his thoughts: “If Pixar has more commercial income, it can support a larger space for your imagination and technology.”

This was a very simple truth. Perhaps Ed Catmull and John Lasseter were true idealists when they first joined Lucasfilm, but after experiencing Steve Jobs’ acquisition of Pixar, cooperating with Disney, and being entangled in disputes over shares and copyrights for more than a decade, and now Pixar changing hands again, the two were no longer pure artists and idealists but also qualified producers and managers.

Why did Pixar sign such a harsh contract with Disney in the first place? In the end, it was because they didn’t have money; Steve Jobs couldn’t afford to keep Pixar.

Relativity Entertainment indeed had deep pockets, but for Pixar to continue having enough independence, it had to maintain separate financial accounting.

This required Pixar to have more commercial income.

Through multiple interactions, Ed Catmull and John Lasseter could feel that Ronan was a boss who valued personal connections, but they also knew that capital had never been about personal connections.

Steve Jobs once said that for money, the guys at Pixar could produce any work!

Ed Catmull didn’t hesitate and directly said, “Ronan, you are the boss. Pixar will completely follow your decisions!”

John Lasseter didn’t say anything but thought to himself that his old friend was getting smarter as he got older.

Ronan smiled and said, “I also believe that Pixar can produce more classic animations under your leadership.”

John Lasseter responded, “After the transition period ends, I will immediately gather people to discuss the preliminary matters for the third installment of the Toy Story series.”

Ronan nodded in satisfaction, “This is also the call of the audience.” He then said, “John, you need to take care of the Princess Animation Studio as well. They are far behind in production technology.”

John Lasseter was straightforward, “They are behind not only in technology but also in philosophy. Those old-fashioned Disney princess animated films are outdated.”

“Thoughts and concepts evolve gradually,” Ronan said. “Don’t forget, they have worked for Disney for more than a decade and have inherited many excellent genes of Disney animation production.”

Pixar Animation Studio, the clearly implied Princess Animation Studio, and the already established Shai Entertainment Animation Studio by Relativity Entertainment… Ed Catmull vaguely guessed some of Ronan’s thoughts: “Relativity Entertainment’s future in animated film production…”

He didn’t finish his sentence, but Ronan took the initiative to continue, “What did Steve and I, and you, spend so much effort to temporarily throw Disney into chaos for? The former animation film hegemon has been temporarily knocked down. Why shouldn’t we occupy this market?”

Ronan added, “Three different styles to maximize market share as much as possible!”

Ed Catmull and John Lasseter nodded repeatedly.

Everything that Walt Disney had done to squeeze Pixar, Pixar would return one by one!

Chapter 909: The Da Vinci Code

While the integration of Pixar Animation Studio into Relativity Entertainment’s system would take some time, Relativity Entertainment had already begun full-scale operations related to Pixar’s products from the moment the acquisition agreement was signed.

For example, the two latest Toy Story animated shorts quickly landed on Netflix Streaming Media, and the derivative short Mike’s New Car from Monsters, Inc. would also be available on Netflix after revisions.

Additionally, all major streaming channels were notified that once Walt Disney’s licensing for Pixar’s animated films expired, they would need to renegotiate contracts with Pixar to continue broadcasting.

Most crucially, there were the peripheral products. According to the copyright return agreement, Disney had a one-year buffer period for using peripheral products, after which they would need to pay for licensing or remove them from shelves.

From early 2006, Relativity Entertainment placed massive orders with agents and manufacturers across the Pacific. Over the next few months, products related to Pixar’s animated films would flood the global market through Embassy Pictures’ marketing channels.

Furthermore, Blu-ray DVDs of these animated films were being pressed and would soon be available on shelves.

For Pixar’s animated films, each one, through long-term operation of peripheral channels, signified profits exceeding one billion dollars.

The first month of 2006 was relatively quiet for Relativity Entertainment.

On one hand, they were digesting the gains from the “Disney Plan,” such as Pixar Animation Studio, the live-action rights to classic animated films, and the establishment of Princess Animation Studio.

On the other hand, all external publicity and PR resources were fully devoted to Brokeback Mountain.

Leveraging societal trends and America’s unique cultural values regarding minority groups, Brokeback Mountain became the top contender for this year’s Oscars.

In January, after Ang Lee consumed fifty “plastic chickens,” Brokeback Mountain achieved significant success in several key preliminary awards.

At the American Television and Film Golden Globes, Brokeback Mountain triumphed, securing the two most important awards—Best Director and Best Drama Film—despite not winning any acting awards.

In the two most crucial bellwether awards, Ang Lee won the Best Director award from the Directors Guild, and Brokeback Mountain received the Best Picture award from the Producers Guild.

These victories made Brokeback Mountain the top contender at this year’s Oscar Awards ceremony.

In early February, the 78th Academy Awards Nominees Luncheon was held at the Beverly Hills Ritz-Carlton Hotel. Brokeback Mountain received eight Oscar nominations, including Best Cinematography, Best Director, Best Supporting Actor, Best Supporting Actress, Best Actor, and Best Picture.

Embassy Pictures’ publicity and PR efforts were exceptionally well-executed.

However, there were always dissenting voices. After all, the number of conservative, stoic men was not small, and some used media or social networks to express their disgust for films like Brokeback Mountain.

This was normal. A film about homosexuality was bound to spark significant controversy.

After all, this wasn’t ten years later.

Fortunately, Ang Lee’s Brokeback Mountain was very subtle. Most moderates who watched it would not feel repulsed and might even experience emotional resonance.

In this regard, Ang Lee’s Eastern background played a crucial role.

If a European director had made it, it might have been a cringe-worthy style with excessive male intimacy, like something from Lars von Trier, possibly even including explicit scenes.

Ang Lee managed to make a film with an extremely sensitive subject acceptable to most people, which was remarkable.

The film’s box office data was the best proof.

Before the Oscar nominations were announced, Brokeback Mountain was only shown in a limited release in over a dozen theaters, with a cumulative North American box office of only $1.73 million.

After securing eight Oscar nominations and becoming the top Oscar contender, Embassy Pictures began expanding screenings. The number of theaters showing the film in North America surged to 2,189, and it earned $19.88 million over the weekend.

Due to the film’s outstanding reputation and the Oscar effect, if it could achieve some success at the Oscar Awards ceremony, the North American box office had a good chance of reaching $100 million.

Overseas prospects were harder to predict, but given the current equality movement for the homosexual community in Western society, overseas box office should not be lower than North America.

Ang Lee still had some influence in the European market.

Embassy Pictures was also intensifying PR efforts for Brokeback Mountain, striving for those two extremely important awards.

In early February, some statistical data from Relativity Entertainment was released. After years of copyright accumulation, channel expansion, and acquisitions, Relativity Entertainment’s profits in 2005 had grown rapidly.

After Netflix went public, as the most cash-burning subsidiary, Netflix’s financial accounting had been formally separated from Relativity Entertainment.

Last year, the entire group achieved a net profit of $2.1768 billion.

This figure was mainly composed of box office, copyright and peripheral operations, and stock market investments.

Including several films purchased for limited overseas distribution, Relativity Entertainment released 21 films last year, with total box office profits of $712.12 million.

The films contributing the most to box office profits were Pirates of the Caribbean 2, The Bourne Ultimatum, and Despicable Me.

Pirates of the Caribbean 2 had a global box office of $1.2 billion, and the latter two each exceeded $600 million. These three films contributed nearly half of the total box office profits.

Large investments in big productions, once successful, created even more profits.

Apart from the profits from Disney shares, the remaining profits mainly came from TV series and various peripheral channels.

The highest single-profit project came from Peppa Pig, with annual revenue last year exceeding $600 million, but its production costs and promotional distribution expenses were quite low.

With more big-budget film projects coming online and several popular TV series being produced, Relativity Entertainment’s profits would only continue to rise.

Compared to profits, Relativity Entertainment’s debt had always been within control. Even after the acquisition of Pixar Animation Studio mobilized a large amount of cash, the group’s cash flow remained smooth, maintaining a substantial cash reserve.

In 2006, Relativity Entertainment, excluding externally purchased films, would still maintain the release of over fifteen films, including several heavyweight works.

On the weekend after the Super Bowl, Embassy Pictures released Relativity Entertainment’s first film of 2006.

Produced jointly by Shai Entertainment and Tom Hanks’ Playtone Pictures, and adapted from a popular religious-themed novel, the film The Da Vinci Code.

Compared to Relativity Entertainment’s relatively fast production speed, this film, produced by Tom Hanks and directed by Ron Howard, was a typical example of Hollywood’s medium to large-scale production operations.

One year of preparation, one year of filming and production, and then another year of promotion and distribution.

According to the cross-investment agreement between Shai Entertainment and Playtone Pictures for Mamma Mia! and The Da Vinci Code, Ronan had basically no involvement in the production of The Da Vinci Code. The entire film was completed under the control of Tom Hanks and Ron Howard.

The special religious theme, combined with the original content that was almost blasphemous to religious figures, had sparked countless debates since the film’s preparation.

The Da Vinci Code had been controversial since filming began, with the Catholic League and Opus Dei receiving numerous protest letters and opposition. This made the film the most controversial of 2005-2006.

Opus Dei had hoped that the film adaptation would omit the organization’s name. After this request was refused, Opus Dei launched a campaign to clear its name, using various media to explain how the novel misrepresented their organization.

Even some bishops started their own blogs to refute the “untruths” in The Da Vinci Code.

The protests intensified as the film’s release approached.

But films were a very special commodity. Controversies that might be fatal for other products often acted as a booster for films.

Like The Passion of the Christ, controversy brought widespread attention to The Da Vinci Code.

A film that sparked widespread controversy often meant commercial success.

Relativity Entertainment and Embassy Pictures were experienced in this regard.

For example, on the eve of The Da Vinci Code’s release, many religious experts called on all Catholics to watch this error-ridden film, as only then could they identify its mistakes.

This call was responded to by some believers.

Undeniably, most experts were high-end elites.

But some experts were indeed “brick experts”!

However, no matter how much the film was debated, the crew would not directly participate. Tom Hanks and Ron Howard were smart.

At the premiere, facing interviews from numerous media reporters, Ron Howard wisely raised the “fiction” flag: “The film will not dwell excessively on religious issues. Dan Brown is a successful writer, not a religious or historical scholar. We made this film because I like the story.”

Tom Hanks also stated: “The focus of the film is the thrilling and suspenseful plot. We just want to make a good film without overly prominent religious elements.”

Ronan did not join the media frenzy. Religion was too sensitive, and Relativity Entertainment was content to stay behind Tom Hanks’ Playtone Pictures, making as much money as possible.

Just like when Embassy Pictures distributed Mel Gibson’s The Passion of the Christ.

Ronan only greeted the guests in the VIP lounge before heading straight into the theater to wait for the film to start.

Honestly, as a non-believer who had not studied the Bible, understanding The Da Vinci Code was somewhat challenging.

Some of the organizations and allusions mentioned were not well-known to Eastern audiences.

This could leave some viewers confused.

Chapter 910: The Honest Man

Compared to Dan Brown’s original novel, the film’s scope was actually much smaller. If it had been set in the medieval period, including Dan Brown himself, every member of the crew would have been burned at the stake without exception.

The premiere of The Da Vinci Code was grand, attracting hundreds of media reporters, as countless curious eyes around the world waited to see what the film adaptation of a novel with forty million readers would look like.

When Ronan had watched this film before, he had found it utterly baffling.

In the East, where religious background was severely lacking, it was understandable that audiences would walk out halfway through.

The real selling point of this film was its religious content and the original novel’s explosive popularity—even Tom Hanks couldn’t be the main draw.

Instead, he became the target of fans’ ridicule.

Under immense public pressure, Tom Hanks had gone to great lengths to alter his appearance for the role, aggressively losing weight and transforming his usual brush-cut into “flowing” long hair.

But audiences who had seen the preview of The Da Vinci Code still nitpicked at Hanks’ scholar-like hairstyle, calling it “a bald forehead with a ducktail at the back!”

As for the content, this kind of novel simply wasn’t well-suited for film adaptation.

The thrill of deciphering clues, so vivid in text, lost much of its appeal when visualized. This wasn’t just a problem with the film’s execution—it was also because audiences had grown accustomed to the eye-catching stimulation of commercial cinema.

Even The Passion of the Christ, another highly controversial religious film, had relied on controversy to draw audiences into theaters, using the brutal scourging of Jesus to keep them in their seats.

The Da Vinci Code wasn’t a failure of Ron Howard’s ability—after all, he was one of Hollywood’s best at balancing art and commerce, with blockbuster hits like Apollo 13 and How the Grinch Stole Christmas, as well as an Oscar for Best Director for A Beautiful Mind.

Howard had put considerable effort into visually presenting some of the novel’s drier historical and theoretical passages, which lengthened the film’s explanatory segments while draining energy from the tense narrative. Visually, he had his moments of brilliance, such as the overlapping historical shots and the oil-painting-like treatment of the historical legend sequences.

As for the film’s denial of religious doctrine, the massive investment ensured it would have a wide release, necessitating compromise in its approach.

This wasn’t a loss of artistic integrity—it was a clever evasion.

Thus, the novel’s religious provocations were distilled into a single line from Tom Hanks: “Haven’t enough people died over whether Jesus was man or God?”

Inevitably, when the novel’s plot unfolded on the big screen, it lost that spiritual shock value.

Ronan remembered a college roommate who was well-versed in Western religious history. One night, the roommate had stayed up all night reading the original novel under the covers.

According to him, when Dan Brown’s subversive interpretation of The Last Supper was revealed, every hair on the back of his neck stood on end—not from supernatural or mortal terror, but from the sheer disorientation of having his deeply ingrained historical knowledge utterly upended.

He had said that this momentary fear surpassed anything Stephen King could conjure.

But watching the film’s depiction of Jesus and the feminized Peter, Ronan could only let out a sigh of admiration—far from the spine-chilling experience his roommate had described.

This seemed to be a common flaw—or perhaps an inherent limitation—in adaptations of mystery novels.

No matter how well-made the film, it never quite matched the thrill of the written word.

As for the turmoil between Tom Hanks’ production team and the Vatican from the very beginning, it wasn’t hard to understand.

After all, both the novel and the film contained a great deal of mockery. These days, even a casual critique of a popular singer could spark a fan backlash—how much more so for something as sacred as Jesus Christ?

After the premiere, as Ronan left the theater, reporters approached him for interviews, only to be blocked by his bodyguards.

Though he wasn’t religious, it was best not to comment on matters of faith.

“What did you think of the film?” Ronan asked Connie, who had accompanied him.

“Hmm…” Connie thought for a moment before saying, “I read the original novel. The film… how should I put it? It just doesn’t feel as engaging as the book.”

Ronan nodded slightly. “Notify Embassy Pictures to prepare for a significant drop in box office next weekend.”

Connie acknowledged the instruction before asking, “Should we have Embassy Pictures stir up some news?”

Ronan waved his hand. “No need. Tom Hanks and Playtone Pictures will take action. The more controversy this film generates, the more revenue it will bring in.”

As Ronan had predicted, from the Friday premiere onward, many religious groups began protesting outside Playtone Pictures’ offices. Even Tom Hanks’ home saw gatherings of conservative believers.

On Friday afternoon, several members of the “Peace and Kindness” Women’s Association knelt outside the regional archbishop’s office, demanding he protest The Da Vinci Code.

The archbishop had no choice but to concede, publicly denouncing the novel and film as “highly strained and heretical” the following Saturday.

More protests emerged, even from albino organizations.

To better portray the albino assassin Silas, Paul Bettany wasn’t satisfied with just makeup to achieve the pale skin characteristic of albinism—he went so far as to dye his golden hair white and change his deep blue eyes to blood-red.

But this portrayal infuriated the American Albino and Pigmentation Organization, which accused the film of perpetuating Hollywood’s ugly stereotype of albino homosexuals and issued a public protest statement.

Protests put pressure on the film and its producers, but as long as they could withstand it, that pressure often transformed into a driving force for debate.

This was a commercial society—protests wouldn’t pull the film from theaters, nor would they reduce screenings.

As the protests grew more intense, more audiences flocked to see The Da Vinci Code.

Thanks to the novel’s massive influence and the controversy surrounding the film, Embassy Pictures secured 4,180 theaters for its release. On its opening day in North America alone, The Da Vinci Code grossed thirty-one million nine hundred ninety thousand dollars.

This set a new single-day box office record for February in the North American market!

Director Ron Howard even boasted in an interview: “The best way to fully understand this film is to watch it a second time.”

Playtone Pictures pulled out all the stops to promote The Da Vinci Code.

The original novel was a global bestseller; the Vatican publicly condemned its content as absurd; Westminster Abbey refused to allow filming due to its heretical nature; the Louvre welcomed the crew with open arms; author Dan Brown was embroiled in copyright lawsuits… A series of religious controversies and scandals stirred up a frenzy across North America and the entire Western world.

Hollywood’s film promotions were always full of tricks, and even a straightforward man like Tom Hanks played his part in the marketing game.

And it was a massive success.

However, The Da Vinci Code’s reception was far from stellar. Those who had read the novel generally found the film adaptation lacking compared to the book, leading to disappointment.

Those unfamiliar with religious history often left the theater confused.

Even after just one day of release, the film’s IMDb rating stood at a mere 6.6.

This was exceptionally rare among Tom Hanks’ films.

Many were saying that Tom Hanks had grown old, no longer the driven man of his youth, now more concerned with securing his retirement.

The film’s Rotten Tomatoes score was even worse—only twenty-five percent.

Faced with The Da Vinci Code, film critics who had once adored Tom Hanks were now furious with his lack of ambition.

“As a performing artist, how could Tom Hanks become a philistine producer like Ronan Anderson?”

Little did these critics know that the Tom Hanks they held to such high artistic standards was already in talks with Dan Brown to adapt another religious novel, Angels & Demons.

However, Playtone Pictures had made it clear they would not collaborate with Shai Entertainment on this film again.

Ronan had no intention of continuing his involvement either. Angels & Demons would inevitably be affected by The Da Vinci Code.

The Rotten Tomatoes score didn’t matter, but audience reception was crucial. The Da Vinci Code’s explosion was also consuming the public’s interest in Dan Brown’s novels and religious themes.

But in the short term, The Da Vinci Code was performing exceptionally well in the North American market.

In its opening weekend, the film grossed eighty-two million one hundred seventy thousand dollars across 4,180 theaters in North America.

This set a new record for the highest weekend box office in North American history!

However, the film’s CinemaScore audience rating was only a “B,” and the expected North American box office was around two hundred forty million dollars.

Dragged down by poor audience reception, the film’s second-weekend box office in North America plummeted by nearly sixty percent!

Still, the thirty-four million one hundred twenty thousand dollars earned that weekend, combined with weekday earnings, pushed the film’s North American total to one hundred forty-one million one hundred twenty thousand dollars.

The controversy surrounding The Da Vinci Code quickly spread overseas, influencing the viewing choices of many Western audiences.

That weekend, the film opened in numerous Western countries, earning a total of ninety-four million eight hundred seventy thousand dollars in its first weekend.

Based on feedback from overseas markets, Embassy Pictures predicted that The Da Vinci Code’s overseas box office would be at least double that of North America.

In a sense, the vast readership of The Bible—said to be the best-selling book in the world, surpassing even The Little Red Book—provided a massive guarantee for the film’s box office success.

Chapter 911: Egalitarianism

“I believe tonight will be a victory for us!”

The camera lens captured a girl with golden hair waving a rainbow flag with all her might, shouting, “It must be our victory!”

It wasn’t just her—everywhere around, at the intersection of Highland Avenue and Hollywood Walk of Fame, within miles of the Kodak Theatre, rainbow flags fluttered in the wind!

Today, almost every LGBT organization in Southern California had sent representatives, all with one goal: to support Brokeback Mountain in winning at tonight’s Oscar ceremony.

The fluttering rainbow flags seemed to set the tone for the upcoming 78th Academy Awards.

Of course, this was inseparable from Embassy Pictures’ months-long campaign for Brokeback Mountain.

Looking back over the past decade, every Oscar winner had one thing in common—they had exploited their advantages to the fullest, pushing the rules to their limits.

Since the 1990s, when Harvey Weinstein joined this game of fame and fortune called the Oscars, the bottom line of the game’s rules had been lowered significantly.

And after Ronan entered the scene in the new century, the bottom line was pulled even lower, and the cost of winning had become even higher.

Without a publicity and PR budget of at least six million dollars, don’t even dream of the major awards.

In other words, Ronan and Relativity Entertainment had raised the entry threshold for the Oscar game even further.

In recent years, the Oscars had been rife with sayings like “no award is truly credible,” “everything has a price and a reward,” and “anything can be sacrificed for a win.”

The escalating PR campaigns had completely transformed the way films were promoted during awards season—only by being more proactive could one become the ultimate winner.

As long as a film maintained a certain level of quality and was willing to put in the effort for aggressive promotion and PR, it could always secure some votes from the judges. Those who didn’t win simply hadn’t put in as much as others.

During the promotion of Brokeback Mountain, Embassy Pictures set a new record by mailing out over one hundred thousand DVDs of the film. Each package also included a small gift, disguised as promotional material.

Since the DVDs were pressed on the other side of the Pacific, the cost was extremely low—even the deluxe edition cost less than five dollars. But the reach was unprecedented in Hollywood.

It was no exaggeration to say that from the judges and staff of the Academy of Motion Picture Arts and Sciences to the slightly well-known film bloggers in North America, and even to the influential media and journalists, Embassy Pictures had covered them all, ensuring that at least they had a Brokeback Mountain DVD and a gift in hand.

Even the staff at some clubs and restaurants in Beverly Hills, where Academy judges frequently visited, had received DVDs.

Their discussions might reach the ears of some judges, and those who were used to voting with their feet, without even watching the films, would subconsciously choose familiar names.

Human nature was often the hardest to predict—a seemingly insignificant favor might just sway their decisions.

Ronan did not walk the red carpet but went straight into the Kodak Theatre.

There, he unexpectedly ran into Jessica Felton.

“You’re here?” Ronan asked.

Jessica Felton, dressed in a sharp women’s suit, walked up to him, and they headed toward the hall together. As they walked, she said, “Next awards season, Juno will also be making a run. I came early to get a feel for it.”

Ronan asked, “How’s the project coming along?”

Jessica Felton lowered her voice, “Post-production has been underway for a while. I’ve discussed it with Embassy Pictures, and we plan to have Sofia Coppola bring Juno to the Venice Film Festival. Hopefully, it will yield some results.”

The two entered the theater through a side door. Ronan asked, “Where’s your seat?”

Jessica Felton pointed to the right, “In the back.”

Ronan invited her, “I have two seats, but I didn’t bring a date. Want to join me up front?”

Jessica Felton thought for a moment and said, “Sure, the atmosphere is better up there.”

Ronan glanced at her suit and said, “Why aren’t you wearing an evening gown?”

Jessica Felton followed him toward the Brokeback Mountain crew’s area and replied, “I wasn’t walking the red carpet, so I didn’t prepare one.”

“With your looks,” Ronan said honestly, “if you walked the red carpet, you’d steal all the attention.”

Just then, Harvey Weinstein suddenly stood up from a nearby seat and said, “Good evening, Ronan.”

Ronan shook his hand, “Hello, Harvey.”

Harvey Weinstein’s gaze fell on Jessica Felton. Seeing Ronan bringing a beautiful woman openly into the Kodak Theatre, he clearly misunderstood and quickly introduced himself, “I’m Harvey Weinstein. Good evening.”

Jessica Felton shook Harvey Weinstein’s hand with ease, “Hello, I’m Jessica Felton from Shai Entertainment.”

Harvey Weinstein immediately realized who she was, “Miss Felton is the producer of the Pirates of the Caribbean series?”

Jessica Felton modestly replied, “I just handle some daily management.”

Harvey Weinstein said, “Miss Felton has a bright future ahead.”

Jessica Felton smiled but didn’t say anything more.

Ronan took over the conversation, “How’s your new company doing?”

“Pretty well,” Harvey Weinstein glanced at Ronan and said, “Better than at Miramax.”

He probed, “Disney and Michael Eisner…”

Ronan cut him off, “Harvey, Relativity has sold all its Disney shares. What happens to Disney has nothing to do with me.”

Harvey Weinstein was left speechless, cursing inwardly: You told me you were at odds with Michael Eisner, but you ended up making Roy Disney want to spit blood!

Ronan patted Harvey Weinstein on the shoulder and said, “Let’s talk another time.”

Watching Ronan leave with that fiercely beautiful woman, Harvey Weinstein returned to his seat. Reflecting on Disney’s situation over the past half-year, as an outsider and someone who thought he understood Ronan, he realized that both Roy Disney and Michael Eisner had fallen into a trap set by Ronan.

Although he didn’t think much of the Disney animation team and the live-action adaptations of classic animated films, aside from Pixar, Harvey Weinstein considered Ronan’s past actions and felt that Disney might have lost a significant asset.

Relativity had taken a huge bite out of Disney, leaving a mess behind. From what he knew, the three factions within Disney were at each other’s throats.

Harvey Weinstein watched as Ronan and Jessica Felton took their seats with the Brokeback Mountain crew. Only then did he look away, gradually confirming one thing: never provoke Ronan Anderson again.

That Michael Eisner, who had forced him and Bob Weinstein out of Miramax, hadn’t even dealt with Roy Disney yet, and now Ronan Anderson had brought in two super-rich adversaries.

Disney would never know peace again.

Ronan exchanged a few words with Ang Lee, and the awards ceremony soon began.

In recent years, Oscar ratings had been gradually declining, especially in years dominated by art films lacking a broad audience base. The ratings had already dropped out of the top three in North America.

The Academy of Motion Picture Arts and Sciences had been making efforts to boost the Oscar ratings as much as possible.

After all, this was the face and hallmark of Hollywood.

This year, the Academy had invited Jon Stewart, the host of the popular news program The Daily Show, hoping his influence would attract more young viewers to the Oscars.

The opening was the usual parody of the nominated films.

For example, the tent in Brokeback Mountain opened, and Billy Crystal’s head popped out first, “I’m not hosting this year. Can’t you see I’m busy with my love life?”

Behind him, Jon Stewart was clearly visible.

There was also a segment making fun of the biggest Hollywood gossip of the previous year, naturally targeting Brad Pitt and Angelina Jolie, with the camera occasionally cutting to Jennifer Aniston.

But Jennifer Aniston seemed not to hear anything, her hair disheveled, dressed plainly, and expressionless.

The Oscars could sometimes be quite lowbrow, with jokes that went too far.

Jon Stewart pointed at several big stars in the front row and said, “Look at those actresses—they’re so poor they can barely cover their chests.”

The award presentations began, and once again, the weighty Best Supporting Actor was the first to be awarded, perhaps in the hope that a major award would lift the audience’s spirits.

Brokeback Mountain lost to Good Night, and Good Luck, with Jake Gyllenhaal defeated by George Clooney.

The latter received the first Oscar of his life, but this Best Supporting Actor statuette also meant that George Clooney could no longer win Best Director for Good Night, and Good Luck.

George Clooney understood this, so his first words upon taking the stage were—since I’ve won Best Supporting Actor, I’m definitely out of the running for Best Director.

This statement seemed to perfectly capture the spirit of this year’s Oscars, where the subsequent awards were clearly divided and distributed in an egalitarian manner.

Best Supporting Actress went to British actress Rachel Weisz for The Constant Gardener, the only award the film received.

Peter Jackson’s King Kong from the previous year was expected to dominate the technical awards but only won Best Sound Editing, Best Sound Mixing, and Best Visual Effects. The Chronicles of Narnia and Memoirs of a Geisha shared the awards for Best Makeup, Best Cinematography, Best Costume Design, and Best Art Direction.

By the time the ceremony was halfway through, the Brokeback Mountain crew’s biggest task was to watch the spectacle.

Until two screenwriters from Shai Entertainment won Best Adapted Screenplay.

Chapter 912: A Stroke of Incredible Luck

The early technical awards at the Oscars served as both an appetizer and a consolation prize for the losers. Starting with the Best Adapted Screenplay, the ceremony entered its climax.

The Brokeback Mountain team first won Best Adapted Screenplay, then Best Cinematography, followed by Best Editing.

“This trio of awards secures Best Picture, though Best Director isn’t guaranteed,” Ronan murmured to Jessica Felton. “But Best Picture is practically ours.”

Jessica nodded slightly. “I’ve heard that winning two of these three—screenplay, editing, or cinematography—gives an over eighty percent chance at Best Picture.”

The crew was buzzing with excitement, even the slightly nervous Ang Lee. Even if he didn’t win Best Director, a Best Picture statuette would be a monumental victory for him, completely reversing the decline since The Hulk.

The actors, however, were somewhat disappointed. Anne Hathaway, not nominated, hadn’t even shown up. Michelle Williams and Jake Gyllenhaal had already lost their supporting actor categories, and Heath Ledger would need a miracle to win Best Actor.

As expected, Philip Seymour Hoffman, an established actor far surpassing Heath in age and experience, took home his first Best Actor statuette for another gay-themed film.

This outcome aligned with Embassy Pictures’ PR efforts—without sufficient resources, there could be no corresponding returns.

Next, Reese Witherspoon won Best Actress, another Hollywood “decorative presence” transformed by the Oscars.

If Ronan remembered correctly, she was considered one of the weaker Best Actress winners in nearly thirty years. Rumor had it she spent her earnings from two previous films on PR to secure the win.

The effect was clear, though female actors rarely recouped their investments.

Since the turn of the century, several Oscar-winning Best Actresses had vividly demonstrated the so-called “Oscar curse.”

Halle Berry with Catwoman, Nicole Kidman with Bewitched, Charlize Theron with Aeon Flux—the only competition was who flopped harder.

Hilary Swank was the most cautious, having not taken on any new roles since winning Best Actress, exercising extreme prudence.

This wasn’t hard to understand. Winning Best Actress these days required not just studio investment but significant personal investment from the actress herself. Investment demanded returns, and the honor of an Oscar statuette alone couldn’t satisfy the winner’s needs.

Thus, stars eagerly sought to recoup their losses by taking on high-paying commercial films, focusing solely on salary and neglecting other considerations.

Moreover, the “art film goddess” hyped by media and critics wasn’t necessarily popular among mainstream audiences.

As the music swelled, last year’s Best Director winner, Clint Eastwood, strode onto the stage. The aging cowboy was about to present this year’s Best Director award.

Ang Lee maintained his smile, though he was nervous. In seventy-eight years of the Oscars, no Asian director had ever won Best Director.

If he won, he wouldn’t just be the first from the East—he would be etched into Eastern film history, becoming a symbolic figure for the entire industry.

Having experienced multiple Oscar campaigns, Ronan faced this moment with relative calm.

Jessica glanced at Ronan. She knew him well. For him, these last two awards weren’t just about honor—they represented an additional forty million dollars in global box office and sixty million in offline channel revenue.

On stage, Clint Eastwood’s introduction was as straightforward as his personality: “These five directors have brought us five incredible films this past year!”

As he spoke, he turned to the screen, which displayed clips from each film: “The nominees for Best Director are: Steven Spielberg for Munich, George Clooney for Good Night, and Good Luck, Ang Lee for Brokeback Mountain, Bennett Miller for Capote, and Joe Wright for Pride & Prejudice.”

Clint Eastwood gave no time for suspense. He opened the envelope without even looking up and announced, “The winner is Ang Lee for Brokeback Mountain!”

Applause erupted immediately. Ronan stood and clapped, signaling the entire crew to rise. Everyone stood, applauding Ang Lee, and soon, the entire front section of the theater was on their feet.

Ang Lee first embraced his wife, Lin Huijia, an extraordinary woman who had stood by him through his ups and downs. Without her, he might never have won Best Director.

Then, Ang Lee hugged Ronan. “Thank you.”

The words were brief and hurried, but they carried immense gratitude.

“Go on,” Ronan lightly punched Ang Lee’s arm.

Ang Lee nodded heavily and walked toward the highest stage of his directing career. Just before stepping on, he turned back to look at the crew.

At that moment, he felt meeting Ronan had been an incredible stroke of luck.

On stage, accepting the statuette from Clint Eastwood, Ang Lee stepped to the microphone: “Two years ago, my career suffered a major setback. I was left with only despair. But someone told me my failure wasn’t due to lack of ability—it was just the wrong project. He encouraged me, trusted me, and took a risk investing in me. That’s why I’m here today. So, thank you!”

Ang Lee looked toward the Brokeback Mountain crew. “Ronan, thank you! Without you, I might have been a failure, not standing here.”

Countless eyes in the audience turned to Ronan.

At that moment, the winner was Ang Lee, but the focus of the Kodak Theatre was on Ronan.

Seated, Ronan maintained a dignified smile.

Ang Lee continued his speech, speeding up due to time constraints: “Thank you to the Academy for this recognition. Brokeback Mountain isn’t about homosexuality, nor is it about women or love—it’s about love itself. This is a story of true love. Thank you all for your support. Thank you to my wife and son—I love you, and I will always be with you. Though my father passed away during this time, I must thank my mother back home.”

Switching to Chinese, he added: “Thank you to all my fellow Easterners for your support and care!”

Though a classic “banana” (yellow on the outside, white on the inside), Ang Lee was always a very clever man.

After his speech, Ang Lee didn’t leave the stage. Instead, he stood by the exit, waiting for the final award.

The 78th Academy Awards had only one category left.

Best Picture!

Jack Nicholson, looking like a mob boss in his sunglasses, strode onto the stage with the envelope.

Ronan remained composed. There were no dark horses this year. Crash had been brought to the Oscars last year, and there was no racial suppression.

The only concern was the “equal distribution” of awards.

But Brokeback Mountain had already won Best Adapted Screenplay, Best Cinematography, and Best Editing. The chances of losing Best Picture were slim.

Since joining the Oscar game and gaining some influence, under Ronan’s guidance, Embassy Pictures’ Oscar strategy had always been straightforward—running a proper PR campaign from the preliminary awards, ensuring the film was a frontrunner, accumulating various honors, and becoming the top contender by the time the Oscars rolled around.

Upsets were rare. The highest probability of winning an Oscar had always been the frontrunners of the awards season.

On stage, Jack Nicholson opened the envelope and announced: “The Best Picture is Brokeback Mountain!”

No surprise. The favorite winning was the norm at the Oscars, and Brokeback Mountain was no exception.

Applause erupted again, and the Brokeback Mountain crew celebrated.

Jessica Felton hugged Ronan briefly. “Congratulations!”

Ronan felt the weight of two mountains pressing down and quickly separated. “Thank you.” He called to the crew, “On stage, everyone! Let’s go accept the award!”

This was entirely different from last year’s Crash winning Best Picture.

Crash had been an externally acquired film by Embassy Pictures, while Brokeback Mountain had been entirely produced and distributed in-house by Relativity Entertainment.

Under Ronan’s lead, over a dozen crew members walked toward the stage, leaving only Jessica Felton and a few family members behind.

People like Jessica Felton wouldn’t join in the celebration.

Ang Lee also emerged from the stage exit, hugging and celebrating with the main crew members.

For him, this was truly a night of happiness.

Ronan accepted the statuette from Jack Nicholson. Since Ang Lee had already given his speech, he stepped aside.

“Thank you to the Academy,” Ronan’s acceptance speech was almost perfunctory. “Thank you to Director Ang Lee for this masterpiece. Thank you to the entire crew. And thank you to everyone at Shai Entertainment and Embassy Pictures who worked on this film. You’re all amazing!”

He raised the trophy. “This is my first Oscar! A tremendous honor! Life goes on, and so does film! For cinema, I will never tire!”

Amid applause, the entire Brokeback Mountain crew exited the stage.

Backstage, Ronan yielded the press interviews to others, temporarily handing the statuette to the technicians for engraving.

The backstage was chaotic, with many people coming to congratulate Ronan.

Undoubtedly, Brokeback Mountain was the biggest winner of the night, and Relativity Entertainment was the commercial victor of this year’s Oscars.

The two heavyweight awards—Best Director and Best Picture—were enough for Relativity to launch another wave of promotion and distribution for Brokeback Mountain.

Chapter 913: Musical Prodigy

The Oscar awards ceremony had drawn to a close, signaling the end of another Hollywood awards season. Many companies, including Relativity Entertainment, had already begun preparations for the next one.

For example, among the films produced by Shai Entertainment, The Departed and Juno were targeting the next Oscars.

The former had not only completed filming but was also nearing the end of post-production. Its awards campaign would begin at the Cannes Film Festival in May.

The latter would be ready in time for the Venice Film Festival in August.

Although Brokeback Mountain had faced criticism from many media outlets and conservative figures after the Oscars, and there had been news of Heath Ledger publicly expressing dissatisfaction with Ang Lee within the crew, the five Oscar statuettes—especially for Best Picture and Best Director—were enough to spark a global box office frenzy.

In North America, Brokeback Mountain expanded its screenings once more, increasing the number of theaters to over 2,100. The Oscar boost was evident as the weekend box office surged from $3.2 million to $16.88 million.

The film’s cumulative North American box office had now reached $72.2 million.

As a long-running art film, Brokeback Mountain had a strong chance of breaking the $100 million mark in North America.

Overseas, the boost from the Best Picture and Best Director Oscars was equally significant. This weekend, the overseas box office reached $32.18 million, bringing the cumulative overseas total to nearly $60 million.

Embassy Pictures’ most conservative estimate placed Brokeback Mountain’s global box office at $200 million.

Relativity Entertainment’s total investment in the film, including production budget, promotional expenses for the Venice and Toronto International Film Festivals, and various North American awards season and distribution costs, amounted to $35 million.

Over $12 million of that had been spent on North American awards season promotion and PR.

With Brokeback Mountain’s triumph at the Oscars, the North American box office alone was enough for Relativity Entertainment to recoup its investment.

The Oscar boost wasn’t limited to box office—it extended to various offline channels as well.

The North American first-round television broadcast rights for Brokeback Mountain had already been sold for a staggering $10 million.

For an art film to achieve such high profits was truly remarkable.

Hollywood produced countless art films each year, but few had the commercial impact of Brokeback Mountain.

The film’s social influence far exceeded that of a typical Best Picture winner.

Just as Brokeback Mountain was fully leveraging its Oscar momentum, Ronan received another piece of good news.

On Monday, local time in the UK, the DVD for Mamma Mia! went on sale. It shattered records with first-day sales of 1.7 million copies, becoming the new champion for “highest first-day DVD and videotape sales in the UK!”

The previous record holder was Titanic, whose DVD and videotape sales reached 1.1 million copies on its first day in the UK in 1998.

Mamma Mia! surpassed that by 600,000 copies!

This film, adapted from a West End musical, demonstrated astonishing commercial vitality in its home market.

Not only were DVD sales impressive, but the box office was as well.

Mamma Mia! grossed $96.45 million in the UK during its theatrical run!

This placed it in the top five of the UK’s all-time box office rankings!

Even Ronan hadn’t expected a musical to achieve such high earnings in a single overseas market like the UK.

This also made Shai Entertainment place even greater importance on another musical project.

John Waters, the cult film director, had single-handedly created the glory of musical theater. Ronan decided to hand the project over to him entirely, with John Waters in full charge. Allianz Insurance served as a third-party guarantor, overseeing the film’s financial status.

From the project’s greenlighting last year to now, John Waters’ preparations had progressed smoothly. After discussions with Ronan, they hired Adam Shankman, director of Cheaper by the Dozen and The Pacifier, to helm the film.

Among the confirmed main cast, the crew had brought in John Travolta to play the female lead’s mother in drag, and Michelle Pfeiffer, who had once played Catwoman, to portray another important female role.

As for the female lead, the crew was truly struggling to find the right candidate. It was difficult to find a young actress who was both a capable performer and an excellent singer, and also plus-sized.

Shai Entertainment had contacted several talent agencies, receiving over a dozen recommendations, but none of the audition performances satisfied John Waters and director Adam Shankman.

Before the Oscar awards ceremony, with the assistance of Relativity Entertainment, John Waters expanded the search to English-speaking countries such as the UK, Canada, New Zealand, and Australia.

In mid-March, the Hairspray crew submitted the final audition results for the female lead to Ronan. A 17-year-old plus-sized girl from the UK had passed three rounds of auditions, defeating over a dozen competitors to secure the role.

When Ronan saw the female lead’s profile, he found it somewhat hard to believe.

This 17-year-old British girl was named Adele Adkins, from Tottenham, London. She was currently studying at the London School of Performing Arts and Technology.

According to the audition footage, Adele was a prodigy. During her audition, she sang a song she had written at the age of 16.

Although her acting could only be described as barely passable, her voice had moved John Waters and Adam Shankman.

Ronan looked at the photos in the actress’s profile and thought back, confirming that this was indeed the same Adele he had known before.

At present, Adele was still unknown, just a nobody. She had come from the UK to act in a Hollywood film on her parents’ advice.

After all, she was studying at the London School of Performing Arts and Technology.

Additionally, Adele’s classmate and friend, Jessica Cornish, had also passed the crew’s audition and secured a supporting role.

Ronan looked over this girl’s profile and felt she looked somewhat familiar, but he couldn’t recall where he had seen her before.

However, the Hairspray project still had a lot of musical and dance rehearsals ahead. Filming wouldn’t begin until June at the earliest, and it was unlikely to be completed this year. The release would have to be pushed back to 2007.

Meanwhile, the Hannah Montana crew had begun filming. Taylor Swift had easily defeated all competitors in an absolutely fair—and even somewhat favorable—audition process, becoming the female lead of this teen musical sitcom.

According to the latest updates Ronan had received, Taylor Swift had also joined the film’s music creation team, fully participating in the composition of the songs performed by Hannah Montana in the show.

This girl had a real talent for musical creation.

Scott Swift had mentioned to Ronan that Taylor Swift had recently started a new relationship.

Ronan figured that songwriting wouldn’t be a problem for Taylor.

If she ever ran out of inspiration, she could always start a new romance. For American teenagers, breaking up was as common as eating or drinking.

Come to think of it, this was also a shortcut to finding creative inspiration.

According to Ronan’s plan, if Hannah Montana received a good response, after a few seasons, they could organize a concert tour for Taylor Swift.

The original Miley Cyrus had become an idol for American teenagers with Hannah Montana before the “camel toe” incident.

At that time, Taylor Swift could also be considered a teen idol, but to achieve greater success in music and gain higher status and prestige, she had resolutely chosen to leave that path behind.

The team behind the original Taylor Swift had truly exceptional marketing and operational skills.

Whether it was her relationships, her feud with Katy Perry, or her supermodel squad, they were all powerful tools for gaining attention.

It had to be said that the music industry was also evolving with the times and societal trends. Singing well was no match for good marketing.

On the other side of the Pacific, some stars could even become famous through sheer online presence.

Relativity Entertainment’s film and television projects were all progressing steadily. Danny Boyle had officially signed with Shai Entertainment at the beginning of the year to direct Slumdog Millionaire.

Currently, he had already flown to Mumbai, India, and with the assistance of the Mountain Fund, was searching for suitable male and female actors.

On the second weekend of mid-March, Embassy Pictures released Relativity Entertainment’s second film of the year. Directed by Paul Anderson and starring Milla Jovovich, the Resident Evil series had reached its third installment, with Alice facing even more severe challenges.

This was arguably the most successful game adaptation in film history. The only director who could rival Paul Anderson in game adaptations was Uwe Boll.

Today, Brother Bao also had a new film releasing. Dead or Alive had long been completed and was just waiting for Embassy Pictures to schedule its release.

Brother Bao’s daily routine still involved finding projects through gaming, intimidating film critics with boxing, and occasionally confessing his love to his beloved at Blizzard…

This was absolutely someone with ideals, aspirations, and the drive to act on them.

Whether he was a good director or not was up to the fans to decide.

Rumor had it that fan clubs for Uwe Boll had been established in cities like New York, Los Angeles, and Berlin, with a considerable number of members—even more than some second-tier stars.

In comparison, Paul Anderson’s reputation among fans was even worse.

As Relativity Entertainment expanded, the status of Resident Evil within the company’s projects had inevitably declined significantly. Ronan had handed the entire series over to Paul Anderson and Milla Jovovich.

Paul Anderson had returned to his old ways, and Alice had finally become a female Superman.

However, Ronan didn’t voice any opinions. As long as it brought in profits, everything else was secondary.

Resident Evil 3 had extremely polarized audience reception. Fans who liked it thought the increased action and zombie-fighting scenes were particularly thrilling, while those who didn’t thought the film had nothing to offer beyond the fighting.

The film’s commercial performance was still noteworthy, with a North American opening weekend box office of $31.22 million.

This was enough to earn Paul Anderson Ronan’s green light to continue with the fourth installment.

Chapter 914: Six Hundred Billion

In just ten days, Resident Evil 3’s North American box office had neared fifty million dollars, with global box office exceeding ninety million. Combined with the earnings from the first two films—both online and offline—the revenue from the movies had already far surpassed that of the games.

Profit moves the heart—this was an eternal truth.

Capcom, the game’s developer, had not only reached out to Shai Entertainment, but the president of their North American branch, Grianov, had also personally contacted Ronan to discuss matters.

Ronan received Grianov in Relativity Tower.

A mixed-race Japanese man, Grianov spoke with the mannerisms of an islander: “Forgive the intrusion, Mr. Anderson.”

Ronan shook his hand and said, “Please, have a seat.” Then he asked, “May I ask, Mr. Grianov, what brings you here this time?”

Grianov smiled and replied, “We have been collaborating on the Resident Evil film adaptations. This time, I’ve come to discuss future cooperation.”

Ronan pretended not to understand and said, “I recall that Shai Entertainment’s second contract with Capcom clearly outlined the licensing and revenue sharing terms. Moreover, before each sequel is greenlit, Shai Entertainment renegotiates the merchandise revenue sharing as per the contract.”

“Shai Entertainment and Relativity Entertainment’s credibility is beyond reproach,” Grianov maintained his polite and subtle smile. “Capcom is also very satisfied.”

Ronan nodded slightly. “So, you’re not here to discuss new revenue sharing terms for Resident Evil 4?”

Grianov quickly replied, “Such a minor matter wouldn’t warrant bothering Mr. Anderson.”

Ronan turned to face him and said, “Relativity Entertainment and Capcom have been long-term partners for many years. If you have any requests, just say them directly.”

Grianov paused briefly, seemingly organizing his thoughts. “It’s about the film rights. Years ago, Capcom signed a film adaptation license with Samuel Hadida, who then collaborated with Shai Entertainment, transferring the rights to Shai. However, at that time, it was only for the adaptation of Resident Evil 1.”

Ronan reminded him, “But before and after the filming of Resident Evil 1, Shai Entertainment reached an agreement with your company and obtained the film adaptation rights for the entire series.”

“Capcom has no other intentions and no objections to our contract,” Grianov quickly explained. “Precisely because all film adaptation rights are with Shai Entertainment, Capcom wants to adapt Resident Evil into an animated film and thus wishes to reclaim the animated film rights.”

Ronan understood his meaning. “Capcom wants to produce an animated film?”

“Yes,” Grianov said. “Using computer CG animation.”

Ronan considered for a moment and couldn’t help but think of the dispute between Marvel Entertainment and 20th Century Fox over Fantastic Four. Completely falling out with the original creators, especially those still producing games, was not a wise choice.

“I agree in principle,” Ronan quickly decided.

Grianov hastily said, “Thank you, thank you for your support and understanding, Mr. Anderson.”

Ronan wasn’t about to give anything away for free and added, “Don’t be so quick to thank me. Shai Entertainment will return the animated film rights to Capcom, but on one condition: Capcom must give up its share of the film revenue.”

“This…” Grianov couldn’t agree.

Ronan added another condition, “Shai Entertainment will also not demand any share of the revenue from the Resident Evil animated films.”

Grianov thought for a moment and said, “I can’t decide this on my own. I need to go back and discuss it before giving you a reply.”

Ronan wasn’t in a hurry. “No problem.”

The meeting ended there, and Grianov soon took his leave from Relativity Tower.

Ronan called Robert Lee and George Clint separately to briefly discuss the matter.

What he had just proposed was nothing more than an exaggerated demand, and Capcom would surely counter with a lower offer.

Capcom wanted to reclaim the animated film rights and would have to make some compromises. Relativity Entertainment would also make appropriate concessions.

Due to the special circumstances under which the Resident Evil series rights came to Shai Entertainment, it was impossible to buy out the series rights in one go during negotiations. This meant that the revenue sharing for each sequel had to be renegotiated before each new project was greenlit.

Ronan’s goal was clear: Capcom’s share of the Resident Evil series revenue would be maintained at the level of the third film, not increasing with each sequel.

Although the Resident Evil film series didn’t have high box office numbers and had a terrible reputation—almost universally panned by game fans—it had always performed exceptionally well in the offline rental market.

For example, last year, in 2005, the first and second films combined brought in thirty-five million six hundred and twenty thousand dollars in revenue from the European and American offline markets for Relativity Entertainment.

Ronan now saw very clearly that the Resident Evil series had been able to continue film after film because of the offline market’s operation.

If they relied solely on box office, Constantin Film wouldn’t know how much money they would have lost.

The Resident Evil series, filmed up to now, had brought considerable revenue to Relativity Entertainment. Although its reputation was already terrible, as long as it could maintain a certain level of profitability, Ronan would still trust the couple of Paul Anderson and Milla Jovovich.

Frankly speaking, with Relativity Entertainment’s current development and scale, Ronan couldn’t afford to invest a lot of energy in the sequels of a successful film series.

For Hollywood, and indeed any film company, continuing along an already successful model was the least risky way to operate.

Looking across all of Hollywood, how many directors could make a sequel better than the first film?

In late March, Robert Lee finalized the negotiations with Capcom, and both parties signed another supplementary agreement regarding Resident Evil.

The animated film rights for Resident Evil were returned to Capcom by Shai Entertainment. At the same time, for all subsequent sequels filmed after Resident Evil 3, Capcom’s revenue share would be maintained at the level of the second film.

This result was better than Ronan had expected. For the time being, it directly reduced the revenue share for the fourth film by ten percent.

In the long run, if the subsequent series’ market revenue went well, it could bring Relativity Entertainment tens of millions of dollars in additional profit.

After all, as the sequels continued to be filmed, Capcom’s revenue share would inevitably keep increasing.

At the same time, Ronan received another piece of good news: Netflix’s global registered users had officially reached one hundred million!

Netflix announced this positive news through Netflix sharing.

Since going public last year, Netflix had, with ample financial support, strengthened its business promotion and operations in North America while vigorously expanding into overseas markets.

Netflix rental was the core business and the most secure source of income for the entire Netflix operation.

In February of this year, Blockbuster had fewer than thirteen hundred rental stores worldwide, making Netflix rental the undisputed global leader in film and television rental services.

Traditional rental companies led by Blockbuster were powerless to stop their rapid decline. Even after launching internet rental services, it was nothing more than a dying struggle.

It was rumored that Viacom had tried several times to sell Blockbuster, but finding a buyer was not easy.

Netflix sharing was the world’s leading social media platform. With the expansion of the smartphone market, the number of users was growing rapidly.

Online social networking was becoming a societal trend.

After acquiring YouTube, the second-largest online video company, Netflix Video’s business expanded rapidly. Many user-generated videos became popular, especially after Dege, who went from being a spontaneous video creator to the male lead of Shai Entertainment’s Wild Survival, inspired many successors.

For example, there was currently a highly popular Canadian boy on Netflix Video.

To let more people see his performances, the boy and his mother uploaded many self-made videos of cover songs through Netflix Video, which were pursued by many netizens.

As for Netflix Streaming Media, the latest business to be launched, it was also quite popular.

A rich library of films, high-quality exclusive dramas, and the thrilling “binge-watching” model attracted more and more viewers.

Starting from January of this year, Netflix Streaming Media had new exclusive dramas going online every month.

Prison Break 2, Wild Survival 2, and Lost—these three shows, while attracting many new and old users, still maintained extremely high audience reception.

Although it ended after only two seasons, Prison Break 2 gained a better reputation than if it had continued with sequels, and Dwayne Johnson’s appeal had greatly increased.

Bear Grylls needed no introduction. After two consecutive seasons of Wild Survival, he had become the spokesperson for this type of program, and many of his phrases had become popular sayings.

For example, “chicken flavor,” “rich in protein,” and the modified “what doesn’t kill you makes you stronger.”

Lost also received unanimous praise. Whether in terms of on-demand views or audience reception, it was first-rate.

In the future, Netflix Streaming Media would continue to release new exclusive dramas every month, and more exclusive dramas were in production.

This series of positive news, combined with the registered user count exceeding one hundred million, led to Netflix’s stock rising continuously. By the end of March, Netflix’s total market value had reached sixty billion dollars!

As the industry had expected, Netflix’s stock price continued to climb.

Although there was still a gap compared to traditional large companies, from finance to the internet and ordinary investors, everyone unanimously looked favorably upon Netflix’s future development.

The internet was the key to future business development, a fact recognized by the entire society.

However, to achieve rapid internet development, having network technology and user numbers was not enough; matching hardware devices were also needed.

Especially handheld mobile smart devices.

Netflix’s Android was cooperating with many phone manufacturers, and related Android system smartphones were being launched one after another. This would be an important component of future handheld smart devices.

Another major component was Apple.

With Relativity Entertainment’s acquisition of Pixar, Steve Jobs became Netflix’s third-largest shareholder, and the cooperative relationship between the two parties entered a new phase.

Chapter 915: Two Plans

Inside the Future World Estate, Ronan opened the package Connie had just sent over. Before him lay several exquisitely wrapped boxes. The apple with a bite taken out of it on top was particularly eye-catching.

Ronan took out one of the boxes and quickly unwrapped it, revealing a small smartphone inside. The screen appeared to be about 3.5 inches, and as he examined it, he found the phone to be quite thick and heavy, with a silver-gray back that turned black at the very bottom.

This was the prototype Steve Jobs had personally sent over.

Ronan turned it on to test it, then asked the housekeeper Nikita beside him, “Is it nice?”

“Very nice,” Nikita said frankly. “Is this a smartphone? It’s more compact than the usual ones.”

Ronan nodded slightly. “It is a bit smaller.”

He vaguely recalled that Steve Jobs had always insisted on a small-screen strategy, but the future trend of smartphones was toward larger screens, including Apple’s.

Ronan took out another box containing a trial device and handed it to Nikita. “This one is for you.” As Nikita curiously took it, he added, “This is a pre-release trial device. Just use it yourself; don’t let it spread. Also… well, the security isn’t very high. Don’t store important photos or files on it.”

Nikita understood Ronan, so she didn’t refuse his gift. After putting it away, she said, “I’ll remember.”

Ronan then gave another one to his bodyguard Finch.

From what he knew, the first generation of the iPhone should officially launch after this year’s Apple Developer Conference.

Finch politely declined Ronan’s gift, saying, “I’ll stick with my Nokia.”

Ronan said, “How many years have you been using that antique?”

Finch pulled out his Nokia brick phone, the back of which was already starting to peel, and said, “It’s secure.”

Nikita asked, “Can an old phone’s technology compare to a new one?”

“That’s not what I meant,” Finch said with a smile, vaguely. “I have a friend who works in Africa year-round. Recently, he encountered an emergency, and the Nokia brick phone he had in his inner pocket saved his life.”

Although Finch was being very vague, both Ronan and Nikita knew what kind of work he had done before and could guess what he meant.

Nikita said, “I didn’t expect a phone to have such a function.”

Ronan laughed. “Future phones will have many functions.”

For example, there were rumors online that the U.S. military standard-issue iPhones were directly used in military operations.

Or a certain star’s super-smartphone that could be thrown as a bomb to kill enemies in critical moments, with absolute stealth.

If various phone brands were playing cards together, one brand calls 1, another calls 2, and this one directly calls bomb!

Instant kill!

There was also a certain brand of smartphone with a built-in hot water bag function, perfect for winter use, keeping your hands warm, so you never have to worry about freezing hands in winter.

In any case, the first-generation iPhone’s functions were quite good among the smartphones of its time. Ronan sat on the sofa, fiddling with it for a while.

Due to financial reasons, Ronan had never used the first-generation iPhone. It seemed that the first generation hadn’t entered the market through official channels.

He only truly came into contact with the iPhone when the fourth generation came out.

It seemed that starting from the fourth generation, there were rumors about selling kidneys to buy phones.

Whether it was true or just hyped-up news, Ronan wasn’t sure.

But there was no doubt that Apple would develop rapidly in the next decade or so.

It was said that Apple’s profit margins were astonishing.

Therefore, Ronan had never stopped investing in Apple, increasing his shares in the company.

Finch went out for a while and, upon returning, had Nikita send all the servants away.

“What’s wrong?” Ronan asked concernedly.

“The people we sent to investigate in the UK have new information,” Finch said, slightly lowering his voice. “Last year, our people followed the target to London but didn’t get any results. The target is very low-key and only interacts with very ordinary people.”

Nikita also looked at Finch with concern. She had been involved in this matter, and she was the first to discover the anomaly.

Finch said, “Actually, our people haven’t made any clear discoveries, but after half a year of analysis, they’ve come up with some data.” He seemed quite cautious. “Apart from their daily life, the target interacts most with people from The Sun. But the target has a lot of dealings with the media industry…”

Ronan interjected, “For now, let’s abandon other leads and focus on The Sun.”

Although Finch didn’t quite understand, his execution was always strong. He immediately said, “Alright.”

Ronan reminded him again, “Don’t alert them. If there are any findings, be sure to keep it confidential.”

“Don’t worry,” Finch said. “The people we sent are trustworthy.”

Ronan sighed. “Things might get complicated.”

Finch said, “No matter how complicated it gets, no one can ignore our strength.”

After thinking for a moment, Ronan changed the subject. “Call Connie and have her pay more attention to Congress and that Black congressman in Washington.”

Recently, Connie, representing him and Relativity Entertainment, had taken several public relations experts to Washington D.C. to engage in some political activities.

Due to certain reasons, it wasn’t convenient for Ronan to go, nor was it suitable for him to participate personally.

This was also for safety considerations.

Finch said, “I’ll call Connie later.”

Nikita then said, “I’ll prepare an encrypted phone.”

Ronan didn’t pay attention to these two and left the villa, entering the garden behind. He walked through the quiet flower beds, deep in thought.

Many business matters involved not only financial factors but also political ones.

Therefore, at this stage, it was impossible to complete them, and the difficulty of achieving the goal was enormous.

But Relativity Entertainment had been heavily investing in that dark-skinned man for many years, not expecting him to bring much assistance, but just to ensure that politics didn’t become a significant obstacle.

2008 was a U.S. election year. Under normal circumstances, in January 2009, the White House would have a new occupant.

The dark-skinned man had already decided to participate in the 2008 election.

Although, following the normal trajectory, the dark-skinned man wouldn’t rise to power until 2009, Relativity Entertainment couldn’t wait until 2009 to take action.

Most of the preparatory work had to be done in advance.

Over the next week, Ronan met repeatedly with Robert Iger, but he didn’t mention the matters surrounding him.

The focus of their discussions remained Relativity Entertainment’s future expansion plans.

“In summary, we have two main goals,” Ronan said to Robert Iger in the office. “First, content production remains the top priority. With sufficient content, our channels can fully exert their strength, and extensive channels can be converted into massive commercial profits.”

He then raised two fingers. “Second, to have a significant voice in Hollywood and strive to secure a seat in the MPAA.”

Robert Iger said, “In terms of content production, after acquiring a series of copyrights from Disney, other major companies have also become more vigilant toward Relativity Entertainment. It’s imaginably difficult for us to obtain hot series from other companies.”

Ronan nodded slightly. “I understand. It’s a bit unrealistic to expect to get anything more from the Big Six. I do have a deal with Warner Bros., but whether it can be achieved is hard to say now.”

Warner Bros. hadn’t followed up since Charles Roven contacted him.

Based on Ronan’s speculation, Warner Bros. was probably waiting to see the production and market response of The Dark Knight.

Ronan wasn’t in a hurry. Once The Dark Knight was released, Relativity Entertainment would be more proactive.

“Your reputation precedes you; Warner Bros. will certainly have some concerns,” Robert Iger said thoughtfully. “What other copyrights are there?”

Ronan replied, “The most attractive series in Hollywood, the one with the broadest acceptance among North American audiences.”

Robert Iger, a Hollywood professional manager, naturally understood what Ronan meant. He looked over in surprise and asked, “You mean… the Star Wars series?”

He found it hard to believe. “Would Lucasfilm sell the Star Wars copyright?”

“Lucasfilm won’t sell the Star Wars series copyright separately,” Ronan first stated a fact, then resolved Robert Iger’s confusion. “If the timing is right, we can try to acquire Lucasfilm!”

This answer was a bit unexpected for Robert Iger.

Ronan simply said, “The Star Wars series copyright alone is worth our effort, not to mention they also have Indiana Jones and Industrial Light & Magic. With Industrial Light & Magic, Relativity Entertainment would have the ability to independently produce special effects.”

Robert Iger quickly regained his composure. Listening to Ronan’s words, he quickly thought of Ronan’s recent years of friendship with George Lucas and the significant effort he had put into the USC School of Cinematic Arts alumni association, instantly understanding.

“You’ve had this planned for a while, haven’t you?” Robert Iger said with a smile. “Ronan, did you have this idea years ago?”

Ronan admitted, “It was just an initial idea. To realize it, I need you to make a plan and carry out the specific operations.”

Robert Iger slowly nodded. This was indeed one of his specialties.

Ronan continued, “I’ve learned that George Lucas has retirement plans but hasn’t cultivated a successor for Lucasfilm.”

Robert Iger followed up, “So, George Lucas might sell Lucasfilm?”

“Yes,” Ronan said, having interacted with George Lucas multiple times. “This possibility is very high.”

Robert Iger said, “I’ll start the preliminary preparations, but Relativity Entertainment needs to digest the previous gains and accumulate strength again. This must be a long-term plan.”

Ronan said, “Lucas won’t retire in the next year or two.”

Robert Iger nodded, then asked, “What about the MPAA? Disney won’t help us anymore.”

Ronan smiled and said, “It’s hard to join anew; we can only find a way among the existing members.”

Chapter 916: Lincoln

“Hollywood’s Big Six have essentially been carved up,” Robert Iger continued Ronan’s thought. “Disney is the only one that truly evolved from a studio into an entertainment media conglomerate. But no matter which one we look at, swallowing them whole would be difficult.”

Ronan nodded. “Indeed, if our strength were sufficient, the final goal of the Disney plan wouldn’t be what it is now.”

At the end of the day, Relativity Entertainment still wasn’t powerful enough. Otherwise, they would have directly acquired Disney.

Robert Iger stated simply, “At this stage, if we tried to swallow Disney, we’d choke. We might lose more than we gain.”

Ronan gave a slight nod. “A snake swallowing an elephant isn’t suitable for us.”

If Relativity Entertainment were willing to sell off large amounts of Netflix shares and make deals with Wall Street, raising the funds to acquire Walt Disney wasn’t impossible.

The problem was that Netflix had only recently gone public, and its stock price was rising rapidly. Giving up controlling shares would clearly mean losing more.

“We need six months to a year to digest the gains from the previous plan,” Robert Iger, as Relativity Entertainment’s Chief Operating Officer, had a clear understanding of the entire group. “Then, with three more years of rapid development to build up our strength, we can wait for the right opportunity to see if one of the Big Six runs into trouble.”

Ronan said, “Opportunities require both patience and our active creation.”

Hearing this, and considering Ronan’s past actions, Robert Iger couldn’t help but make an association. “Do you have a specific target and plan of action?”

Ronan tapped his fingers lightly, calculating for a moment before saying, “Bob, you should know that last year, in the first half and at the end, 20th Century Fox snatched several film projects from us.”

Robert Iger replied, “I know. Roland Emmerich’s 10,000 BC… Well, you had announced plans to make films about Exodus and Robin Hood, but 20th Century Fox beat us to greenlighting them. Also, at the end of last year, in your Blacklist Plan, there was a disaster film project about storms that 20th Century Fox also took from us…”

He looked at Ronan. “Are there problems with these projects?”

“I can’t be sure,” Ronan said roughly. “But personally, I don’t have high hopes for their future.”

Most people saying such things wouldn’t be taken seriously, but coming from Ronan, it was different. Robert Iger took it seriously. “From what I understand, each of these four projects has a production budget of over one hundred million dollars. And 20th Century Fox holds the majority of the investment. Adding in the unavoidable promotional and distribution expenses, the total investment will approach or even exceed two hundred million dollars. If they all fail in a short period, it will inevitably affect 20th Century Fox’s cash flow, possibly even causing liquidity issues for the entire company.”

Ronan said, “That still isn’t enough.”

“Indeed,” Robert Iger agreed rationally. “They are 20th Century Fox, after all. Unless they face other major crises simultaneously, we won’t have a chance.”

Ronan couldn’t disclose what hadn’t been confirmed yet. He simply instructed, “Keep an eye on 20th Century Fox. See if an opportunity arises in the future.”

Robert Iger agreed. “Understood.”

Ronan’s strengths lay in strategic direction and decision-making, but the specific operations required someone like Robert Iger, a highly capable professional manager.

Robert Iger had already proven his abilities and professionalism. Ronan’s trust in him was no different from his trust in old-timers like Robert Lee and George Clint.

At this stage, and for a long time to come, Relativity Entertainment might not find a better Chief Executive Officer than Robert Iger.

Soon, Ronan would discuss contract renewal with Robert Iger, extending his term as much as possible to 2015 or beyond.

To retain outstanding talent, they would have to pay a substantial price.

Besides a salary increase, Ronan had also prepared new stock options.

In America’s business world, it wasn’t uncommon for Chief Executive Officers to be poached with better offers.

It wasn’t just Robert Iger; many executives in Relativity Entertainment’s subsidiaries would need to discuss contract renewals in the next phase.

Maintaining a relatively stable management team was crucial for the entire group’s development.

Back in the office, Connie brought the monthly bestseller list.

Ronan first made himself a cup of tea before quickly browsing through it. However, the books that truly caught his attention on this list had their copyrights already taken.

For example, the top-ranked Harry Potter and the Goblet of Fire, and David Mitchell’s sci-fi novel Cloud Atlas.

Connie had marked some of the novels based on the information she had. Next to Harry Potter and the Goblet of Fire and Cloud Atlas, she had noted that the copyrights belonged to Warner Bros.

The former needed no introduction, and the latter Ronan also remembered because it was directed by the Wachowskis, one of the consecutive box office flops in their directing careers.

The careers of these two directors fully illustrated what it meant to peak early and decline steadily.

After Cloud Atlas, they never directed another film, switching to television instead.

Frankly, that TV series carried on the Wachowskis’ usual strengths—big ideas and very appealing on the surface.

Perhaps they were too far down the path of philosophical speculation to turn back, or perhaps audiences had grown tired of their works always being so esoteric. In the end, the TV series was canceled.

After finishing the bestseller list, Ronan received a call from Spielberg. The old man asked again about the previously agreed-upon directing project—was there a concrete plan yet?

For now, Ronan hadn’t found a project suitable for Spielberg to direct.

After 2010, Ronan hadn’t been deeply impressed by many of Spielberg’s films.

Many of the films Spielberg directed weren’t particularly successful. It seemed that the Spielberg style of filmmaking had become outdated.

The two films Ronan remembered most clearly were Lincoln and Ready Player One.

He remembered the former because many media outlets called it Spielberg’s late-career masterpiece, a rare commercial success in political themes. It also earned Hollywood’s renowned actor Daniel Day-Lewis his third Best Actor Oscar.

The latter was notable for its numerous electronic game references. At the time, it was touted as a grand celebration for game fans, filled with so many gaming jokes and references that Ronan couldn’t understand most of them. He had even looked up detailed information online.

Thus, Ronan also knew that, like Lincoln, it was an adaptation. He vaguely remembered that its production budget was nearly two hundred million dollars, and its North American box office was less than one hundred and fifty million.

The film should have performed well overseas, but overseas box office shares were much lower than in North America. Adding in the massive promotional and distribution expenses, Ready Player One would likely struggle to break even. Profitability would depend on merchandise.

But with so many copyrights involved, merchandise would also be complicated.

Ronan was cautious about Ready Player One, but he had also looked into the original work. As far as he knew, it hadn’t been published yet, and there were no similar VR game-themed novels.

Was it worth spending Spielberg’s directing contract on such an uncertain project with complex merchandise rights that made profitability questionable? It was hard to say.

Most importantly, this type of subject matter couldn’t have its budget cut. To achieve the desired effect, investing enough in special effects was necessary.

Ronan hadn’t made a final decision. Everything depended on the original work.

Moreover, investing over two hundred million dollars in a game movie project made Ronan extremely doubtful.

For example, Brother Bao’s game adaptation films, Ronan could easily approve because their production budgets were only a few million dollars. Even with promotion and distribution, the total investment was just over ten million. Given Brother Bao’s current momentum, such an investment was entirely justified because the ironclad fans he attracted online were enough to ensure a return.

If Brother Bao were to direct a game project with tens of millions of dollars in investment, it would be a guaranteed loss.

Of course, Brother Bao and Spielberg weren’t comparable.

After all, Brother Bao and Paul Anderson were known as Hollywood’s two most successful game adaptation film directors.

Brother Bao truly loved game adaptation films, second only to his love for Blizzard.

Perhaps in the future, they could have Brother Bao direct Ready Player One. The various bootlegged game jokes might be quite interesting. And with Hollywood’s filmmaking model, these bootlegged elements wouldn’t require copyright authorization.

Special effects made with a few million dollars would definitely bring game players to tears.

Super eye-searing!

Ronan called Connie and instructed, “How much do you know about literary works on Lincoln?”

“I’ve read some,” Connie answered quickly. “He’s the most deified president in America. There are too many works about him, from novels to political documentaries, and various modified versions.”

Ronan directly said, “Collect as many literary works about Lincoln as possible and make a content outline for me.”

There were too many works about Lincoln for Ronan to read them all. The best approach was to have his assistant team create an outline so he could browse the relevant content.

“Understood,” Connie replied, then asked, “When do you need it?”

Ronan said, “As soon as possible.”

Connie responded, “I’ll mobilize people to prepare it right away.”

There were indeed too many literary works about Lincoln, probably more than the speculations about the truth behind Kennedy’s assassination.

Ronan spent the morning at the company. In the afternoon, Relativity Tower suddenly became lively. A film crew from Shai Entertainment entered Century City to shoot on location at Relativity Tower.

The most conspicuous among them was Michael Bay, pulling a long face!

Explosion Bay was preparing to wreak havoc on Relativity Tower in his movie.

Chapter 917: What Catches the Eye

In the afternoon, the main road in front of Relativity Tower in Century City was temporarily closed, and vehicles were towed into Beverly Hills, the most iconic business center in the area.

In addition to trucks, sports cars, and ambulances, an M1 tank was also transported in by a tow truck.

Thanks to Shai Entertainment’s thorough preparations, the city of Beverly Hills provided strong support for the filming of Transformers.

Not only did they allow on-location shooting in Century City, but they also approved Michael Bay’s request to film explosive action scenes.

Of course, the debris from the explosions had to be cleaned up the same day.

The production team had hired a professional company that was on standby in the underground parking garage of Relativity Tower, ready to restore the filming area to its original state at any moment.

Filming explosive scenes in the city was nothing new for Hollywood crews, especially for Michael Bay.

As the lead producer of the project and a seasoned professional, Ronan also appeared on set.

“Hey, Ronan.”

As Ronan stepped out of Relativity Tower and approached the director’s area, the sharp-eyed Candice Swaneepoel spotted him and immediately came over to greet him. “Long time no see.”

Ronan nodded slightly. “Good afternoon, Candice.” He couldn’t help but look her over. “You look stunning today.”

Candice Swaneepoel was wearing low-rise skinny jeans that accentuated her long legs and shapely figure, while her upper body was clad in a short white sleeveless shirt, tied at the waist to reveal her slender midriff and flat stomach. She was the epitome of a perfect decorative presence.

Candice Swaneepoel confidently displayed herself to Ronan and said, “The director requested this.”

Ronan nodded slightly. “Very nice. Candice, there are many stars in Hollywood, but to truly stand out, you need your own unique appeal.”

Candice Swaneepoel smiled and said, “I understand.”

As a professionally trained model-turned-actress, Candice Swaneepoel’s figure was beyond reproach. She wasn’t the typical stick-thin model but had a voluptuous figure with long legs, a slim waist, and nearly perfect proportions.

Ronan lightly patted her shoulder in encouragement. “Keep it up.”

Candice Swaneepoel nodded firmly. “I will.”

Ronan entered the director’s area and saw Michael Bay giving instructions to his deputy and department heads. He didn’t interrupt.

A few minutes later, the crowd around the director’s position gradually dispersed.

“Is the filming going smoothly?” Ronan asked.

Michael Bay smiled and said, “Overall, it’s going well. The Pentagon has been very supportive, so many scenes involving military equipment don’t require much effort from us.”

Ronan asked again, “How is Candice Swaneepoel doing?”

Michael Bay replied directly, “The actress you recommended is great—a natural decorative presence.”

Ronan said, “Make the most of her strengths.”

Michael Bay said, “Based on her characteristics, the scene designer and I have created many scenes that allow her to fully showcase her talents. There will be some related scenes filmed soon; you can take a look.”

Ronan smiled. “I’ve always believed in your abilities in this area.”

Michael Bay’s approach to filming scenes with decorative presence actors was always simple and direct, yet the results were outstanding.

With filming about to begin, Ronan didn’t say much more. He simply stood quietly near the director’s monitor, watching the proceedings.

With a loud shout from Michael Bay, filming officially began.

Century City instantly transformed into a battlefield!

Gunfire and explosions echoed through the air as cars were “blown up” one after another.

Hollywood’s pyrotechnics experts were highly skilled. Despite the impressive explosions, the road and surrounding buildings remained unharmed.

More dangerous explosions, of course, couldn’t be filmed on location in Century City. Some were shot in front of green screens in studios, while others were added in post-production.

In all the filmed scenes, the two factions of Transformers were entirely computer-generated.

Ronan watched as Henry Cavill, playing Duke, began his scene. The burly British actor kept firing his gun at the empty air…

After a few scenes, it was time for Candice Swaneepoel, playing the female lead, to film her part.

This was a running scene where the female lead had to dash through a battlefield where Autobots and American soldiers were fighting Decepticons, all while dodging gunfire, to find a suitable vehicle to rescue Bumblebee.

Though it seemed like a simple running scene, it wasn’t just about running—she had to run with the flair of a leading lady!

At Michael Bay’s command, filming began. Candice Swaneepoel sprinted out from behind a bus used as cover. An explosion suddenly erupted behind her, and amid the smoke, she dodged the blast and debris before continuing her run, eventually reaching the small plaza in front of Relativity Tower…

“Cut!” Michael Bay shouted, stopping the filming. “All departments, reset!”

It was clear he wasn’t satisfied with the scene they had just filmed.

Michael Bay left the director’s area and went to the edge of the set, waving his hand. “Candice, come here!”

Candice Swaneepoel quickly approached, listening to the director’s guidance while a makeup artist touched up her look.

“Director?” Candice Swaneepoel glanced at Ronan, who was standing nearby, and asked Michael Bay with her usual humility, “Did I do something wrong?”

As the primary person in charge on set, Michael Bay didn’t mince words. “Remember what I told you when we were filming at Edwards Air Force Base? You’re the female lead, the main character, one of the faces of this film. Always remember one principle—you must be absolutely beautiful!”

Candice Swaneepoel was a bit confused. Today’s outfit was practically a walking hormone bomb—wasn’t that enough?

Michael Bay continued, “Empty beauty isn’t enough; it lacks soul! Your character is a progressive, independent woman of the 21st century!”

He wasn’t finished. “What kind of woman joins the final battle of the movie without bulletproof gear or a gun and comes out unscathed? Besides using her beauty to turn danger into safety, she must also have fearless spirit and a determined gaze in critical moments!”

Due to her age and experience, Candice Swaneepoel couldn’t fully grasp what Michael Bay was saying, so she simply nodded in response.

Michael Bay began to instruct her. “For this scene, you need to create a fiery moment! Make every audience member watching the screen close their mouths in awe at the stunning new woman you portray!”

Candice Swaneepoel asked, not fully understanding, “What should I do?”

Michael Bay said, “In the face of an explosion, the human body is fragile. It’s normal to be knocked down by the shockwave. I’ll give you a close-up of the fall, and you must showcase your strengths during the process!”

Candice Swaneepoel knew what her strengths were and why Ronan had chosen her as the female lead.

“I understand,” Candice Swaneepoel said.

Michael Bay gave one last reminder. “You need to be sunny, open, sexy, charming, proactive, and independent. You need to save yourself and even rescue the Transformers, not wait for someone else to save you.”

He asked, “Understood?”

Candice Swaneepoel replied, “Understood.”

Michael Bay waved his hand. “Get ready; let’s do it again.”

This time, Michael Bay changed his filming strategy. In addition to the following camera, he had another cameraman constantly in front of Candice Swaneepoel, capturing close-up shots of her.

Filming quickly began again. Candice Swaneepoel sprinted out from behind the bus used as cover. Unlike the previous take, this time she maintained a seductive posture that defied human biomechanics as she ran, her long legs and flat, sexy waist seemingly magnetic.

Boom—

An explosion erupted, and a burst of smoke and fire filled the air behind her. Candice Swaneepoel immediately unleashed her special move, falling at the perfect moment in a way that seemed entirely inappropriate.

Amid the battlefield’s glow, Candice Swaneepoel appeared to lose sight of the path ahead, as if affected by the explosion’s shockwave, and dramatically fell to the ground, her golden hair flying.

“Cut!” Michael Bay shouted, stopping the filming. Before Candice Swaneepoel could get up, he loudly declared, “Excellent! Perfect!”

Ronan couldn’t help but admire Michael Bay’s style.

In that shot, besides showcasing Candice Swaneepoel’s figure, why did she have to fall?

Michael Bay said to his assistant nearby, “Extract a high-definition screenshot from this shot to use for promotional posters…”

When it came to commercial instincts, this great director was exceptionally sharp, knowing exactly what would catch people’s eyes.

Ronan didn’t say anything but silently nodded in approval of Michael Bay’s filming.

Filming continued. Although Candice Swaneepoel’s role fully demonstrated the independent qualities of a new woman, under Michael Bay’s direction, it was more about showcasing how to film the perfect decorative presence role.

With this filming approach, Ronan had a premonition that Candice Swaneepoel would have no trouble earning a Golden Raspberry nomination for Worst Actress in the future.

But this was Michael Bay, and this was Transformers, which knew how to attract attention.

Beyond the cold, mechanical robots and the epic battle between Autobots and Decepticons, the female lead’s fiery performance would also be a highlight of the film.

Just think of Megan Fox—she was incredibly popular.

The Transformers crew didn’t film in Century City for very long, as it was a famous business district, and the production had to work quickly.

Embassy Pictures had officially set the release date: Transformers would premiere in the summer season of the following year, 2007.

This would give the production team ample time for post-production.

The crew spent most of the day filming on the ground floor and top floor of Relativity Tower. Henry Cavill, who played Duke, suddenly approached Ronan.

Chapter 918: Needlework

Over the weekend, many employees gathered on the first floor of Relativity Tower to watch the filming of Transformers.

Although they worked for a film company, many administrative staff rarely got to see filming in action, especially scenes where actors performed against nothing but air.

All the Transformers would be added in post-production, so scenes involving dialogue with them required either acting against empty space or using temporary models to help the actors get into character.

Henry Cavill, playing Duke, was fully armed and filming a scene where he spoke with the Autobots.

Ronan stood in the nearby rest area, occasionally glancing at his wristwatch.

Today, he had arranged to meet Will Smith and Tom Cruise for lunch at Relativity Tower.

Recently, North American entertainment media, especially tabloids, had been stirring up rumors about Will Smith and I, Robot’s female lead, Bridget Moyna. Many reports claimed that the Smiths were on the verge of divorce.

During the crew’s break, Henry Cavill, dressed in military gear, approached but was stopped by Finch.

“Mr. Anderson,” Henry Cavill said, “can we talk for a moment?”

Ronan waved his hand, and Finch let Henry Cavill through.

Henry Cavill said, “I came specifically to thank you for giving me the opportunity to play this role.”

Ronan invited him to sit and said, “Your audition performance was outstanding enough.”

Henry Cavill continued, “I signed a long-term contract with Shai Entertainment. It’s my greatest honor to work with you and your company long-term…”

Ronan looked at Henry Cavill, clearly sensing there was more to his words.

Henry Cavill went on, “So, I also auditioned for the male lead in Twilight.”

Ronan nodded slightly. “I heard from producer Lindsay Bill.”

“Unfortunately,” Henry Cavill sighed, “I didn’t pass the audition.”

Ronan already knew this. Lindsay Bill had already briefed him on the situation. After Kristen Stewart turned sixteen, the production team had signed her to play Isabella.

The male lead, Edward, ultimately went to Robert Pattinson after his audition.

Henry Cavill, unlike his rugged appearance, suddenly lowered his voice and said, “You may not know this, but before the final audition, Robert Pattinson flew from the UK to director Catherine Hardwicke’s home to discuss…”

Ronan replied indifferently, “I know.”

Henry Cavill couldn’t continue. He pointed toward the temporary set and said, “It’s about time. I should go film.”

Ronan waved his hand. “Go ahead.”

As for Robert Pattinson, director Catherine Hardwicke only had advisory power. The real decision-maker was Lindsay Bill. Even if Robert Pattinson had won over Catherine Hardwicke, it wouldn’t have mattered if his audition wasn’t suitable.

Whether anything happened between the fifty-year-old female director and the twenty-year-old heartthrob at her home, Ronan and Lindsay Bill didn’t care.

In Hollywood, such situations were nothing out of the ordinary.

Henry Cavill seemed dissatisfied with failing the Twilight audition.

Actors often competed openly or secretly, but few had ever directly expressed their discontent in front of Ronan.

After Will Smith and Tom Cruise arrived, Ronan quickly put the minor incident out of his mind. The three didn’t go far, eating lunch at a nearby restaurant.

At the table, Ronan asked with concern, “You’re not really getting a divorce, are you?”

Will Smith said, “How could I get a divorce? Those shameless tabloids and paparazzi are just stirring up nonsense.”

Tom Cruise added, “The tabloids and paparazzi are crazier than ever.”

Ronan shrugged. “Is that so?”

“You wouldn’t feel it!” Will Smith said. “They wouldn’t dare mess with you.”

Ronan said, “Am I that scary? I’m a good person.”

“You are a good person,” Tom Cruise said, knowing a thing or two. “Those Disney executives are supposedly spitting blood.”

Ronan steered the conversation back. “You’re okay, right? Do you want me to put in a word for you?”

“No need, it’s nothing,” Will Smith said naturally. “Even though Jada and I haven’t seen each other for over eighty days, we’re not getting a divorce.”

Ronan was speechless. The Smiths’ way of handling their relationship was something others couldn’t replicate.

Living separate lives sounded easy, but doing it was hard.

Ronan put down his knife and fork and said, “You and Bridget Moyna had so many bikini girls at a private beach party at the hotel. You can’t blame people for taking photos.”

Will Smith said, “Those people are just jealous!” He suddenly laughed. “What can they do with the photos they took? I can have those girls line up for me, while they can only watch the big planes!”

Tom Cruise pointed at Will Smith. “You…”

Will Smith had a natural talent for comedy. “Calling them big planes is flattering them. At best, they’re just doing needlework!”

Even Ronan couldn’t help but laugh. “Will, you should write a comedy script yourself.”

Tom Cruise said, “Will’s scripts would only be suitable for San Fernando Valley.”

Will Smith shrugged. “I can talk about it, but writing is another story.”

The three chatted about their recent lives and some industry gossip. Will Smith mentioned that Charlie Sheen had thrown a massive party in San Fernando Valley a couple of days ago, inviting a large group of artists.

The atmosphere was reportedly so intense it was about to explode. The neighbors, unable to bear it any longer, had to call the police from the rooftop of their villa.

It made sense—if you’re throwing a wild party and your neighbors can only watch, anyone would lose their patience!

“Charlie Sheen is notorious for causing trouble,” Will Smith said. “Throwing a party like that at home is fine; at most, they’d get a warning. But the police found multiple illegal drugs at the party. They even took a blood sample from Charlie Sheen. Once the results are confirmed, he’ll have to pay a hefty bail to avoid trouble.”

Ronan said, “Parties are fine, but illegal drugs are off-limits.”

Tom Cruise agreed. “Nowadays, many people don’t even understand this basic principle.”

Will Smith said, “Charlie Sheen’s blood test results haven’t been released yet. Who knows what tricks might be involved.”

None of the three believed in the fairness and justice of American law enforcement.

The hostages shot by the police, the private car owners used as human shields in shootouts—there was nothing they could do about it.

In this world, the power of money was not to be underestimated in any country.

Charlie Sheen was probably wealthy too.

The conversation turned to football. Tom Cruise said, “Unless something unexpected happens, Manchester United will successfully defend their Premier League title this season. After their home victory against Chelsea, they’ve opened a five-point lead in the standings.”

Will Smith added, “The UEFA Champions League is going smoothly too. We’ve eliminated Juventus and advanced to the semifinals. Our opponent is Villarreal from La Liga. As long as nothing major happens, reaching the final shouldn’t be a problem.”

Ronan nodded. “Defending the Premier League title is part of the plan, but the Champions League is tough. Since the format changed, no team has successfully defended the title.”

“Yes,” Tom Cruise said cautiously. “Manchester United’s opponent will be either AC Milan or Barcelona. Neither will be easy.”

Ronan thought carefully. At this time, AC Milan hadn’t declined yet and boasted stars like Kaká and Shevchenko.

As for Barcelona, Ronaldinho was at his peak.

This was supposedly Rijkaard’s Barcelona, dubbed the “Dream Team II” by Catalan media.

This team would probably be harder to deal with than AC Milan.

Ronan remembered something and asked Tom Cruise, who always kept an eye on Manchester United, “How’s Robben’s injury?”

“Still recovering,” Tom Cruise said. “He hasn’t started ball training yet. He probably won’t return this season.”

Will Smith added, “No need to worry. The player you insisted on buying last summer, Iniesta, has taken Robben’s place. Although their styles differ, the threat Iniesta poses is no less. Unlike Robben, who’s purely an attacker, Iniesta is also skilled at organizing attacks. If we need a more direct approach, we can use Leo Messi.”

Tom Cruise continued, “Ferguson’s exact words: Messi has an incredibly terrifying talent.”

Ronan could imagine that Manchester United wasn’t short on talent and wouldn’t be affected by the absence of any single player.

Over the past two years, Manchester United had accumulated a strong squad through transfers.

“Hopefully, we can win more titles,” Ronan said. “The more titles, the higher Manchester United’s value.”

Tom Cruise smiled. This investment was worth it!

Will Smith suddenly reminded them, “There’s something we should prepare for in advance. Ferguson had heart problems recently. If he retires, the head coach position…”

Ronan said, “I’ve talked to Ferguson in detail. As long as his health allows, he’ll coach until around 2010.” He thought for a moment and added, “We should indeed consider a successor for the head coach position. We can’t be caught off guard.”

Tom Cruise asked, “Do you have a suitable candidate?”

Ronan shook his head slightly. “Not yet.”

He wouldn’t consider English or British Isles coaches.

There were good candidates from other leagues.

It seemed Klopp was already coaching in the Bundesliga, though he wasn’t sure which club. From a long-term planning perspective, Klopp might be a good choice.

Chapter 919: Lincoln Knows Martial Arts

After the weekend, Ronan had Connie retrieve the records of Manchester United. He had always maintained a hands-off approach to the Premier League giant, focusing on oversight and financial control while letting the professionals handle their work.

The club’s Chief Executive Officer, David Gill, had considered resigning at the end of last year but was persuaded by Ronan to stay with a financial incentive. Over the years, David Gill had proven himself a capable manager for a top-tier club.

As for Alex Ferguson, the veteran Scottish manager had led Manchester United through a technical revolution, cultivating a team that balanced exceptional ball control with the traditional speed, aggression, and physicality of the Premier League.

Most importantly, Ferguson’s authority kept the dressing room stable, ensuring no single star player could disrupt the team’s harmony. As long as Ferguson remained at the helm, Ronan had little to worry about regarding the team’s performance.

However, Ferguson was now sixty-five, and though his health was generally good, he had a heart condition. Ronan remembered clearly that Ferguson had continued managing well into the 2010s. But heart-related illnesses were unpredictable, and it was wise to prepare for any eventuality.

After discussing the matter with Tom Cruise and Will Smith, Ronan reached out to Tony Koch, the owner of Hertha Berlin in the Bundesliga. Tony was aggressively recruiting young talent from Germany and Eastern Europe, likely to engage in some shady dealings, and might have information on Jürgen Klopp.

Ronan only knew of Klopp’s achievements after he became manager of Borussia Dortmund, winning the Bundesliga title. His earlier career was a mystery. The information Tony Koch provided was surprising—Hertha Berlin had already secured Klopp’s services for the next season. Currently, Klopp was managing Mainz in the Bundesliga, with his contract expiring at the end of the season.

It made sense that Klopp had caught Tony Koch’s attention. According to the data, Klopp had been named the second-best manager in Germany for the 2004-2005 season, just behind Felix Magath, who had led Bayern Munich to a double title.

Ronan didn’t comment further. Klopp’s move to Hertha Berlin meant he was now on Manchester United’s radar. The club already had several young players, including Pique, on loan to Hertha Berlin for development. Klopp, too, was still honing his skills—not yet the “Shit Uncle” he would become.

This made him a potential future option for Manchester United. While there were many renowned English managers in the Premier League, Ronan preferred not to appoint an Englishman as Manchester United’s manager unless absolutely necessary. Similarly, while adhering to FA regulations, the club would not prioritize English players in future transfers.

This wasn’t a bias against English football professionals but a lesson learned from past experiences. Too often, English talents had lofty ambitions but lacked the substance to back them up. Take Rooney the Tank, for example. This season, he had gradually lost his status as an undisputed starter at Manchester United, reduced to a rotational player.

Though the English saw him as a once-in-a-century prodigy, in Manchester United’s competitive forward line—facing off against Cristiano Ronaldo, Arjen Robben, Didier Drogba, Iniesta, and even the young Leo Messi—Rooney had no clear advantage. His struggles with alcoholism and poor discipline had even led Ferguson to bench him at one point.

Once considered more talented than Cristiano Ronaldo, his career trajectory had taken a sharp turn for the worse. Many Fleet Street media outlets criticized Ferguson, accusing him of stifling the future English king’s development.

At the end of this season, Manchester United planned to strengthen their striker position, at least to provide competition for Drogba. Their current target was Torres. If they succeeded in signing him, Rooney’s already limited opportunities would shrink further.

As for the managerial position, Ronan had considered other candidates besides Klopp. It was always better to be prepared. In another seven or eight years, Qi Xuanzong, with his incredible luck, might also be a viable option. After all, his three consecutive UEFA Champions League titles were legendary.

After discussing matters with Tony Koch, Ronan received more good news—Luka Modrić had been signed from the Croatian league to Hertha Berlin. Additionally, at Tony Koch’s request, Ronan would loan Dong to Hertha Berlin for the next season. Playing in the Bundesliga surrounded by young talent might help Dong grow, perhaps even triggering a breakthrough.

The neighbor of Manchester United, the Sun, might not be dominating the Premier League, but he had shown the ability to start for mid-table teams. Ronan still held out hope that Dong wouldn’t become a “sales-type” forward.

There had been a news story about a “sales-type” midfielder joining a team, and the infamous “Jingmei Sports,” known for its controversial takes, claimed that this midfielder had the potential to outshine two of his competitors. Jingmei’s audacity was legendary, comparable to the length of Beijing’s Fifth Ring Road. The two competitors in question were Perisic and… De Bruyne.

Ronan instructed Connie’s team to create a dossier on Klopp and hire professionals to monitor and evaluate his progress, ensuring they stayed updated on his development. This would be independent of Manchester United, as Ferguson was still in charge with no immediate plans to retire.

In the afternoon, Connie delivered a detailed report on various literary works related to Lincoln. Due to the vast number of works, it had taken her team several days to compile a comprehensive list with summaries.

“There are many types,” Connie explained briefly. “They include Lincoln’s speeches, biographies, political documentaries, and various novels.”

Ronan took the list, dismissed Connie with a wave, and began reading. Connie quietly left the office.

The list was extensive. The first section alone contained numerous biographies: Lincoln, Lincoln: The Untold Story, Lincoln and His Rivals, The Life of Lincoln…

Ronan skimmed the list and then quickly browsed the summaries to find content that matched his expectations. When he reached the novels, two titles immediately caught his eye.

Just from the names, he knew these weren’t ordinary books.

Lincoln vs. Zombies!

Vampire Hunter Lincoln!

These “Iron Fist Invincible XXX” style novels were far more interesting to Ronan than traditional biographies. The latter, in particular, seemed vaguely familiar.

Ronan first read the summary of Lincoln vs. Zombies. The content matched the title. During the Gettysburg Address, Lincoln understood the significance of his words: he learned that a past threat had returned, threatening to tear the divided nation apart. He had to venture deep into enemy territory to face an opponent more terrifying than the Confederate Army—zombies!

This was a book about Lincoln chopping up zombies.

Then Ronan read the summary of Vampire Hunter Lincoln. After some thought, he realized he had seen a related movie. Giant Axe-Lincoln was a vampire hunter who discovered that the slave owners in the Southern states were actually vampires. Though he slayed many Southern vampires with his giant axe, his individual strength was no match for their numbers. Thus, Lincoln resolutely entered politics, leading the North to defeat the vampire South.

Ronan had Connie bring him the novels. The sheer absurdity of Lincoln wielding a giant axe to slay vampires was off the charts! Truly, Lincoln knew martial arts—even slave owners couldn’t stop him!

Reading the novels, Ronan suddenly wondered if the author had seen Cherry Blossom Divine Axe Washington. Did that mean the man in the White House had a giant axe as a basic skill? The ruthless president’s axe was hungry for blood!

Ronan set the novels aside and began considering the feasibility of adapting them into films.

First, this was Hollywood. Parodying great past presidents in a positive light was entirely acceptable.

Second, the contrast and sense of harmony from such a parody could be a major selling point for the film.

Third, since it was a parody, it would naturally fall into the cult genre, with a limited audience. Therefore, the budget had to be tightly controlled, preferably at a B-movie level, to avoid financial losses.

Finally, they needed the right director. The director’s style was crucial for cult films, as it deeply influenced the final product.

After some thought, Ronan had a few candidates in mind.

Not only Vampire Hunter Lincoln, but Lincoln vs. Zombies could also be adapted. However, the budget for a zombie film would have to be even lower.

Ronan browsed through other novels but didn’t find any other types that interested him. His attention shifted to the list of political documentary literature.

Compared to the chaotic biographies and wildly imaginative novels, these political documentaries were more serious and realistic. At the very least, they didn’t indulge in baseless fabrications. Even if fictionalized, they maintained a semblance of plausibility.

After reading a few, Ronan’s gaze settled on Team of Rivals: The Political Genius of Abraham Lincoln, a historical political documentary by Doris Kearns Goodwin, a Pulitzer Prize winner.

The content could be summarized in one sentence: the political events surrounding Lincoln’s push for the 13th Amendment to the Constitution, which abolished slavery, as the Civil War neared its end.

This amendment was about Black rights.

Ronan quickly realized—this was the original work for the Lincoln film! With the Black civil rights movement gaining momentum, such a film would perfectly align with the social climate.

After reviewing all the lists and summaries, Ronan immediately instructed Connie to have Robert Lee purchase the rights to Lincoln vs. Zombies, Vampire Hunter Lincoln, and Team of Rivals: The Political Genius of Abraham Lincoln.

Chapter 920: The Parody Director

Relativity Entertainment’s various companies and departments had always operated with high efficiency. Just a few days later, Robert Lee compiled the reports from his subordinates and sent a dedicated work email to Ronan.

The most successful acquisition was Abraham Lincoln: Vampire Hunter. The original author, Seth Grahame-Smith, was an obscure writer, and his novel—a parody of Lincoln’s life—hadn’t sold many copies. Now that Hollywood producers were knocking on his door, he had no intention of refusing.

For ordinary writers, film adaptations meant a chance to make money and gain fame.

So, Seth Grahame-Smith proposed a price of five hundred thousand dollars.

Compared to the work’s reputation and sales, this price was a bit high. The negotiator sent by Robert Lee countered with three hundred thousand dollars, along with a buyout of the rights to Seth Grahame-Smith’s two novels.

In the end, both parties settled on four hundred thousand dollars.

In addition to Abraham Lincoln: Vampire Hunter, Relativity Entertainment also secured the film rights to another of Seth Grahame-Smith’s novels.

This was another parody.

The novel was titled Pride and Prejudice and Zombies.

In short, it was a fanfiction of Jane Austen’s novel, where Elizabeth Bennet leads the Bennet family in slaying zombies.

Once the rights were secured, Ronan immediately had Connie send the original Abraham Lincoln: Vampire Hunter to Uwe Boll.

Although it wasn’t a game adaptation, who better than Brother Bao to direct this kind of vampire parody? Brother Bao could definitely make the film super weird—so much so that even the most professional Lincoln scholars wouldn’t recognize it!

Soon, there was news about the adaptation rights for Team of Rivals: The Political Genius of Abraham Lincoln.

After the legal department contacted Doris Kearns Goodwin, she expressed interest in the film adaptation but proposed a staggering five million dollars for the rights.

Robert Lee personally made a trip to meet with Doris Kearns Goodwin. There was one point she couldn’t change: Relativity Entertainment didn’t need her authorization to make a film about the Thirteenth Amendment.

Since Lincoln’s life story wasn’t protected by exclusive copyright, even without the original work, they could still adapt the events surrounding the Thirteenth Amendment. However, this would create many unnecessary complications.

Relativity Entertainment ultimately paid two million dollars for the rights.

Even without Doris Kearns Goodwin, they wouldn’t save much—such as collecting new materials or hiring legal consultants to avoid copyright conflicts with Team of Rivals: The Political Genius of Abraham Lincoln.

Doris Kearns Goodwin had extensively researched Lincoln’s life, and the two million dollars also included hiring her as a special consultant for the adaptation.

Ronan then contacted Spielberg and sent him Team of Rivals: The Political Genius of Abraham Lincoln.

Spielberg himself wasn’t skilled in scriptwriting, so Shai Entertainment’s screenwriters would handle the adaptation.

This project wouldn’t be filmed immediately; the script would need to be coordinated with Spielberg.

With the signing of the two copyright agreements, Relativity Entertainment had two more film projects in the pipeline.

The rights for Abraham Lincoln, Vampire Hunter were not going smoothly. After contacting the original author and publisher, the legal department discovered that the film rights had already been sold.

Although the staff had made initial contact with the buyer, who didn’t refuse, they had one condition—Ronan had to meet with them personally.

The buyer was Richard Schenker, a Hollywood screenwriter, director, and producer. However, the few films he had been involved in were all obscure videotape movies that Ronan had never even heard of.

In short, none of them had a budget exceeding one hundred thousand dollars.

For Abraham Lincoln, Vampire Hunter, Ronan’s plan was a small project with a million-dollar investment, and it was more of an optional type. Not getting it wasn’t a big deal.

So, Ronan didn’t immediately agree, telling the legal department to put it on hold for now.

On the third weekend of April, following The Da Vinci Code and Resident Evil 3, Embassy Pictures released its third film of the year.

As one of many series films, Deadly Curve, which featured deformed people torturing American teenagers, released its fourth installment.

The first three films had a combined box office of two hundred million dollars, so Relativity Entertainment naturally couldn’t let it go.

This kind of brainless gory horror film had always had an audience in the offline rental market.

However, the commercial revenue of this series had been declining.

Shai Entertainment had repeatedly cut the production budget.

By the third film, the production cost was only five million dollars.

But from the first day of its official release, the film had decent attendance and appealed to a significant portion of the audience.

Sometimes, people outside North America or the media found it hard to imagine why some obviously stupid and disgusting films were so eagerly watched by American audiences, who seemed to enjoy them endlessly.

Many of Hollywood’s low-budget gory horror films and grindhouse B-movies could actually be classified as brainless films.

Yet, it was precisely these films that often created miracles of achieving big results with small investments.

Perhaps a comment left by a viewer who had seen Deadly Curve 4 on the IMDb review section was quite representative:

“These kinds of movies are like fast food from KFC or McDonald’s. Sometimes, after you’re tired of formal banquets, searching the streets for gourmet food, or laboring in the kitchen at home, having a meal like this is quite refreshing.”

Although it was junk fast food, just like choosing whether you wanted your chicken wings fried, roasted, sweet, spicy, naked, or breaded, the Deadly Curve series, under Shai Entertainment’s production, had its unique flavor.

In short: beautiful women doing all kinds of stupid things, beautiful women taking off their clothes in all kinds of brainless ways.

Deadly Curve 4 had the most girls in the series and the most brutal scenes, and of course, the lowest ratings.

The audience cultivated by the first three films was still there, and with Deadly Curve 4 carrying the brand effect of a sequel, it earned ten point two one million dollars at the North American box office in its first weekend.

Although this was the worst opening box office number in the series, it still represented that the film could generate considerable profits.

Based on market feedback data, Embassy Pictures predicted that the final North American box office for this brainless gory horror film would reach thirty million dollars without a problem, and the global box office also had a chance to stay above fifty million dollars.

Thus, the fifth installment was naturally put on the production schedule.

But anyone with a keen eye could see that the lifespan of this series was almost exhausted.

Ronan also made a decision: the fifth film would be the final installment of the Deadly Curve series.

The final installment didn’t mean the end of the films; if the opportunity arose in the future, they could still be made to make money.

This weekend had just passed when Uwe Boll came to Relativity Tower to find Ronan.

“I’ve read the original twice and have been thinking about script adaptation and film creation these past few days,” Uwe Boll said, rubbing his increasingly shiny forehead in the office. “I have some ideas.”

Ronan looked at him and asked, “Are you willing to direct this project?”

Uwe Boll answered without hesitation, “Yes! This kind of interesting material is perfect for me.” He revealed a rather simple smile: “Although it’s not a game adaptation, we can completely shoot and produce it as if it were a video game adaptation. Lincoln is like a game character, the vampires are bosses, and to end the Civil War and free the slaves, Lincoln must wield his axe and kill his way through!”

Ronan believed in Brother Bao’s abilities. Brother Bao could definitely make the film super weird and super tacky: “Tell me your ideas.”

Uwe Boll put away his smile and said seriously, “This is how I see it. The future film will, in a solemn biographical style, rewrite the life of the greatest president in American history, revealing a mysterious past hidden beneath the surface. This will be the first time Lincoln is crowned as the great vampire hunter, opening up a new, subversive world for the bloody but beloved vampire film genre.”

Ronan didn’t interrupt, just listened.

Uwe Boll had clearly given this deep thought: “I believe no one would associate Lincoln’s name with vampire hunter. The fact that these two names can now appear together already exceeds everyone’s expectations and imagination… But for us filmmakers, this is precisely an unconventional opportunity and topic to fully immerse ourselves in. We weave the key and important historical events that defined Lincoln and the entire United States into a classic vampire legend filled with mystery and excitement.”

He grew more excited as he spoke: “Lincoln’s life has too many coincidences with classic comic book superheroes… So, with such a mythical personal legend, we create a dual world—by day, he is the President of the United States; by night, he transforms into a vampire hunter.”

After he finished, Ronan finally spoke: “Uwe, create the script in your own way and style. I’m handing this project over to you.”

As always, Brother Bao had proven that his B-movies with budgets of a few million dollars had a corresponding market.

Uwe Boll didn’t stay long. With Dead or Alive completed, he had finally found a suitable new project.

In his view, this material was so pure, simple, yet possessed an unusually powerful impact.

At noon, Ronan had lunch with Jessica Felton and casually discussed the early planning for Fast & Furious 4.

Returning to Relativity Tower, just as he was about to enter, someone suddenly blocked his path.

A balding middle-aged man saw the bodyguards appear and quickly stopped, to avoid any misunderstanding. Then, from a distance, he introduced himself to Ronan: “Good afternoon, Mr. Anderson. I’m Richard Schenker. There’s a film I’d like you to see.”

Chapter 921: Fifty Thousand Dollars

Relativity Tower, in the small screening room next to Ronan’s office, Richard Schenker watched the film he had directed play out on the small screen. His gaze occasionally drifted over to Ronan and Jessica Felton, as if trying to see through the expressionless young man and woman.

The film had almost no scenes, relying entirely on dialogue to carry the plot.

Or perhaps it was more accurate to say it was just listening to someone brag.

To be precise, it was like when you were a kid, and a group of people would gather around to listen to that one guy with the gift of gab spin his tales.

Everyone would argue back, but the braggart would always find a way to justify himself, turning one absurd claim into another.

No one could ever refute him because he was like a super keyboard warrior, able to come up with ten thousand even more outrageous reasons to prove he wasn’t just bragging.

After all, the entire world—no, the entire universe—was in his mouth.

By the time they had watched a third of the film, Jessica Felton was the first to give up. Though she didn’t close her eyes, her attention was no longer on the movie. Instead, she found the unusually familiar Ronan far more interesting to look at.

She had never thought Ronan was particularly good-looking before. Could this be a case of “no comparison, no harm”?

In the eyes of this typical tech geek, what was playing on the screen couldn’t even be called a proper film.

Whether it was the cinematography, editing, or camera work, it wasn’t even as good as the grindhouse films of the seventies.

At best, it could be classified as an experimental film.

In terms of the basic elements of filmmaking, this piece had no highlights—it wasn’t even close to being passable.

Jessica Felton, who pursued technical perfection, naturally couldn’t tolerate such a film.

Ronan had seen far more bad films than Jessica Felton. Though this one was terrible in his eyes, he still managed to watch nearly half of it.

“Let’s stop here.” Ronan finally didn’t make it to the end—it was too boring. “Don’t play it anymore.”

Compared to this, the universally acknowledged terrible films Brother Bao had made were far more exciting.

The staff stopped the screening. The lights on the ceiling came on, and the curtains automatically opened.

Richard Schenker immediately realized things weren’t looking good. It seemed his film hadn’t moved these two.

Ronan ignored Richard Schenker and turned to ask, “What do you think?”

Jessica Felton was still polite: “Maybe my philosophical thinking and religious literacy aren’t up to par. I didn’t resonate with it at all.”

Ronan sighed inwardly. From the audience’s perspective, if they had to sit in a theater and watch this kind of film, he doubted many viewers could endure it.

“Mr. Schenker.” Ronan took the initiative to speak. “Thank you for bringing the film.”

Richard Schenker said, “It’s I who should be thanking you, Mr. Anderson, for taking the time to watch my humble work.”

Ronan asked, “Has the title for this film been finalized?”

Richard Schenker replied, “It has. I haven’t had time to add the opening sequence yet. The title is This Man Comes from Earth.”

Ronan wasn’t surprised by the title at all. He had thought of it while watching.

Richard Schenker tentatively asked, “I wonder what Mr. Anderson thinks of this film…”

One of the reasons he had held back the copyright for Abraham Lincoln, Vampire Hunter and refused to negotiate with Relativity Entertainment was to also promote this film. Unexpectedly, Relativity Entertainment had gone silent afterward, cutting off contact with him. Worried, he had taken the initiative to come here.

Since the film had been made with money, and now that it had come to Relativity Entertainment, Richard Schenker naturally wanted to sell This Man Comes from Earth, preferably at the highest possible profit.

Ronan asked directly, “Mr. Schenker, at what price do you want to sell it?”

“One…” Richard Schenker, seeing Ronan’s intense gaze and recalling the screening, lowered his asking price. “One million dollars!”

To impress Ronan, he added another condition: “And I will transfer the copyright for Abraham Lincoln, Vampire Hunter to Relativity Entertainment.”

Jessica Felton, hearing the last part, couldn’t help but look over curiously. Abraham Lincoln, Vampire Hunter? What kind of film was that?

Ronan didn’t answer immediately. Instead, he carefully recalled the information about this film. Given the massive reputation This Man Comes from Earth had on the other side of the Pacific, one million dollars seemed like a bargain.

Some even called it the epitome of a high-risk, high-reward gamble.

Of course, Ronan didn’t see it that way, so he said, “Fifty thousand dollars, to buy out all the rights to this film. The copyright for Abraham Lincoln, Vampire Hunter we’ll discuss separately.”

“Huh?” Richard Schenker was stunned at first, then broke into a bitter smile. To be honest, he didn’t think this film could fetch a high price, but fifty thousand was too low. He added, “To be frank, the production of this film cost me two hundred thousand dollars front to back. After all, it’s a sci-fi film. I believe there will be an audience who likes it…”

Ronan raised his hand to cut him off: “If this can even be called a sci-fi film…” He shook his head slightly, not bothering to say more, and casually remarked, “If it weren’t for the copyright to Abraham Lincoln, Vampire Hunter, I wouldn’t buy this film. A fifty-thousand-dollar investment might not even break even.”

He added, “This film has no value for theatrical release. It can only go straight to the DVD market.”

Richard Schenker was in a difficult position: “Fifty thousand is too low.”

Ronan didn’t say more: “Mr. Schenker, you can try selling it to other companies.”

Richard Schenker was taken aback: “I…”

This meant there was nothing left to discuss.

Ronan remembered something. This film had once been endlessly hyped on the other side of the Pacific, to the point where the hype was unparalleled.

He recalled that not long after starting his last job, two colleagues had a heated argument over their differing opinions on This Man Comes from Earth.

One thought the film was brilliant, calling it the best sci-fi film of the year.

This wasn’t a big deal—after all, watching films was a highly subjective experience, and everyone had different tastes.

But while praising the film, he also claimed it had earned over one hundred million dollars at the North American box office and had consistently ranked in the top three for DVD sales and rentals.

The other colleague, unable to stand the mindless hype, gathered a large amount of firsthand data to refute him. After verifying from multiple sources, it was clear that This Man Comes from Earth had not only failed to earn over one hundred million dollars at the North American box office—it hadn’t even entered the North American theater market at all.

As for the claim that it had consistently sold well in DVD sales and rentals, that was also a fabrication by mindless fans. North America had annual DVD sales and rental charts, and not only was it not in the top ten, but its name didn’t appear in any year’s top twenty.

Of course, This Man Comes from Earth had definitely profited in the offline market because it did have some heat and was hyped by certain niche groups.

The film’s cost was right there—any slight heat in the market could generate a profit.

This public humiliation had naturally created bad blood between the two, and they had been at odds for years.

Years later, when the even lower-budget This Man Comes from Earth 2 was released, the colleague who had debunked the claims had even cited data, saying the global box office had only been five thousand dollars.

He had specifically emphasized—five thousand, not fifty million.

Ronan didn’t stay in the screening room much longer. He called Jessica Felton, and they went to the floor where the post-production studios were located. Several films had completed post-production and needed his review to finalize the theatrical version.

As for Richard Schenker’s matter, Ronan handed it off to the Copyright and Legal Affairs Department, which sent only an ordinary employee to handle it.

To Ronan’s surprise, a few days later, Richard Schenker actually sold This Man Comes from Earth to Relativity Entertainment for the same price—fifty thousand dollars.

Connie asked about the details. Before coming to Relativity Entertainment, Richard Schenker had pitched the film to several companies. After Ronan rejected his offer, he had approached many more film companies.

But a film that lacked even the most basic cinematic feel naturally wouldn’t fetch a high price from any company.

As for one million dollars—unless everyone in Hollywood had gone mad.

Frankly, this film’s selling points were far worse than The Blair Witch Project.

A group of people sitting around listening to someone brag—from a market perspective, it was severely lacking in appeal.

After making the rounds, Richard Schenker discovered that Ronan’s offer was actually the highest. Most companies not only wouldn’t make an offer but didn’t even want to buy it.

In the end, Richard Schenker signed a contract with Embassy Pictures, a subsidiary of Relativity Entertainment, selling all rights to This Man Comes from Earth for fifty thousand dollars.

At the same time, the adaptation rights for Abraham Lincoln, Vampire Hunter were transferred to Shai Entertainment by Richard Schenker for two hundred thousand dollars.

Ronan estimated that the reason Richard Schenker agreed to the deal was that the cost of This Man Comes from Earth probably wasn’t two hundred thousand dollars—likely just a few thousand.

Regarding this film, Embassy Pictures would definitely not invest heavily in promotion. They would first do a limited release in a few theaters. If the response was poor, they would pull it immediately and throw it into the DVD market.

Ronan did have an idea: This Man Comes from Earth was highly praised on the other side of the Pacific. If legitimate DVDs were released there, would those artsy youths be willing to pay for their own hype and highbrow tastes?

He only mentioned this idea to Embassy Pictures. For this fifty-thousand-dollar film, no matter which distribution channel it ended up in, controlling costs was essential.

Ronan then stopped paying attention. As April passed day by day, the North American summer season of 2006 was about to begin.

At the start of this summer season, Relativity Entertainment’s long-planned cinematic universe would officially kick off. Iron Man would be released nationwide, seizing the superhero film market.

Ever since the first trailer was shown during the Super Bowl, the promotional blitz for Iron Man had been relentless.

Chapter 922: The Moment of Rise

Starting in April, Iron Man entered its final pre-release promotional phase, with a relentless barrage of news and advertisements flooding the United States.

To get more people interested in the film, they couldn’t just wait for audiences to come to them.

This was the beginning of the “Avengers Initiative,” and its success or failure would determine the fate of the entire series of projects to follow. Ronan spared no expense—while the production budget for Iron Man was only one hundred and fifty million dollars, the global promotional and distribution budget soared to one hundred and twenty million dollars.

It was no exaggeration to say that Relativity Entertainment had never invested such a massive amount in promotion and distribution for any film before.

Not just in North America, but in every major market worldwide, advertisements for Iron Man were everywhere.

As for generating buzz around the film’s creative team, that was just standard practice.

In mid-April, Gisele Bündchen, who played Pepper Potts, held a grand engagement party with NFL superstar and New England Patriots quarterback Tom Brady, drawing the attention of countless entertainment, sports, and fashion media outlets.

Naturally, Gisele’s first leading role in Iron Man was repeatedly mentioned by the press.

Unfortunately, Leonardo DiCaprio was dragged into the spotlight by numerous media outlets, with some entertainment reporters even asking him directly about his thoughts on Gisele’s engagement.

To everyone’s surprise, instead of dismissing the reporter, Leonardo actually answered the question.

“I wish Gisele happiness,” Leonardo said. “I won’t forget her. Gisele was my greatest love.”

As soon as this news broke, Leonardo and his current girlfriend, Bar Refaeli, officially called it quits.

It seemed Leonardo had grown tired of the Israeli model.

A few days later, reporters spotted Leonardo strolling along Santa Monica Beach with Blake Lively, the female lead of Netflix’s hit series Gossip Girl.

Though no longer a supermodel, Blake Lively’s appearance was still stunning enough to keep Leonardo faithful to his usual type.

Blake Lively had become the envy of all female fans, successfully winning over her longtime idol…

The male lead, Robert Downey Jr., was also making headlines left and right. There was simply too much to dig into about him.

Headlines like: “Robert Downey Jr., Hollywood’s Problem Child!”

“From Troubled Star to Triumphant Return—Robert Downey Jr. on the Verge of a Comeback!”

“After watching the Iron Man trailer, we can’t help but sigh: The talented but troubled actor is finally back.”

Hollywood and North American audiences had always been forgiving toward troubled actors, and people seemed to love a redemption story—but only if the film itself was good enough.

The distributor, Embassy Pictures, released three key advertisements, each featuring Tony Stark in a way that immediately grabbed attention.

The first ad showed Tony building the Mark I in a cave before taking flight after wiping out a group of terrorists.

The second ad featured Iron Man battling an F-22 Raptor, with both the suit and the jet being major draws.

The third ad showcased Iron Man effortlessly firing a missile that obliterated a heavy tank!

These three ads, perfectly capturing Iron Man’s personality, piqued the interest of countless viewers.

Robert Downey Jr. himself cherished this hard-won opportunity, especially with his devoted wife, Susan Downey, by his side.

The two had married the previous year, and Susan Levin, to show her full support and trust in Robert, had even taken his last name.

One could say that without Susan Downey, there would be no Iron Man about to hit the screens.

In all his promotional appearances, Robert Downey Jr. pulled out all the stops to generate buzz.

For example, during the film’s pre-production, he repeatedly mentioned spending an entire year preparing for the role of Tony Stark, including over six months of physical training.

“I’ve never played a role like this in any of my previous films,” Robert Downey Jr. also took the opportunity to promote himself. “And at over forty years old, this kind of training was quite challenging. I did yoga, had a nutritionist plan my meals, and controlled my sleep schedule. These preparations aren’t visible in the film, but they’re absolutely essential. Many people think Hollywood stars are arrogant and temperamental, but the truth is, we’re under a lot of pressure. Many newcomers end up fading away or falling into bad habits.”

Even when reporters brought up his past criticism of superhero films and his drug issues, Robert Downey Jr. handled it with grace.

“Many of my friends are involved in this film,” he said. “Making sci-fi films or adapting comic books isn’t some radical act anymore. Didn’t Marlon Brando play a villain in Superman? My past dismissive attitude toward comic book movies was clearly too hasty.”

Robert Downey Jr. even joked about his drug problems: “When I was filming this movie, my friends would see me and ask, ‘What’s going on with you? Are you saving up for drugs again?’”

After years of ups and downs, Robert Downey Jr. had finally matured. He was no longer the reckless troublemaker he had been a few years ago.

Next, Relativity Entertainment would fully mold Robert Downey Jr. into the living embodiment of Tony Stark.

Robert Downey Jr. was the real-life Iron Man!

Beyond traditional media promotions, advertisements, and appearances, Iron Man’s marketing blitz was equally fierce on internet and new media platforms.

For instance, Netflix Video secured exclusive content, releasing numerous behind-the-scenes clips ahead of time.

Netflix sharing also featured plenty of gossip, like the untold story between Black Widow and Iron Man.

There was also a lot of buzz surrounding Black Widow, who would appear in the first film.

But Iron Man was at best a second-tier hero, and Black Widow was practically unknown—if it weren’t for Scarlett Johansson playing her, she wouldn’t have drawn much attention.

A ten-second clip on Netflix sharing, reposted millions of times, showed Scarlett Johansson’s Black Widow effortlessly taking down several mercenaries.

Just like in Iron Man 2, when Black Widow stormed Hammer Industries, countless viewers were instantly hooked.

This was one of Scarlett Johansson’s peak moments in terms of beauty and physique, and with the tailored action scenes, she was simply sexy and cool beyond belief.

Of course, fans wouldn’t know that among the stunt doubles for Black Widow, the one with the highest screen time was a male actor of similar height to Scarlett Johansson.

But that didn’t stop Black Widow from attracting a significant amount of attention.

With its massive production, huge investment, and aggressive marketing, Iron Man had already generated considerable heat before the summer season even began.

Many films, if promoted and distributed well, could perform decently in their opening week even if the film itself was mediocre.

Moreover, after multiple rounds of internal screenings, both Relativity Entertainment and representatives from commercial cinema chains were highly optimistic about Iron Man’s market prospects.

In the North American market, Embassy Pictures had done extensive work, securing a wide release in four thousand two hundred and eighty theaters.

Meanwhile, more good news arrived—Embassy Pictures’ Eastern branch reported that several films under Relativity Entertainment, including Iron Man, had passed the censorship of “The Big Scissors” and would be released in Eastern markets one to two weeks after their North American premiere.

Of course, films like 300 were definitely not included.

Everything was moving in a favorable direction.

As the first major blockbuster of the summer season and the inaugural film of Marvel’s Avengers Initiative, Embassy Pictures prepared a grand premiere for Iron Man, sending out numerous invitations to industry elites.

Ronan’s guest list included Hollywood heavyweights like Chris from Sony Entertainment, Spielberg and Katzenberg from DreamWorks, the two wealthy bosses from Maple Leaf Entertainment, and the portly Harvey Weinstein.

Kevin Tsujihara and Charles Roven from Warner Bros. were, of course, invited!

Once Iron Man was publicly released, Relativity Entertainment’s Avengers Initiative for Marvel would be fully exposed. Warner Bros., which owned DC Comics, would easily guess Relativity’s intentions.

If Iron Man failed, it wouldn’t be a big deal, but if it succeeded, Warner Bros. and DC Comics would undoubtedly feel the pressure.

Director Zack Snyder had already signed with Warner Bros. and DC Comics and was preparing Watchmen.

Before the first weekend of May 2006 arrived, Embassy Pictures held a grand premiere for Iron Man at the Nokia Theatre.

This was the biggest premiere of the year so far.

Nokia Plaza in front of the Nokia Theatre had practically become an ocean of Marvel heroes.

Not only did it feature Iron Man and Black Widow from the film, but also Captain America, Thor, Hawkeye, The Hulk, Captain Marvel, and Doctor Strange—all in brand-new character designs—appearing in the exhibition area of Nokia Plaza.

Anyone familiar with the film industry could easily sense Relativity Entertainment’s grand ambitions.

Some people, thinking of the man behind it all—Ronan Anderson—instinctively felt that Marvel might have a bright new future ahead.

Compared to the wildly successful Spider-Man and X-Men films, Marvel’s core had been in decline for far too long.

Only the old-timers at Marvel Comics knew how difficult it had been for Marvel to survive.

Acquisitions, bankruptcies, reorganizations, and more acquisitions—Marvel had teetered on the edge of collapse multiple times before finally finding a strong backer in Relativity Entertainment. Everything seemed poised to change today!

Marvel’s moment of rise had arrived!

Chapter 923: Iron Man

The sun dipped toward the west, and the bustling crowds at Nokia Plaza gradually turned toward the Nokia Theatre. A long red carpet stretched from the theater entrance, winding across the plaza and onto the outer road.

Guests began to arrive one after another. First came the executives from Relativity Entertainment, including Ronan and Kevin Feige. Stan Lee, Avi Arad, and other high-ranking officials from Marvel Entertainment also made their way over.

In this era without real heroes, fictional icons had always been revered. Hollywood’s comic book heroes had been making their way from the pages to the big screen one after another, and now, Iron Man was finally taking flight.

Inside the theater lobby, Kevin Feige looked at the life-sized Iron Man model and said to Ronan, “I believe this will mark the beginning of a new era in film.”

Ronan nodded slowly. Though he didn’t say it aloud, he was filled with anticipation, hoping that a new era of Marvel superhero films would begin today.

Many guests arrived in succession, including Tom Cruise and Will Smith, who had traveled from out of town to cheer on Relativity Entertainment.

Ronan, as the host, greeted the guests in the foyer, demonstrating the importance he placed on Iron Man.

Tom Cruise and Will Smith each gave Ronan a pat on the arm. “Wishing you success.”

When Jessica Felton arrived, she softly said, “Don’t put too much pressure on yourself.”

As one of the top executives in production, she knew how much Ronan valued this project. Relativity Entertainment had invested heavily in it.

Including the acquisition of Marvel Entertainment and the funding over the past few years, Relativity’s total investment in the Marvel superhero film plan was estimated to be around five hundred million dollars.

For Iron Man alone, the production and promotional budget totaled two hundred and seventy million dollars.

Ronan smiled in response. “Don’t worry, Jess. It will be a success.”

Jessica Felton nodded slightly, not saying much more, and walked into the theater alone.

After exchanging a few words with Kevin Feige about the latest developments in The Hulk, Harvey Weinstein, the portly man, approached.

“I saw your test screening,” Harvey Weinstein said to Ronan with a friendly smile. “A great plan. Wishing you success, Ronan.”

Ronan shook his hand. “Thank you.”

Harvey Weinstein asked, “By the way, how’s that film you bought, The Man from Earth? Richard Schenker tried to sell it to me, but the price was too high, so I passed.”

Ronan replied directly, “That kind of film doesn’t have a market in theaters. Embassy Pictures tried it out—five theaters for a week in late April. Box office… I think it was only a little over a thousand dollars. To break even, they’ll have to rely on the offline market.”

Harvey Weinstein wasn’t surprised; this aligned with his judgment. He asked curiously, “How big is the offline market?”

Ronan smiled. “Hard to say.”

In reality, Embassy Pictures had made an estimate. Since the production cost was only fifty thousand dollars, they had the network department post on movie recommendation sites to hype it up. With DVD sales, they expected a few hundred thousand dollars in revenue this year.

Either way, it wouldn’t break even, but it would add a quirky title to their film library.

The stream of guests continued. Spielberg arrived, but Jeffrey Katzenberg couldn’t attend Ronan’s invitation due to a business trip to the Eastern markets.

The market on the other side of the Pacific was attracting more and more attention. Not just Relativity Entertainment—Ronan had heard that Jeffrey Katzenberg intended to collaborate with Eastern capital to establish an Eastern DreamWorks Animation studio.

Over the past two years, the film industry technology there had made significant progress. Even some of Hollywood’s special effects work was being outsourced to professional companies there, and this would become a trend.

Films that had once been criticized for their “five-cent special effects” weren’t necessarily due to technological limitations but rather investment constraints.

Special effects were something that required burning money.

To achieve grandeur and beauty, one had to spend a fortune.

But Eastern films, after all, only had one market. The real distribution channels were essentially limited to box office revenue.

Overseas markets were scarce, merchandise income was minimal, and controlling investment scale became a necessary option.

Fortunately, the Eastern film market was growing larger, and it had produced several films that created box office miracles in a single market.

“Hey, Ronan.”

Due to their current close cooperation, Kevin Tsujihara, the Chief Executive Officer of Warner Bros, personally attended and shook Ronan’s hand tightly. “I hear your film is amazing.”

Ronan smiled. “When it comes to filming superhero movies, Relativity and Marvel Entertainment still have much to learn from Warner Bros and DC Comics.”

Kevin Tsujihara deliberately asked, “Didn’t you gain enough experience from the Batman film project?”

Ronan calmly replied, “DC Comics is the pioneer; Marvel Entertainment is just the follower.”

Kevin Tsujihara glanced at the Iron Man model behind Ronan and said, “Wishing you success.”

“Thank you.” Ronan then shook hands with Charles Roven beside him. “Long time no see. What have you been busy with lately?”

Charles Roven said, “Preparing Watchmen with Zack.”

Ronan nodded slightly. “The style of that comic is very suitable for Zack Snyder.”

“Yes.” Charles Roven smiled. “Zack and DC Comics’ creators share the same vision.”

Ronan politely replied, “Wishing you success as well.”

Robert Downey Jr. and Susan Downey then approached, while Kevin Tsujihara and Charles Roven went straight into the theater.

Finding their seats, Kevin Tsujihara asked, “Will this film be a huge hit?”

Charles Roven spoke honestly, “The test screenings have been fantastic. The entertainment value is said to be exceptionally strong, and…” He sighed. “There’s still that issue. According to the information I have, this will be the beginning of Relativity Entertainment’s series of plans for Marvel superhero films.”

The film had been test-screened multiple times. As a direct competitor to Marvel Entertainment, Warner Bros naturally received a lot of information. Kevin Tsujihara said, “Ronan Anderson and Relativity Entertainment plan to place all the Marvel superhero characters with available copyrights in the same universe and film The Avengers.”

Charles Roven said, “Yes, their plan is long-term and very ambitious.”

Kevin Tsujihara asked, “Do you think this plan can succeed?”

“With someone else, it’s hard to say.” Charles Roven pointed toward the theater entrance. “But with Ronan Anderson in charge, the chances of success increase by at least fifty percent.”

Kevin Tsujihara was silent for a moment before saying, “We’re falling behind. We need to respond.”

Charles Roven reminded him, “The Dark Knight has already finished filming. Although it’s a co-production with Shai Entertainment, we’ve also invested heavily. Before the new DC superhero films, we need to consider the reception of this film.”

Kevin Tsujihara asked directly, “Your suggestion?”

Charles Roven said, “The dark style of Batman Begins suits DC well. The Dark Knight will further darken the tone. We should first see the market response to The Dark Knight and then determine the style of the series…”

Kevin Tsujihara expressed his greatest concern, “But Christopher Nolan is a supporter of Ronan Anderson. I hear they’ve already reached an agreement to collaborate on a new sci-fi film after The Dark Knight.”

“It’s fine.” Charles Roven said, “I’ve already found a suitable replacement.”

Kevin Tsujihara asked, “You mean Zack Snyder? Can he… handle it?”

Charles Roven lowered his voice, “There are two tests. First, 300, which is also a comic book adaptation of a superhero film, releasing this summer. Second, Watchmen. If both films receive good reviews, Zack Snyder will be a suitable choice.”

Kevin Tsujihara thought for a moment and said, “Alright, let’s see how successful these films, including Iron Man, can be first.”

In the theater foyer, Scarlett Johansson deliberately stayed until last, accompanying Ronan into the auditorium.

“There’s Thor and Captain America in the plans.” Scarlett Johansson linked arms with Ronan. “Why isn’t there an independent film for me?”

Ronan smiled. “There will be. The Black Widow standalone film is already in early planning. Don’t forget, your role is crucial—you’re the key figure connecting all the superheroes.”

Scarlett Johansson leaned close to his ear and said, “Wait for me after the premiere.”

Ronan nodded slightly. “The usual place.”

The two entered the auditorium. Scarlett Johansson took a seat in the front row, while Ronan sat next to Kevin Feige.

Right on time, the ceiling lights dimmed, and the big screen lit up. The opening sequences of Embassy Pictures and Marvel Entertainment appeared one after another.

Then, the screen showed a black man in a military uniform.

Don Cheadle, the black actor who had signed a long-term contract with Shai Entertainment, played the role of Iron Patriot, though at this point, he was still Colonel Rhodes.

“Tony Stark, dreamer, genius, patriot. From a young age, as the son of legendary weapons developer Howard Stark, he quickly gained attention with his brilliant intellect…”

The film’s opening established the protagonist’s persona—a passionate, outgoing, intelligent showman, a playboy, and a rich second-generation heir who was always the center of attention wherever he went, never lacking in female companionship.

Chapter 924: The Rich Fight by Burning Money

The film’s pace was incredibly fast, with the camera always focused on Tony Stark. Although the script’s framework came from Ronan and the director was Jon Favreau, the appearance of Black Widow had caused many changes to the plot.

For example, after the awards ceremony, a male reporter insulted Tony Stark, who then snatched the reporter’s camera and threw it away. The reporter sued Happy and Tony, and the company’s legal advisor, Natasha, arrived at Tony Stark’s home to provide legal services.

This was the S.H.I.E.L.D. agent planted by the major shareholder of Stark Industries, S.H.I.E.L.D., at Tony Stark’s side.

The Tony Stark presented on the big screen was a character everyone admired and envied—luxurious mansions, expensive cars, beautiful assistants, private jets, and billions of dollars in wealth. He had been with countless stars, enough to make anyone drool.

Such a smooth-sailing person couldn’t change his ideals without experiencing a major setback.

Thus, the best way was to make Tony Stark face a major crisis.

It was the 21st century, so it was impossible to go back to the battlefields of the 1960s and 1970s. Tony Stark, in a way that fit the social trends, went to Afghanistan to sell his Jericho missiles to the U.S. military.

Then came the terrorist attack.

The attacked Humvee convoy had only five vehicles. Someone suggested adding a few more, but since all the vehicles were to be destroyed, Jon Favreau believed more funds should be allocated to special effects production, and the convoy was just for show.

Those who actively considered the financial issues of the production company were at least not bad directors.

Perhaps Jon Favreau’s directing skills weren’t top-tier in Hollywood, but he was indeed suitable for directing special effects commercial films.

Relativity Entertainment would also have more collaborations with him in the future.

As for making Happy have a romantic relationship with Aunt May, that was nonsense.

Ronan was worried that Marvel’s first cannon would kick open the coffin lid and come knocking.

Of course, Marvel Comics’ love relationships were a mess. In some comics, these two did have a thing, and there was even a comic where Aunt May had a twilight romance with Tony Stark’s old butler, Jarvis.

Marvel Comics and DC Comics had various versions and universes, which non-iron fans couldn’t make sense of.

Things like Green Goblin sleeping with Gwen, Black Widow sleeping with the edge of the universe were nothing.

Ronan hadn’t read them carefully, but he had heard the screenwriters discuss them. In the comics, Happy was cuckolded, Pepper Potts cheated, Iron Man hooked up with his sister-in-law, and Aunt May joined the chaos. The noble alliance was in a mess.

In short, breaking the fourth wall, see who cuckolded whom!

Like all superheroes, Tony Stark needed a transformation.

When he saw that the terrorists were all armed with weapons produced by Stark Industries, Tony Stark felt confused, but ultimately he chose to save himself. Using the opportunity to create the Jericho missile as commanded by the terrorists, he made the first-generation Iron Man suit, Mark I.

A grand show where the terrorists were almost wiped out naturally unfolded.

Frankly, Robert Downey Jr. performed exceptionally well. Perhaps Tony Stark’s rebirth from the fire had some resonance with his life over the past decade.

Robert Downey Jr. himself had also undergone a transformation.

These two, rather than being lucky prodigal sons who turned over a new leaf, had their family backgrounds playing an extremely crucial role.

Tony Stark, needless to say, was the super-rich man of the Marvel Universe, with money as his superpower!

Robert Downey Jr., if not from a family of actors, would have been finished long ago.

As for the villain, Iron Monger, his screen time and character development were far inferior to Tony Stark’s.

As a minor boss in Iron Man’s life, and with the film crew having clear long-term plans as guidance, they naturally wouldn’t spend too much ink on such a villain.

Not every director had the courage of Christopher Nolan, daring to kick the nominal protagonist to the side and give the protagonist’s spotlight to the main villain.

“Iron Man” was a popcorn entertainment film, and it was a film aimed at building Tony Stark’s superhero prestige in the long term. Instead of spending the camera on Obadiah, it was better to watch Tony Stark interact with Black Widow.

Scarlett Johansson’s screen time wasn’t much either. Apart from appearing twice as Stark Industries’ legal advisor, she had a secret meeting with Marvel’s newbie village chief, Phil Coulson.

To put it without exaggeration, apart from Scarlett Johansson having a slightly higher salary due to the box office hit “Dawn of the Dead,” the actors used by the crew were mostly relatively cheap types.

Even if they signed long-term contracts, starting with high salaries, their future salaries would skyrocket.

In comparison, most of the film’s funds were spent on special effects production.

Popcorn entertainment films were also not simple to shoot. Hollywood had a recognized fact: the difficulty of shooting big-budget commercial films was far higher than that of niche independent films.

Among them, special effects production was an important reason.

This aspect was time-consuming, costly, and labor-intensive.

The special effects of “Iron Man” couldn’t compare to those after 2010, but they were absolutely among the highest standards in the industry today.

For example, the special effects shot of Tony Stark wearing the Iron Man suit.

Without the outer packaging layer, the suit even allowed people to see every gear and transmission belt working, detailed to the point of being astonishing.

Next, the confrontation between Iron Man and the F-22 Raptor fighter jet showed everyone the highest level that the film industry’s special effects could achieve today.

Compared to the previous film, with Relativity Entertainment as the backing, Marvel Entertainment didn’t need to go all out or be frugal to the point of being stingy. Industrial Light & Magic, although expensive in special effects production, had a top-notch standard globally.

As the film’s plot developed, many audiences familiar with Marvel Comics gradually noticed some clues.

For example, in the corner of Iron Man’s laboratory, there was a photo of Howard Stark with a World War II soldier. The fleeting shot showed the soldier holding a red, white, and blue circular shield.

This was hard not to make comic fans think of Captain America.

After all, the comic “Civil War” was still being serialized, with the two factions led by Iron Man and Captain America fighting fiercely.

Also, what was the deal with the newbie village chief named Phil Coulson who contacted Black Widow?

He clearly came from the same department as Natasha Romanoff and had mentioned the name of this department to Pepper Potts several times—Strategic Homeland Intervention, Enforcement and Logistics Division.

Wasn’t this S.H.I.E.L.D.?

Many movie fans had some associations. This Marvel superhero movie seemed different from past superhero movies!

However, these plots were just fleeting in the shots. After all, this movie was called “Iron Man.”

The film’s plot wasn’t very twisty or complex. It quickly revealed that Obadiah was the main villain. This important figure in Stark Industries was the mastermind behind the terrorists’ kidnapping of Tony Stark.

The plot quickly moved to the final battle scene, where Tony Stark, as Iron Man, faced off against Iron Monger, who had stolen his new generation Ark Reactor.

But this man, who could sit in the second-highest position at Stark Industries and squeeze Tony Stark out of the board of directors, was definitely not a lone wolf. The previous plot had also mentioned that he had a large number of mercenaries under him.

These mercenaries besieged Pepper Potts and the S.H.I.E.L.D. agents led by Phil Coulson in the Stark Industries park and began to hunt them down.

The lone Phil Coulson could only call for support nearby.

The support personnel was only one, the Black Widow Natasha Romanoff, who was hiding in Stark Industries.

The final battle was divided into two parts: the main line was Iron Man vs. Iron Monger, and the side line was Black Widow torturing the mercenaries while showing off her charm.

The former was a contest of technology and metal, the latter belonged to Black Widow’s personal combat performance.

Black Widow took off her professional attire and changed into a tight-fitting suit that highlighted her figure.

During the filming, to highlight her figure, the suit was designed to be very tight. Scarlett Johansson had even taken the crew out to perform how to put on Black Widow’s battle robe for Ronan.

She needed Ronan’s help to apply oil all over her body to put it on.

Such clothes were ultimately for attracting attention.

The transformed Black Widow was deadly. She killed her way into the mercenary team from the outside, using her excellent skills and various high-tech close-combat weapons, killing one mercenary after another with incredible ambushes.

This beautiful agent, as agile and cunning as a fox, caused waves of admiration in the theater.

Perhaps the butt in the opening of “Lost in Translation” and “Dawn of the Dead” had won Scarlett Johansson a large number of fans.

But after this “Iron Man,” there would probably be a large number of brain-dead fans.

A few years later, it would naturally be reasonable for her to become the Widow.

Once, perhaps due to racial genetics, Scarlett Johansson had reached the peak of her looks and figure at the age of seventeen or eighteen, but her shelf life wasn’t long.

This might also be related to her relatively indulgent lifestyle when she was young.

Another point that couldn’t be ignored was that under the influence of the increasingly prosperous feminist movement in Hollywood, Scarlett Johansson changed her personal stylist, and her new style became increasingly tough and neutral.

This could be said to be very obvious.

While Black Widow was showing off her skills, on the other side, Iron Man and Iron Monger were fighting like dogs, with various dazzling high-tech means emerging one after another.

This fully showed that truly awesome heroes or villains never relied on physical strength for such low-level fun, but directly burned money.

You used a Gatling gun to sweep, I directly retaliated with a missile. In the end, when the ammunition was exhausted, this Stark Industries park, except for the main building where the Ark Reactor was placed, was almost dismantled.

When the two bosses fought hand-to-hand, Obadiah once again demonstrated what it meant to fight with money.

In Obadiah’s traditional villainous ranting, Iron Monger’s right hand directly popped out a three-pronged spike made of Adamantium alloy, stabbing Tony Stark to the point of ecstasy.

In the end, Tony Stark had to lure Iron Monger to the top of the giant Ark Reactor, letting the escaped Pepper Potts start the reactor, almost perishing together with Obadiah.

Chapter 925: The Unconventional

Iron Monger was finished, and Iron Man was certainly not dead, but the massive battle between the two had caused such a commotion that the government and military had to give the public and media an explanation.

Following the traditional superhero movie formula, the protagonist always hid their identity, always had two faces.

Fans were used to this and even considered it a given.

But Tony Stark was Tony Stark precisely because of his unique charm!

“I am Iron Man!”

At the press conference, Tony Stark did not follow the script prepared by Agent Coulson. Instead, he directly announced to the media, “I am Iron Man!”

The moment these words were spoken, the theater fell into an eerie silence. Most fans seemed shocked by this unconventional approach.

Then, cheers and enthusiastic applause erupted!

In the movie, the press conference was a sensation, and the reporters went wild!

Outside the movie, the theater was also in an uproar. The audience was instantly ignited, and all their emotions were stirred!

After experiencing the impact of movies like Spider-Man, Superman, and Batman, when a superhero who did not hide their identity openly announced themselves, fans felt a whole new kind of excitement!

Kevin Tsujihara and Charles Roven exchanged glances, both seeing surprise in each other’s eyes.

The reaction to this film was unexpectedly good, wasn’t it?

Listening to the continuous excited cheers from the back, the fans seemed to have hit their peak, instantly becoming die-hard fans of this movie.

Even when Batman Begins was released, Batman’s fans didn’t have such a big reaction, did they?

Iron Man was, at best, a second-tier comic hero, with a fan base far inferior to Batman’s…

The two gradually had a sense that something was not right. Was Marvel’s superhero movies really about to catch up with DC movies?

“I regret it.”

Sitting in the second row of the guest seats, Tom Cruise looked at Ronan’s position in the same row and said to Will Smith, “This character is designed with too much charm! I shouldn’t have given up earlier; I should have fought for it with all my might!”

Will Smith said, “Who would have thought that such an unknown superhero would turn out like this in Ronan’s hands?”

Tom Cruise had been in close contact with Ronan over the years, and his vision and perspective had been somewhat influenced. He shook his head and said, “Will, I think… um, how should I put it? I feel like I missed a treasure!”

A single line of dialogue stimulated all the fans, allowing the excitement and anticipation they had built up to be fully released.

No one knew how many people who had not known Tony Stark before were quickly turning into Iron Man fans as the movie came to an end.

From the beginning of the film to now, the character of Tony Stark had brought a completely new kind of superhero, full of personal charm. Finally, by publicly revealing his identity as Iron Man, he pushed this charm to its peak.

In Hollywood’s superhero movies, no one had ever openly announced their identity like this before.

Those traditional superheroes all lived double lives, but Tony Stark was completely unconventional.

And this unconventional approach brought the audience a whole new experience, a fresh kind of excitement.

This was absolutely one of the biggest surprises of the film. How could people not love Tony Stark and Iron Man?

The surprises of the film were not over yet. Half a minute after the credits rolled, the screen came back to life.

In the dark mansion, Tony Stark accused Black Widow of being a spy and refused to accept S.H.I.E.L.D.’s request to keep a low profile.

Then, something seemed to move in the darkness, and a dark, shadowy figure appeared!

“Do you think you’re the only superhero?”

The eyepatch-wearing figure left behind a cryptic remark.

Fans familiar with the comics had already recognized who this figure was—wasn’t this the one who had absorbed countless S.H.I.E.L.D. secrets to become what he was?

“Sure enough, it’s the Avengers!” Charles Roven confirmed this.

Kevin Tsujihara added, “Ronan Anderson’s ambition is not small!”

“The Avengers!”

In the theater, some fans were already shouting.

After all, the Avengers were one of the two major comic superhero teams in America. Although their fame could not compare to the Justice League, which had the super trio of Superman, Batman, and Wonder Woman, their influence was still significant.

The big screen returned to calm, and the Nokia Theatre was once again brightly lit. Applause erupted without hesitation, from the back row to the front, all the audience stood up and clapped, their faces all wearing happy smiles.

Iron Man made them feel satisfied, entertained, and excited.

For ordinary audiences, when they entered the theater, few were there to ponder the philosophy of life. Iron Man’s fast-food entertainment was enough to satisfy their viewing needs and entertainment desires. The spiritual satisfaction brought about was radiant smiles and a very good mood, as well as a willingness to open their wallets for the film and its related products.

Amid the applause, Kevin Feige, slightly excited, said to Ronan, “We did it!”

Ronan nodded slightly and also let out a sigh of relief. For Relativity Entertainment, the audience’s satisfaction was more important than any good reviews.

Only when the audience was satisfied would they become further consumers of the film.

Iron Man was not just a film; it also had comics and various merchandise that went live at the same time.

The number of peripheral products that went live with the film was as many as several hundred.

Even if a fan wanted to buy a life-sized Iron Man model to take home, it was not a problem.

Ronan said to Kevin Feige, “Take the crew to the curtain call.”

Kevin Feige nodded slightly and called the main creators of the crew, who were sitting in the front row, to walk towards the small stage together.

Watching Kevin Feige lead the crew members to the curtain call one after another, the audience’s applause continued. Avi Arad was very clear that Marvel Entertainment had ushered in a new era.

A new force, represented by film production, was rapidly rising in Marvel Entertainment, while the old forces were slowly declining.

Marvel Entertainment was inevitably about to usher in an era of change.

The success of Iron Man would undoubtedly reduce opposing voices to a minimum.

The premiere screening had ended, but the premiere event had not. Unlike before, Ronan attended the post-premiere press conference. Although he did not steal the spotlight, it showed an attitude of attaching great importance to the Marvel superhero movie plan!

This series would be an important profit point for Relativity Entertainment in the future.

In the press room of the Nokia Theatre, hundreds of entertainment reporters filled every inch of space. Most of their questions were focused on Robert Downey Jr.

Because Iron Man was too eye-catching, this extraordinary superhero was as dazzling as the full moon in the night sky.

The prodigal son who had turned over a new leaf, Robert Downey Jr., was full of topics as long as he could attract media attention.

At the end of the press conference, Kevin Feige, as the executor of the Marvel Avengers Initiative, directly announced the existence of four other films.

They were The Hulk, Thor, Iron Man 2, and Captain America!

The ambitions of Marvel Entertainment and Relativity Entertainment were now openly revealed!

This could also be considered a pre-heating for the other films.

After the press conference, Ronan left the theater alone and got into the black Rolls-Royce Phantom. He had David drive to the side entrance of the theater and wait for a few minutes before Scarlett Johansson quietly came out and also got into the car.

“Where to?” Scarlett Johansson asked.

Ronan directly said, “Home.”

Scarlett Johansson hugged Ronan’s arm and said, “The elevator in your house is too short; it’s not satisfying.”

Ronan deliberately said, “I’m planning to install a big pendulum in the estate; I’ll definitely make sure you’re satisfied.”

Scarlett Johansson leaned on him and said, “I can’t wait.”

Ronan asked, “Aren’t you in Los Angeles for the next few days?”

“I have something tomorrow night,” Scarlett Johansson said. “Stallone has invited many people to participate in a charity boxing match he’s hosting. I also received an invitation; I can’t not go.”

Ronan curiously asked, “Charity boxing match? What’s the reward for the winner?”

Scarlett Johansson shook her head. “Reward? I didn’t notice.”

Ronan casually said, “Does the winner get a choice of three, or a one-on-three opportunity?”

“Choice of three? One-on-three?” Scarlett Johansson didn’t understand the meaning of these words at all and asked, “What do you mean?”

Ronan vaguely said, “Nothing, I just think it’s strange that Stallone is hosting such an event.”

Scarlett Johansson explained, “I heard that Stallone wants to raise funds for facial paralysis patients through this charity event.”

The black Rolls-Royce Phantom quickly returned to the estate. Ronan found the Black Widow suit that Scarlett Johansson had left in the estate and decided to personally help her put it on.

This kind of super-tight suit had a special process for putting it on, and Ronan had also made some modifications, such as cutting off some parts of the fabric, so that the suit could be worn directly for battle.

With the premiere of Iron Man, superhero movies once again caused a stir in North America.

In recent years, the number of comic adaptation films had been increasing, and more and more excellent comics had been brought to the big screen. Iron Man was destined to be one of the lucky ones to benefit greatly from this trend.

To a certain extent, the emergence of this phenomenon was also due to the popularity these superheroes enjoyed in America. When Americans saw the characters from the comics they had been reading since childhood come to life, they naturally flocked to the theaters to support them collectively.

The history of comic adaptation films was long, but strictly speaking, they only became mainstream commercial films starting with the Spider-Man movies.

Subsequently, more comic superheroes were brought to the big screen by Hollywood.

Currently, the most popular were undoubtedly X-Men, Spider-Man, and Batman.

But starting from this summer season, a new series would join them: Iron Man!

Chapter 926: A New Record for Superheroes

With the premiere of Iron Man, Embassy Pictures’ massive promotional machine went into full gear, leveraging both traditional and new media to build as much hype as possible for the film.

On Netflix, with its vast user base, discussions about Iron Man had been trending nonstop. Given the film’s assured quality, many fortunate fans who had seen pre-screenings or the premiere were overwhelmingly praising Tony Stark.

“Another Hollywood comic book superhero has hit the big screen—Tony Stark, aka Iron Man, makes an incredibly flashy entrance. Charismatic, brilliant, and effortlessly cool. Women are like clothes he’s worn—left in bed in the morning, their names forever forgotten. The Outstanding Contribution Medal from the government is something he could casually hand to a stranger. Weapons? He effortlessly crafts an invincible high-tech suit in a cave that others couldn’t achieve in a lifetime…”

Honestly, who wouldn’t want to live like Tony Stark?

Every teenager dreams of being a superhero—saving the world or wreaking havoc in critical moments. But how many, after taking off the suit, would willingly endure the hardships of Peter Parker’s life?

Tony Stark represents a dream—a collective fantasy that remains forever out of reach. He embodies every man’s aspiration: wealth, status, sports cars, private jets, beautiful women, genius-level intellect, courage, and a sense of justice.

On Netflix, some users summarized Iron Man’s four major strengths—thrilling action, witty performances, fresh ideas, and plenty of suspense!

This opening installment of Marvel’s Avengers Initiative had an explosive premiere reception.

CinemaScore’s surveyors interviewed nearly a hundred fans at the premiere theaters, and the average live audience score was an “A+!”

Praise was endless.

“This film is tight, exhilarating, and leaves you wanting more!”

“A movie packed with sincerity! Iron Man is stunningly cool, and the explosions are adorable!”

“This is a hero who cracks jokes, loves to brag, and never shuts up! That final line, ‘I am Iron Man,’ was so cool!”

“I think this is the best superhero movie ever!”

With extensive promotion, excellent word of mouth, and the added boost of Jerry Bruckheimer’s top producer effect, Iron Man generated an explosive response on its opening day.

The audience reception was so overwhelming it could only be described as explosive. IMDb gave it an 8.9 rating on its first day, and major media outlets averaged a 79 score!

Even film critics, who usually dismiss summer blockbusters, took a different stance this time. Iron Man boasted an impressive 94% fresh rating on Rotten Tomatoes.

From audiences to media to critics, the praise was unanimous, making the box office explosion inevitable.

On its North American opening day, Iron Man raked in a staggering $41.62 million!

This achievement surpassed Spider-Man’s opening day, setting a new record for the highest single-day box office for a superhero film in North America.

Anyone familiar with the industry instantly recognized that Iron Man’s first-week North American box office would undoubtedly exceed $100 million. The only remaining question was by how much.

All doubts and opposition vanished with these numbers.

Iron Man was a resounding success from day one!

Backed by Relativity Entertainment’s full support and millions in promotional funding, the film’s positive reception spread like a virus. Praise continued to pour in from all directions.

The Los Angeles Times praised: Iron Man is filled with metallic beauty, incredibly cool, and boasts flawless special effects that enhance the viewing experience. The plot is smooth and engaging, with no noticeable flaws—truly captivating!

Entertainment Weekly raved: There’s no denying that Iron Man is an incredibly cool film! The visual effects are stunning, among the best today! Every time Tony Stark suits up, it’s impossibly cool!

It’s no exaggeration to say that Iron Man’s release gave countless viewers a sense of a meteoric rise.

Before Tony Stark, no mainstream comic book hero had such a bold and flamboyant personality.

Characters like Superman’s Clark Kent, Batman’s Bruce Wayne, and Spider-Man’s Peter Parker all maintained dual identities as heroes and ordinary people, carefully concealing their alter egos.

Tony Stark, however, was the complete opposite. As an ordinary man, he was a genius, a billionaire, a media darling, and unapologetically open about being Iron Man. The film’s climax—his declaration at the press conference, “I am Iron Man”—elevated the entire movie to its peak.

This made Iron Man stand out even more.

Another crucial point was that Iron Man’s character perfectly aligned with the traits and demands of the era.

Cool, wealthy, witty, and outgoing—this image was far more appealing to many young fans than the cautious, secretive superheroes of the past.

Unlike Superman’s innate abilities, Spider-Man’s superpowers, or Batman’s tech team, Iron Man’s rise was primarily due to Tony Stark’s genius and hard work.

The Iron Man suit, from its creation to continuous improvements, was entirely his own handiwork.

These elements combined to create a superhero destined for global fame!

This was also one of the two future cores of the Avengers!

The actor’s role was equally vital. Iron Man didn’t necessarily have to be Robert Downey Jr., but the film’s presentation clearly showed that their collaboration far exceeded the sum of their parts.

Robert Downey Jr. gave Iron Man a soul that existed in the real world, while Iron Man gave Robert Downey Jr. a new lease on life!

The troubled young man—plagued by drug addiction, gun charges, and prison time—was gone, replaced by a mature, brand-new Robert Downey Jr.

Under the guidance of Relativity Entertainment and Marvel Entertainment, he would become the real-world Tony Stark!

With the summer season just beginning, other studios, aware of Ronan’s impressive track record, deliberately avoided releasing their big-budget films this weekend. Iron Man faced no strong competition.

This proved to be the right move. If any film had opened the same weekend, unless it was exceptionally strong, it would have been overshadowed by Iron Man’s explosive success.

This was only one aspect. Ronan also strategically avoided potential box office clashes, steering clear of films he knew would be major hits.

For instance, he wouldn’t pit Iron Man against 20th Century Fox’s X-Men: The Last Stand. Pitting an opening film against a highly anticipated sequel would be a risky move, even if victory was possible.

Ronan and Relativity Entertainment weren’t afraid of competition, but they weren’t about to make foolish mistakes.

Perhaps it was the summer season’s movie frenzy, or perhaps Iron Man truly brought something fresh compared to past superhero films. Media outlets continued to publish positive reviews, and even Warner Bros.’ affiliated media joined the chorus praising Iron Man.

With no strong competitors and explosive media and audience reception, by Saturday afternoon, Iron Man’s screening rate in major commercial theater chains had risen to nearly 70%. In popular theaters like Manhattan, San Francisco Bay, and Santa Monica, screenings occurred every fifteen minutes. Even then, some shows sold out.

Some had complained that theaters refused to screen their films, even accusing them of being “traitors” who only catered to foreign blockbusters.

But the rebuttal was simple—even setting aside commercial profits, theater companies had employees to feed, bills to pay, and survival to consider!

Thus, with soaring audience enthusiasm, theaters naturally increased screenings for Iron Man.

This was the most basic market and business principle.

On Saturday alone, Iron Man didn’t just maintain its momentum from the first day—it attracted even more viewers due to its explosive reception.

On its second day in North America, Iron Man earned another $43.68 million, nearing the $100 million mark!

Strong word of mouth, explosive screenings, and dominating theater screens allowed the film to draw in more audiences, further fueling its popularity. Sustained high interest naturally attracted more media attention, which in turn brought in even more viewers.

Iron Man quickly established the virtuous cycle characteristic of blockbuster hits.

This cycle also propelled the sales of related merchandise to new heights.

Any prop related to Tony Stark became a hot commodity. Models, toys, and figurines of the Mark II and Mark III suits sold out in many theaters and stores.

Thus, audiences entered theaters with high expectations, left with satisfied smiles, and generously opened their wallets to purchase merchandise with fervent enthusiasm.

In just Friday and Saturday, data from Relativity’s various channels showed that all Iron Man-related merchandise sales in North America exceeded $25 million.

The exact figures required further calculation.

Similar to animated films, once a superhero movie became a massive hit, merchandise sales offered endless opportunities.

The profits from offline channels far surpassed box office earnings.

Although Iron Man’s momentum and box office performance began to decline on Sunday, following normal market trends, after three days of explosive screenings, the North American box office unsurprisingly surpassed the $100 million mark.

In its opening weekend, Iron Man grossed $128.89 million!

This achievement also surpassed Spider-Man, setting a new record for the highest North American opening weekend for a superhero film!

Once dismissed as unworthy, superhero films had now crossed numerous barriers and officially entered Hollywood’s commercial mainstream!

Chapter 927: Harvesting the Fans

A new week began, and every floor of Relativity Tower buzzed with vibrant energy. Everyone working in the building knew that all the companies within were soaring like Iron Man on the big screen.

At the top floor, Ronan opened a bottle of wine and poured it into two glasses, sliding one toward Robert Iger.

“This weekend’s box office for Iron Man was a massive success,” Ronan said, clinking glasses with Robert Iger. “Worthy of a toast.”

Robert Iger smiled. “A celebration for our superhero films ushering in a new era.”

They raised their glasses and drank to the success of Iron Man.

“The success of this film will accelerate the progress of our subsequent plans,” Robert Iger said, setting down his glass. “We aim to complete the first phase of the plan by 2010.”

Ronan refilled their glasses. “The cast for the first phase is already set, and the directors have their targets. The Hulk will premiere next year, followed by Iron Man 2, Thor, and Captain America in the next three years. If the first phase concludes successfully with The Avengers, our future plans will proceed smoothly. Even lesser-known Marvel heroes can ride the wave, becoming blockbusters.”

Robert Iger added, “Marvel has so many superheroes—enough to keep us busy for years.” He cautioned, “But we must be careful. Releasing too many films of the same genre in a short time could lead to market fatigue. And Warner Bros. and DC Comics won’t stay idle. In terms of influence, the Justice League surpasses the Avengers.”

“If all goes well, superhero films will dominate the market for the next twenty years,” Ronan said slowly. “Some fans may grow tired of comic book adaptations, and as they age, they might lose interest or even turn against them. But we must remember—while old fans fade, new ones are growing up. Those who grew up watching Iron Man and Captain America will one day enter theaters on their own. Our films may become an inseparable part of their childhood, and they will take over as the next generation of comic book film consumers.”

This wasn’t an exaggeration—Ronan had experienced it firsthand. Many people born in the early 1980s had never heard of Iron Man, Captain America, or the Avengers. But by 2015, these superheroes were household names among children. Captain America backpacks and Iron Man stationery were everywhere. Though most of these products on the other side of the Pacific were unlicensed knockoffs, they still spread awareness.

Robert Iger understood immediately. “You mean we should cultivate consumers from childhood?”

Ronan nodded slightly. “Exactly. We’re not just making films—we need children’s animations, merchandise, and more.”

Robert Iger agreed. “A great idea.”

Ronan continued, “You’ll need to plan and execute this.”

Robert Iger smiled. “Don’t worry. We can learn from Disney’s experience.”

As for Warner Bros. and DC Comics’ Justice League, the two only discussed it briefly. After all, those were other companies’ properties, and Relativity Entertainment had no control over them. Fortunately, Ronan had already made preparations. If everything went smoothly, DC’s superhero films would face significant restrictions.

Ronan was very satisfied with Robert Iger. The man, honed by Disney, was skillfully applying Disney’s successful strategies, making Disney’s future even more challenging.

The strategy of cultivating fans and harvesting them was common in Hollywood. But no film series had ever been as relentless as Marvel’s Avengers, churning out films one after another, eventually becoming an epic cinematic saga.

Ronan reminded him, “Bob, with Iron Man being such a hit, Western markets with strict copyright laws are manageable. But in overseas markets where copyright protection is weak, we’ll inevitably see a flood of counterfeit merchandise.”

Robert Iger replied, “It’s already happening. Several overseas branches of Embassy Pictures have reported large quantities of unlicensed Iron Man products in many countries and regions.”

Ronan thought for a moment. “Let’s ignore them for now.”

“I understand,” Robert Iger said, catching on immediately. “For now, we can’t do much about them. Fighting international copyright battles is nearly impossible to win, and even if we do, there’s little to gain. In the short term, these counterfeit products help spread awareness of our superheroes.”

Ronan agreed. “Since we can’t solve the problem now, let’s focus on the future.”

As someone who had once benefited from piracy, Ronan knew how quickly unprotected products could spread. In some markets, fighting piracy was futile. Better to look ahead.

He recalled rumors from the other side of the Pacific about Microsoft. According to netizens, Microsoft had allowed XP piracy to crush countless operating systems in development, securing its dominance. Whether true or not, Ronan had witnessed the rise of XP piracy and Microsoft’s indifferent stance. Many companies had shifted from technology-driven trade to trade-driven technology.

Robert Iger said, “The first phase is just the foundation. We have more profitable opportunities ahead. I’ll have my team draft a promotional plan.”

Ronan nodded slightly and brought up another matter. “With Iron Man’s massive success, the conservative factions within Marvel Entertainment will be silenced for now. This is a good opportunity, Bob. You should go to New York yourself and resolve Marvel Entertainment’s historical issues.”

“I’ve already arranged it,” Robert Iger replied. This had been discussed with Ronan earlier. “I’ll be in New York next week.”

Company management was Robert Iger’s responsibility. Replacing Marvel Entertainment’s Chief Executive Officer wasn’t something Ronan needed to handle personally.

The person set to replace Avi Arad wasn’t Kevin Feige but Marvel Entertainment’s Chief Creative Officer, Ike Perlmutter.

Ronan would grant Kevin Feige significant authority over Marvel’s film and television productions, even appointing him as the president in charge of film and television.

Ike Perlmutter and Kevin Feige didn’t get along well. They belonged to different factions within Marvel Entertainment. Strictly speaking, Ike Perlmutter leaned slightly conservative, known for his frugality, advocating for cost-cutting while maintaining quality, reducing budgets, and lowering labor costs.

Kevin Feige’s film adaptations and Marvel Entertainment’s comic creation departments were like wild horses—if left unchecked, they could spiral out of control. Ike Perlmutter was one of Relativity Entertainment’s reins to keep them in check.

The success of Iron Man had stirred the market, but the company most concerned was still Warner Bros. and DC Comics.

In Burbank, at the Warner Bros. Building, Kevin Tsujihara paced in front of his desk while Charles Roven and DC Comics President Diego Harris reviewed the weekend box office reports.

“Speak,” Kevin Tsujihara finally said. “What are your thoughts on Iron Man and DC’s superhero film adaptations?”

Diego Harris set down his documents. “I expected Iron Man to succeed, but not to this extent. Its opening weekend box office even surpassed Spider-Man. It’s shocking.”

Charles Roven added, “What’s more shocking is that Iron Man is just the beginning of Ronan Anderson’s grand plan.”

Diego Harris sighed. “They want to bring the Avengers to the big screen. If they succeed, every member of the Avengers could get their own film, and then Marvel’s entire roster of superheroes would be adapted. It would revitalize everything…”

Kevin Tsujihara stopped pacing and looked at his two subordinates. “The Justice League has more fame and influence than the Avengers. Don’t you have any ideas?”

Diego Harris responded, “Iron Man’s success proves this model is viable. Market data from recent years also shows that comic book adaptations are becoming mainstream. We can’t just hand this vast market over to Marvel. We need to plan for the Justice League’s adaptation.”

“Exactly my thoughts,” Kevin Tsujihara said. “Iron Man was too successful. We can’t afford to wait any longer.”

At the premiere, facing the enthusiastic audience, Kevin Tsujihara had remained composed. But Iron Man’s box office numbers had stirred him, creating a sense of urgency.

He asked, “Which film should we choose to kick things off?”

Charles Roven, more familiar with the film market, replied, “This month, our Superman Returns is releasing, and the latest Batman film, The Dark Knight, is already finished. Wonder Woman is female, not suitable for a major investment. To unify the cinematic universe and worldview, we’ll need to replan. These three films don’t fit as starting points.”

Launching a new version of a film in the short term would inevitably conflict with these.

Superman Returns and The Dark Knight had completely different worldviews and couldn’t coexist in the same universe.

Chapter 928: Overwhelming Vision

Everyone understood that a well-planned film series required a successful beginning—it was even the key to whether the plan could be executed at all.

Superman and Batman were currently constrained by their standalone films and couldn’t serve as the starting point.

Wonder Woman, one of the Justice League’s core members, was a female character. After the failure of Catwoman, Warner Bros. and DC Comics were unwilling to take risks on another female superhero film.

Choosing the right starting point was no small challenge.

Charles Roven said, “The main members of the Justice League are Superman, Batman, Wonder Woman, The Flash, Green Lantern, Aquaman, and Martian Manhunter. If we’re determined to create a Justice League film plan, the opening film should feature one of them.”

“I agree,” Diego Harris said. “DC has no shortage of superheroes. Marvel succeeded with a second-tier character like Iron Man, so we could also start with someone outside the Justice League’s core trio…”

Kevin Tsujihara asked, “Which member of the Justice League do you think is most suitable?”

Charles Roven looked at Diego Harris. DC Comics undoubtedly had more authority in this matter.

After some thought, Diego Harris said, “I initially suggest Green Lantern.”

Charles Roven considered it and said, “Green Lantern is indeed a good choice. His fame in the Justice League is second only to the core trio, and his creative potential is much broader. Iron Man is just causing trouble on Earth, but our film could expand the universe’s worldview!”

This idea sounded truly promising. Diego Harris added, “This way, our vision from the start could overwhelm the Avengers Initiative.”

Kevin Tsujihara listened to his two key subordinates’ suggestions and found them reasonable. He immediately said, “Prepare a concrete plan as soon as possible, and we’ll discuss it further.”

Charles Roven added, “There’s one more thing we need to consider.”

“Go on,” Kevin Tsujihara said.

“The success of Iron Man was largely due to Ronan Anderson’s planning,” Charles Roven said, clearly having done his research. “But Ronan Anderson rarely gets directly involved in the production of individual films anymore. The Iron Man series and the subsequent Avengers Initiative have all been handed over to Kevin Feige to execute.”

This wasn’t exactly a secret. Diego Harris and Kevin Tsujihara had heard bits and pieces about it.

Charles Roven continued, “Kevin Feige is a Marvel Comics fan with deep knowledge of the source material and the ability to make films. He’s another major reason for Iron Man’s success.”

Diego Harris began to grasp the implication. “Charles, are you suggesting…”

Charles Roven said, “Warner Bros. and DC Comics need someone similar—a person with a broad vision, deep understanding of DC Comics, and the ability to produce films. Someone who can be deeply involved in the Justice League plan.”

Kevin Tsujihara said directly, “I think you’re the right person for the job.”

Diego Harris agreed, “Charles, you have that ability.”

Charles Roven saw himself as the grand strategist of the Avengers Initiative, like Ronan. So he added, “I can be the person in charge of the plan for Warner Bros. and DC Comics, but we still need an executor.”

Kevin Tsujihara asked directly, “Do you have someone in mind?”

Diego Harris also looked at Charles Roven with interest.

“One,” Charles Roven said, unsurprisingly naming someone. “Zack Snyder, who is currently preparing Watchmen.”

“Him?” Diego Harris was somewhat doubtful.

Kevin Tsujihara said, “Are you sure he’s suitable? His track record…”

Charles Roven said, “Zack’s ideas and style share many similarities with DC Comics. He’s a die-hard fan of DC superhero comics and has already directed two films, Dawn of the Dead and 300. The former was a huge success, and the latter is set to release this summer.”

He looked at Diego Harris and Kevin Tsujihara and added a crucial point: “He was discovered by Ronan Anderson, who has high hopes for his future. I don’t need to say more about Ronan’s judgment, do I? Look at Kevin Feige. Before becoming the producer of Iron Man, he was just doing auxiliary work on other Marvel superhero film projects. He had never led any film, and his track record wasn’t as good as Zack Snyder’s.”

This was no small matter. The plan hadn’t even been formulated yet, and everything discussed needed careful consideration. Although Kevin Tsujihara often made inexplicable decisions in films, he was undoubtedly capable. After a moment’s thought, he said, “300 is about to be released, isn’t it? Let’s see the market response first. It’s essentially a comic book adaptation of a superhero film, which will let us see Zack Snyder’s ability in this genre.”

Diego Harris agreed, “We can discuss the preliminary plan first and decide on the executor later.”

Charles Roven said, “Alright. After 300 is released, I’ll review the results and discuss specifics with Zack Snyder.”

“That’s settled,” Kevin Tsujihara said, remembering something and reminding Charles Roven, “Watchmen needs to be accelerated.”

Charles Roven nodded slightly, “I understand.”

Warner Bros.’ DC superhero films had always been a major force in the comic book film market. They couldn’t possibly let this huge market be taken over by newcomers.

Relativity Entertainment also had high hopes for this market. With the first-mover advantage, they would naturally maintain it.

Joss Whedon took the The Hulk crew to New York to film, where the Hulk would wreak havoc in Times Square and on Fifth Avenue.

A superhero who didn’t fight in New York was never a qualified superhero.

Chris Evans had just finished over half a year of military training. His entire demeanor had noticeably changed. The experiences of this period had made him feel many things. The once reckless young man had become increasingly steady.

Ronan and Kevin Feige had already decided that Chris Evans would play Captain America, Steve Rogers.

This was another core member of the Avengers outside of Iron Man and one of the two major figures in Marvel’s highly acclaimed comic Civil War.

Captain America’s combat abilities weren’t outstanding, but he was the spiritual pillar of the Avengers.

Of course, as a film, the characters’ abilities needed to be balanced to some extent. Captain America would undoubtedly be given a major hidden superpower—fifty-fifty!

Even if the Celestials came and struck with a palm, Captain America could hold his ground, creating a fifty-fifty stalemate for a short time.

The abilities from the comics couldn’t be fully displayed in the films—that wouldn’t be realistic. Most characters would be weakened to some degree.

But their destructive power in battle would also be increased.

This was already evident in Iron Man. The battle between Iron Man and Iron Monger nearly destroyed half of Stark Industries’ campus.

Although it wouldn’t reach the level of gods who could destroy entire city blocks or towns with a single move, it wouldn’t be like elementary school kids fighting either.

Iron Man was a raging success. The crew frequently participated in various promotional activities to build momentum. Robert Downey Jr. became the most popular figure. This once-fallen genius actor, through the role of Tony Stark, had finally returned to the mainstream, becoming a massive star once again, shining brighter than ever.

The frenzied pursuit Robert Downey Jr. received wherever he went was a true reflection of the film’s market response.

As the workweek arrived, Iron Man’s box office inevitably declined but still maintained high numbers.

On Monday, the film earned $11.26 million in North America. On Tuesday, it even rebounded to nearly $13 million.

However, the following two days saw a normal market decline.

For a film like Iron Man, which had an exceptionally strong popcorn flavor, the workweek generally saw a continuous decline. However, due to good media and audience reception, the decline remained minimal.

A new weekend arrived, bringing the second weekend of the 2006 summer season in North America. New blockbuster films joined the market competition.

20th Century Fox’s Ice Age: The Meltdown hit theaters across North America, featuring an exceptionally eye-catching little squirrel.

Thanks to the success of the first film, this sequel came with great momentum, earning $27.95 million on its first day and snatching the single-day box office crown from Iron Man.

The latter earned $23.55 million that day.

But compared to the first film’s brilliance, Blue Sky Studios, following its previous development trend, clearly lacked staying power. Ice Age: The Meltdown received poor reviews.

Especially in terms of technical handling, it was far from ideal.

Blue Sky Studios didn’t want to make low-cost animated features like DreamWorks Animation and Shai Entertainment Animation Studio, which didn’t highlight details. They wanted to create meticulously detailed visuals.

But perhaps due to the limited $80 million budget or technical limitations, the film’s visual quality, by intentionally highlighting background details and animal fur, exposed too many flaws.

Additionally, in terms of plot handling, there were signs of a lack of highlights beyond the squirrel.

Although it was one of Hollywood’s three major animation studios, Blue Sky Studios lagged far behind DreamWorks Animation, and the gap between DreamWorks Animation and Pixar was even smaller.

Dragged down by the poor reviews, Ice Age: The Meltdown’s Saturday box office saw a significant drop, earning only $21.78 million.

Iron Man, however, saw a strong rebound on Saturday due to the weekend effect, earning $28.21 million and reclaiming the single-day box office crown.

Chapter 929: Superman Returns

Relativity Tower, Monday morning. Ronan attended a project progress meeting for Shai Entertainment, hosted by George Clint, which covered the preparation and production progress of several upcoming films.

For instance, Edgar Wright’s Zombieland was about to begin filming, with Embassy Pictures confirming its release in 2007. Danny Boyle’s Slumdog Millionaire had also been greenlit and was preparing for a series of film festival award campaigns starting in 2007. The crew for District 9 had already gone to South Africa to begin on-location filming in Johannesburg. Uwe Boll’s Abraham Lincoln: Vampire Hunter had been officially greenlit with a production budget of eight million dollars—the highest budget of any film Brother Bao had ever directed.

However, the main focus of this meeting was Fast & Furious 4. The third installment had already been completed and was set to release during the summer season. Internal screenings had received excellent feedback, and discussions about the sequel were now underway. The fourth film would still be produced by Jessica Felton, with Justin Lin as director. The exact budget would depend on the box office performance of Fast & Furious 3. If the third film met expectations, the fourth would see a budget increase, further aligning it with top-tier productions.

After the meeting, Ronan had a brief private conversation with Jessica Felton about the project before returning to his office. Connie had already prepared the weekend box office report.

“How was it?” Ronan asked without looking. “Who took the box office crown this weekend?”

Connie replied swiftly and concisely, “Iron Man made a comeback, securing the box office crown for the second weekend with sixty-eight million nine hundred thousand dollars. The newly released Ice Age: The Meltdown came in second, with a North American opening weekend of sixty-two million one hundred forty thousand dollars.”

Ronan asked further, “What’s Iron Man’s cumulative North American box office now?”

Connie said, “After ten days in North American theaters, it has grossed two hundred fifteen million two hundred seventy thousand dollars.”

Ronan nodded slowly. “At this rate, surpassing three hundred fifty million dollars won’t be difficult.”

Connie smiled and added, “The casinos in Las Vegas had opened betting on Iron Man’s final North American box office reaching three hundred fifty million dollars, but they’ve already closed those bets.”

Ronan chuckled. “It seems the outside world is quite optimistic about us.”

“Yes,” Connie agreed. “Not just Iron Man—Thor, The Hulk, and Captain America, whose plans have already been announced, are also generating a lot of attention.”

Ronan nodded slowly. “Using one film to drive an entire series is a very profitable venture.”

Iron Man had a combined production and marketing budget of two hundred seventy million dollars. Under normal circumstances, the global box office would need to reach three times that amount to break even through ticket sales alone. Relativity Entertainment’s goal was clear: theatrical release was just a massive promotional campaign. The best outcome would be to recoup costs through the box office, but true profits would come from various offline channels.

In just ten days, Iron Man’s merchandise sales in the North American market had already exceeded fifty million dollars. As time went on, this number would continue to rise. Additionally, the film had begun its international release over the weekend, and overseas offline channels would also bring in substantial revenue.

Leveraging Iron Man’s massive success, licensing for merchandise was also expanding. Ronan then asked about the film’s performance in overseas markets after its international release, and Connie provided detailed responses.

While North America was booming, Iron Man had also launched in major overseas markets such as Europe, Latin America, Australia, East Asia, and Southeast Asia. However, compared to its explosive performance in North America, the overseas response was somewhat weaker. Ultimately, this was due to Tony Stark’s limited influence. Compared to Superman, Batman, and Spider-Man, Iron Man’s popularity was far lower.

However, a blockbuster hit in North America could still attract attention overseas. Hollywood films had always had the advantage of rapid global dissemination. Iron Man opened in over forty countries and regions simultaneously, grossing ninety million five hundred forty thousand dollars in its first weekend overseas.

Globally, Tony Stark’s fame was still relatively limited, which would inevitably affect the film’s overseas box office. Embassy Pictures predicted that Iron Man’s overseas box office would be significantly lower than its North American performance. For most audiences outside North America, Tony Stark was a relatively unfamiliar character. This was a newly launched franchise, so it couldn’t rely on the large existing fanbase that sequels enjoyed.

In fact, aside from the UK and Australia, Iron Man’s opening weekend box office in other overseas regions did not exceed ten million dollars. Nevertheless, Iron Man had created an excellent start for the “Avengers Initiative.”

Before leaving the office, Connie mentioned to Ronan, “By the way, Charles Roven from Warner Bros called this morning to invite you to the premiere of Superman Returns this week.”

Only then did Ronan remember that Warner Bros’ super-production was about to hit theaters.

“Reply to them,” Ronan said directly. “I’ll be there.”

Kevin Tsujihara and Charles Roven had both attended the premiere of Iron Man. Even out of courtesy, Ronan had to make an appearance at the premiere of Superman Returns. Moreover, this was Hollywood’s most expensive film to date.

Superman Returns had been in development since the mid-to-late 1990s, with numerous changes in directors, screenwriters, and scripts—only Warner Bros and DC Comics knew the full extent. By the time Bryan Singer took over as director to complete the film, Warner Bros and DC Comics had already spent fifty million dollars on the ever-changing lineup.

Nicolas Cage had initially been cast as Superman but grew tired of the constant delays and left the project. Other actors who had been considered could form an all-star cast. Jude Law, Ashton Kutcher, Paul Walker, Josh Hartnett, and many other rising stars had joined and then left due to the project’s delays. Henry Cavill, who had already signed a long-term contract with Shai Entertainment, had also auditioned but lost to Brandon Routh.

Warner Bros’ officially announced production budget for this film was two hundred seventy million dollars, but rumors suggested that including previous wasted expenses, the actual budget far exceeded that, possibly surpassing three hundred million dollars. Whether it was two hundred seventy million or three hundred million, this was the highest budget in Hollywood history.

This also reflected the ambition of Warner Bros and DC Comics—they truly intended to bring Superman back to the big screen! Such a massive investment also meant enormous pressure to recoup costs. According to external estimates, unless Superman Returns achieved a box office in the billions, recovering costs through various channels would be extremely difficult.

Warner Bros and DC Comics had high expectations for this super-production. There were even rumors of sequel plans, but recently, those plans had been canceled. Ronan speculated that this was likely related to Iron Man. The early release of Iron Man might have prompted Warner Bros to consider building a Justice League cinematic universe, making standalone Superman films meaningless.

A restructuring was inevitable. Ronan was also curious—if Warner Bros planned to build a Justice League cinematic universe, how would they go about it?

Zack Snyder had already begun collaborating with Warner Bros on Watchmen, and Ronan had been involved in much of the preliminary work. However, Warner Bros’ future choices were not up to him.

On Wednesday, Warner Bros held a grand premiere for Superman Returns on the Hollywood Walk of Fame in Los Angeles, inviting many guests. The scale was even more impressive than that of Iron Man’s premiere.

Entering the Kodak Theatre, Ronan saw Kevin Tsujihara, shook his hand, and said with a smile, “Kevin, I didn’t expect to see you again so soon.”

Kevin Tsujihara also smiled warmly. “How could Warner Bros forget such an important partner?”

Ronan said, “We’ve been waiting for a Superman movie for years, and now it’s finally here.”

Kevin Tsujihara casually remarked, “You’ll be seeing Superman on the big screen often in the future.”

Ronan politely replied, “I wish you success.”

“Thank you,” Kevin Tsujihara said, seemingly very confident.

Ronan didn’t say more and went straight to the VIP lounge, where he saw Zack Snyder, who also noticed him and quickly came over to greet him.

“I heard you’ve started preparing for Watchmen?” Ronan asked. “How’s it going?”

Zack Snyder replied, “Warner Bros is very supportive, and Charles Roven is producing—he respects me a lot.”

Ronan nodded. “That’s good. I can rest easy then.”

Zack Snyder said, “When the film is done, you must come see it first.”

Ronan smiled. “Definitely.” He then reminded, “Zack, don’t forget you’re still the director of 300. You need to cooperate with Embassy Pictures for promotional appearances.”

Zack Snyder quickly replied, “I haven’t forgotten. Whenever Embassy Pictures and Shai Entertainment notify me, I’ll be there on time.”

Having directed two films in Hollywood, Zack Snyder was well aware that even though he was no longer working with Relativity Entertainment, the success or failure of 300 was still crucial to him. If the film succeeded, the power and support he received from Warner Bros would only grow. If it failed, not only would his current influence diminish, but Warner Bros and DC Comics might even halt the project and replace the director.

Ronan didn’t say much more to Zack Snyder. After greeting many acquaintances, he entered the main theater at Kevin Tsujihara’s invitation and waited for the screening to begin.

It had been nearly twenty years since the last Superman film in 1987, and even the original Superman actor, Christopher Reeve, had passed away. Countless people were waiting for Superman’s return.

Chapter 930: The Perfect Hero

Superhero films, and indeed superhero culture, had been popular in North America for many years. The audience here was extremely familiar with them. If one were to rank the many superheroes, Superman’s fame and recognition would undoubtedly be at the top.

Especially outside North America, Superman was practically synonymous with superheroes.

On the other side of the Pacific, in that vast region, although Captain America: The Invincible Detective had been introduced as early as 1948, most people’s first real exposure to superhero films came from Christopher Reeve’s Superman.

The CITV Theater—back then, it was one of the few channels through which young people could access foreign films.

Superman, and Supergirl—many had their first encounter with them in the CITV Theater.

Oh, and The Lionhearted Hero—I wonder if those who watched this series back then would find the female lead particularly familiar?

That female lead was the mother of the savior.

Yes, Sarah Connor! James Cameron’s ex-wife!

Superman and Christopher Reeve were the epitome of foreign heartthrobs back in the day.

That guy who wore red underwear on the outside had stirred up quite a storm on the other side of the Pacific, even sparking a trend among those born in the 70s and 80s of wearing underwear on the outside.

In the memories of many who had seen the old Superman films, that classic red underwear was as red as the rising sun—red and cool!

Even more, many older people might not know Batman, might not know Spider-Man, and might not understand Iron Man, but almost all of them had heard of Superman.

This red-underwear-wearing Kryptonian was no longer just a superhero from comics or movies; he had become a cultural icon.

Nearly twenty years later, Superman finally returned to the big screen.

This son of Krypton was once again facing his nemesis, the big bald Lex Luthor.

Warner Bros. had invested heavily in this project, even hiring Oscar-winning actor Kevin Spacey to play the main villain.

Some had said that a world that needed Superman was unfortunate because its people needed saving; a world that had Superman was fortunate because its people had someone to save them.

Director Bryan Singer had extensive experience in filming superhero movies and a successful track record.

Both X-Men and X2: X-Men United were directed by him.

Although there were some unsavory rumors about him on set, such as harassing the child actors playing young mutants, Bryan Singer’s ability to direct superhero films had been sufficiently proven.

However, the difficulty in filming a Superman movie was evident.

Not just Superman—any god-like figure was not easy to portray.

To put it in terms of a certain cultural description: gods cannot be looked upon directly! They are indescribable!

Superman was too perfect! Perfect to the point of having no personality!

Superman was also too invincible—flying, teleporting, godlike strength, invincible lasers, fire breath, ice breath, even able to extinguish the sun with a single breath.

DC Comics had long realized this, so they simply added Kryptonite as his weakness.

There was no concrete, reasonable explanation—Superman was afraid of Kryptonite, and that was that.

His lack of distinct personality and overly comprehensive, powerful abilities made him difficult to relate to in an era that increasingly emphasized individuality. He could exist as a god among men, but when appearing on the silver screen as part of popular culture, audiences might not necessarily welcome him.

Christopher Nolan had not yet truly brought Batman down from his pedestal with The Dark Knight. Batman was still a god, not someone who bore the burden of blame.

Without sufficient experience to draw from, the Superman that Bryan Singer created was naturally not a Clark Kent searching for his identity.

Superman was born in a specific cultural environment, and over the decades, he had already left a fixed impression on people. His personality, abilities, and growth experiences were all stamped with the mark of history.

No matter how the director filmed it, they could not deviate from those original designs.

Superman could not be as flippant as Iron Man, as aloof and cold as Batman, or even as uncontrollably violent as the Hulk.

But as far as Ronan was concerned, Brandon Routh’s Superman fit the perfect image left by Christopher Reeve.

A man who always stood on the side of light, a perfect hero with every virtue!

But times were changing, and people’s aesthetic demands had risen to a new level.

Actually, the failure of this film was not Superman’s fault, but the audience’s tastes had changed, while Superman remained stuck in his past perfection.

Iron Man succeeded—why? If one were to find a reason, Tony Stark’s many flaws were definitely one of the factors for its success.

Christopher Nolan dared to demand such a high investment for The Dark Knight because he wanted to bring Batman down from his pedestal.

Bryan Singer might have realized this as well. Brandon Routh’s Superman was more humanized, but it clearly wasn’t enough.

As the audience left the theater, Ronan ran into Zack Snyder again, which reminded him of the old Man of Steel.

Although the film’s reception was mixed and reviews were polarized, the Clark Kent searching for his identity did add a lot of appeal. To dilute the symbolic factor of Superman, Zack Snyder took a page from The Dark Knight and abandoned the name “Superman” in the title, opting instead for Man of Steel.

Of course, what left the deepest impression on people was still the god-like action scenes, where entire towns and city buildings were destroyed at will.

In comparison, Marvel’s efforts seemed like elementary school brawls.

The pros and cons of this approach were obvious. The former needed no explanation—those who had seen it were deeply impressed. The latter brought about a huge power imbalance. The most typical issue was that Superman was too powerful for the entire Justice League. How could they balance everyone’s abilities? How could Batman find his place?

Ronan didn’t need to worry about these things. The specifics would likely fall to Zack Snyder.

Zack Snyder had to shoulder this heavy burden for Warner Bros. and DC Comics.

As a director Ronan had promoted, Zack Snyder, unknowingly, carried the great expectations of Relativity Entertainment and Marvel Entertainment—Warner Bros. and DC Comics had to mess this up!

Whether the new hand would be played poorly remained to be seen, but the market response to the old hand was not good.

Since it was a direct competitor to Marvel Entertainment and the Avengers Initiative, after attending the premiere, Ronan had been closely following the market performance of Superman Returns.

The media and film critics’ reception was not bad. Superman Returns even had a Rotten Tomatoes score of over eighty percent.

Although it couldn’t compare to Iron Man, such a Rotten Tomatoes score was relatively high among superhero films.

However, film critics ultimately existed outside the primary markets.

On its first day of release in North America, Superman Returns sat at the top of the daily box office chart, as expected. However, the box office numbers were somewhat surprising.

The film only made eighteen million three hundred thousand dollars on its first day in North America.

Iron Man, which came in second, only made half of Superman Returns’ daily box office.

For most films, Superman Returns’ first-day box office numbers were not bad, but the investment in this film was simply too high.

The production cost alone was as high as two hundred and seventy million dollars, or even more.

Including promotional and distribution expenses?

Although Warner Bros. had not disclosed this to the public, the scale of Superman Returns’ promotion and distribution was in no way inferior to Iron Man.

In the following two days, Superman Returns’ box office gradually declined. On Saturday, which was supposed to be a day of potential box office explosion, the numbers did not rise but fell, making only sixteen million three hundred and ten thousand dollars.

After the first weekend, Superman Returns unsurprisingly took the North American box office crown, but the box office numbers were only forty-eight million three hundred and eighty thousand dollars.

Iron Man ended its streak of consecutive North American box office crowns and, following the normal pattern of popcorn movies, saw a significant drop in box office after two consecutive weekends of strong sales. It made thirty-three million five hundred and sixty thousand dollars over the three days, placing second on the box office chart.

Behind them was 20th Century Fox’s Ice Age: The Meltdown.

Facing Iron Man’s cumulative North American box office of two hundred and seventy-two million one hundred and fifty thousand dollars in the same month, Superman’s return to the big screen was a complete failure.

Based on audience reception, Cinemascore predicted that Superman Returns’ North American box office would struggle to exceed two hundred million dollars.

The enormous cost brought immense pressure on Warner Bros. and DC Comics to recoup their investment.

From the moment the first-day North American box office numbers were released, those familiar with the film market’s patterns could easily draw a conclusion: Superman Returns would not be a box office disaster, but it would bring massive financial losses to the producers.

Warner Bros.’ risk management had clearly failed. This film was less a failure in production and more a failure in planning.

The initial careless choices, followed by constant changes in screenwriters, scripts, directors, and actors, created enormous problems for the project.

By the time Warner Bros. realized the issue and considered whether to halt the project, Superman Returns had already spent nearly fifty million dollars.

Faced with such a massive investment, Warner Bros. had no choice. To answer to shareholders, the board of directors, and the group company, they had to complete this project.

Thus, the cycle of changing screenwriters, scripts, directors, and actors began again, ultimately driving the production cost to an astronomical figure.

Compared to Warner Bros.’ repeated indecision with Superman Returns, James Cameron seemed like the epitome of frugality.

“Superman Returns has failed. We have no other choice,” Kevin Tsujihara said seriously to Charles Roven in the office of the Warner building.

Charles Roven said, “Completely halt all superhero film plans except for Batman and Watchmen. Focus all our efforts on our superhero film universe.”

Diego Harris said, “We have a preliminary plan.”

Kevin Tsujihara made up his mind this time and asked, “The situation is clear. The recently failed Superman is not suitable, and the realistic Batman is also not working. Are you sure?”

“Absolutely sure!” Diego Harris said. “Green Lantern!”

Chapter 931: A Royal Flush

In mid-May, Warner Bros and DC Comics held a grand press conference at the Warner building in Burbank, officially announcing their future plans for DC superhero films.

The two companies would adapt the Justice League from the comics to create a Justice League superhero universe.

The media present were not surprised, as Marvel Entertainment’s “Avengers Initiative” had already made its intentions clear. As a direct competitor, DC Comics could not afford to remain idle.

Strictly speaking, DC Comics was already behind.

At the end of the press conference, Warner Bros and DC Comics also announced that the first film in the plan would be Green Lantern, with a production budget of two hundred million dollars, expanding the Justice League’s background and worldview to the entire universe.

This news was undoubtedly shocking and highly attention-grabbing, as the Justice League in the comics had a greater influence than the Avengers.

At the same time, DC Comics announced that a new Justice League comic series would be launched soon, fully supporting the film universe plan and creating a main comic universe.

This comic plan was named “The New 52” by DC.

With the announcement of these plans, Warner Bros and DC Comics swept away the gloom of Superman Returns’ failure, attracting countless people’s attention.

It was as if a brand-new and successful film universe was right before their eyes.

The news spread rapidly, and Relativity Entertainment inevitably had some concerns.

The fame of the Justice League was undeniable, so worry was natural.

“We’re not talking about expanding overseas markets; North America remains the largest source of income and profit for Hollywood.”

In Relativity’s small conference room, George Clint spoke quickly: “Over the years, we have never stopped targeted market research, and it’s not hard to conclude that the total number of North American film consumers has not grown. Their overall consumption capacity within a certain period has a limit. When they spend too much on one type of film, it will inevitably affect their spending on another.”

Ronan sat at the head of the conference table, remaining silent.

Kevin Feige then spoke, very directly: “Warner Bros and DC Comics’ Justice League film universe plan will form a direct competition with our Avengers Initiative!”

After hearing this, Ronan suddenly thought of something. When Batman v Superman was first announced, Warner Bros had deliberately chosen the same weekend as Captain America: Civil War for its release, clearly intending to suppress the competition.

But later, Warner Bros changed the release date of Batman v Superman.

Judging by the results, it was highly likely that Warner Bros had held an internal screening for Batman v Superman and lost some confidence.

Robert Iger said: “Competition is unavoidable; we must first do well ourselves.”

Ronan then spoke: “We are already one step ahead; there’s no need to pay too much attention to the competition. George, Kevin, focus all your work and energy on film production and plan execution. Robert and I will handle the competition.”

George Clint nodded slightly: “Understood.”

Ronan continued: “I have had many dealings with Warner Bros and know Kevin Tsujihara quite well. He is not skilled in the film business but likes to interfere directly, which may cause some trouble for the project itself.”

Robert Iger said: “I carefully reviewed Warner Bros’ recent big-selling films. Their film performance is actually supported by the Harry Potter series, and then our collaboration on Batman. Other big-budget films have had few successes, and even sequels like The Matrix, Troy, Catwoman, and Superman Returns have fallen far short of expectations.”

Ronan did not say much. What he had done before was not appropriate to mention; the best approach was to wait for the situation to develop.

Over the past two years, he had not been idle regarding Warner Bros.

He had participated in the Batman series to dilute Warner Bros’ profits; lured Christopher Nolan away, depriving Warner Bros of a major ally; invited James Wan to join Relativity, ensuring Warner Bros would lose a batch of high-return horror films; and pushed Zack Snyder into Warner Bros’ view, preventing them from overlooking this director, among other actions.

Ronan vaguely remembered that Warner Bros’ first choice to helm the DC superhero series and Justice League was not Zack Snyder but George Miller, the director of the Mad Max series.

But Zack Snyder’s meteoric rise changed everything.

Now, under Ronan’s influence, Zack Snyder had completely entered Warner Bros’ vision, and George Miller as an alternative was no longer possible.

The impact of these actions was not yet apparent; it would only become evident later.

Actually, if Warner Bros and DC Comics could stabilize and choose the right directors and producers, the Justice League might still have a bright future.

But Ronan would not let them stabilize.

Not long after Warner Bros and DC Comics’ press conference, under Ronan’s direction, Marvel Entertainment and Embassy Pictures also held a joint press conference, announcing plans and schedules for The Hulk, Iron Man 2, Thor, and Captain America.

And in an unexpected move, they announced that The Avengers would be released in 2009!

After this press conference, according to the news Ronan received, Warner Bros and DC Comics’ executives were in a panic, deciding to accelerate the “Justice League” film universe plan.

After all, they hadn’t even planned the first film properly, while their competitor had already prepared the entire first phase.

This also made the DC Comics executives, who had maintained an advantage over Marvel in film adaptations for many years, somewhat psychologically unbalanced.

Warner Bros and DC Comics were inevitably led by Relativity’s pace.

Of course, Ronan was well aware that Warner Bros and DC Comics held a royal flush. Even if played in the worst way, it would still have a significant impact.

This was undeniable.

The North American summer season was in full swing. While Iron Man was a box office hit in North America, its overseas popularity was also gradually rising. As the North American box office approached three hundred million dollars, the global box office soared past four hundred million.

Not to mention that screenings were far from over; this figure alone was enough for Marvel Studios to launch the next phase of their plan.

As everyone knew, box office revenue was only part of Hollywood films’ income, and for superhero films, the proportion was even smaller. Iron Man had too many profit points. Just in comics, due to the film’s heat and attention, Iron Man comics sold millions of copies, with sales reaching nearly eighteen million dollars.

As for traditional merchandise like figurines, dolls, and stationery, sales were equally astonishing. In the already counted data, the sales of various merchandise in North America alone exceeded one hundred million dollars. Fans and comic enthusiasts wearing Iron Man masks could be seen all over the United States.

On a new weekend, Universal’s Miami Vice landed in North American theaters.

Ronan paid no more attention and left Los Angeles for France, heading to the Cannes Film Festival to attend the premiere of The Departed.

The premiere lineup was extremely luxurious, led by director Martin Scorsese, with the film’s three major stars—Tom Cruise, Will Smith, and Jack Nicholson—all in attendance.

Among the supporting cast were slightly famous actors like Martin Sheen, Alec Baldwin, and Jessica Chastain.

Although Ronan had a small cameo, he never considered himself an actor and did not linger on the red carpet, walking straight through the media area into the theater.

Tom Cruise, the first to walk the red carpet and set the tone, was already inside the theater.

“It’s been a long time since I’ve been to Cannes.” Tom Cruise said: “Or rather, it’s been a long time since I’ve attended a European film festival.”

Ronan casually replied: “This shows you don’t need film festivals to increase your fame.”

Tom Cruise smiled and said: “No, it’s that I don’t want to recall some things. The last time I attended one of Europe’s three major film festivals, I wasn’t divorced yet.”

Ronan remembered: “Eyes Wide Shut.”

Tom Cruise nodded slightly: “1999, the opening film of the Venice Film Festival.”

Ronan had a vague impression, recalling that he had seen related news. To match the atmosphere of Eyes Wide Shut, Nicole Kidman had boldly lifted her skirt on the Venice Film Festival red carpet, showing off her sexy underwear to the media and fans.

Compared to her exposure in the film, this was nothing.

Tom Cruise suddenly asked: “Do we have a chance at the Palme d’Or?”

Ronan shook his head: “The chance of winning is very low.”

This had nothing to do with the film; it was purely his conclusion based on the jury. The chairman of the three major film festivals had too much power in award selection.

Ronan had only recently learned that the film festival committee had finalized the jury president a month and a half ago—Sunglasses King from Hong Kong.

Given Sunglasses King’s style, The Departed, which leaned heavily towards commercialization, probably wouldn’t align with his aesthetic.

Of course, there were supporters of Relativity in the jury, such as Li Zao and Nick Fury, who were members of this year’s jury.

But the power gap between ordinary jurors and the jury president was too vast.

Jessica Chastain came over to greet them, saw Ronan and Tom Cruise chatting, and quickly left.

When Martin Scorsese arrived, Ronan exchanged a few words with him before heading into the theater.

Unexpectedly, before entering the theater, Ronan encountered a very familiar person.

“Hi, Ronan.” A tall blonde woman greeted him: “Long time no see.”

Ronan suppressed his fleeting surprise and said: “Didn’t expect to see you here, Carmen.”

Chapter 932: Estonia

Standing across from Ronan was a tall figure with golden hair cascading over her shoulders. She wore a vintage black one-shoulder dress that accentuated her fair skin, blending classical and modern elegance.

Carmen Kace, though long removed from the fashion world, was still revered by countless people and media as the “Goddess of Fashion.”

She was also the first—and perhaps the only—former lover Ronan had seriously dated since arriving in this world.

Years had passed since they last saw each other, and a certain awkwardness lingered between them.

Ronan smiled and said, “Running into you here is quite a surprise.”

Carmen Kace replied with ease, “I’m not surprised at all. I came specifically to find you.”

Ronan glanced around at the passing crowds and the curious glances directed their way. He suggested, “This isn’t the best place to talk. Shall we go somewhere else?”

Carmen Kace smiled. “Sure.”

Having attended the Cannes Film Festival multiple times, Ronan was familiar with the Palais des Festivals. Considering the potential attention, he avoided overly private locations and instead led Carmen Kace to a coffee shop on the first floor, where they found a secluded booth.

After ordering coffee for Carmen Kace, Ronan asked, “Why didn’t you call me?”

Carmen Kace smiled. “I lost your contact information.”

The statement carried layers of meaning, perhaps intentionally so.

Ronan knew all too well that their gradual estrangement and eventual loss of contact had been primarily his doing.

Perhaps Carmen Kace had been waiting for a formal commitment or acknowledgment, but he had ultimately made a choice similar to Leonardo’s—one of singular devotion.

“I ran into your former agent recently,” Ronan said. “She mentioned some things about you.”

Carmen Kace continued his thought. “After I left the fashion industry, she was disappointed and took on other models.”

Ronan smiled. “I’ve seen them. Her eye for talent remains as sharp as ever.”

“Is that so?” Carmen Kace suddenly asked playfully, “Have you seen the new models she’s working with?”

Ronan immediately caught the teasing tone and waved his hand. “I saw them at a gathering. It’s not what you’re thinking.”

Carmen Kace couldn’t help but laugh. “I didn’t mean anything by it. We parted ways amicably back then, and I’ve never complained about you.”

Such openness made their interaction more comfortable. Ronan laughed and asked playfully, “Really? Never?”

The unfamiliarity between them gradually faded, as if they had returned to the past. Carmen Kace, with a serious expression, said, “Speaking of which, I should thank you for letting me go back then. Otherwise…”

Ronan pointed at her. “Do you really need to blame me like that?”

Carmen Kace laughed, her eyes narrowing into long, slender lines. “I’ve read plenty of Hollywood gossip over the years.”

“Alright, I admit it,” Ronan said frankly. “Hollywood was too tempting back then. I wasn’t willing to give up the forest for a single tree.”

Carmen Kace picked up her coffee cup and took a sip. “The past is the past.”

Ronan said, “I hope we can remain friends in the future.”

Carmen Kace suddenly set down her coffee cup, opened her cardholder, and handed Ronan a business card. “To be honest, I came specifically to find you this time.”

Ronan looked down at the card: “Chairman of the Estonian Tourism Association, Vice Chairman of the Estonian International Chess Federation, Vice Chairman of the Estonian Film Association…”

The string of titles was even more surprising than seeing Carmen Kace here.

Carmen Kace explained, “After leaving the fashion industry, I went into business. My hometown, my country—there are many areas that need improvement. Development has slowed in recent years. I’ve succeeded, and I want to help my homeland.”

Ronan didn’t know much about Estonia, only that among the countries that had undergone dramatic changes, few had fared well economically.

Estonia seemed to be one of the better-off ones.

Ronan took the card and handed her his personal business card. “Here’s my contact information. I won’t be in France much longer, but you can reach me when I’m in Los Angeles.”

Carmen Kace looked at it—only Ronan’s name and phone number were listed.

She carefully put it away. “I saw the news this morning and knew you were in Cannes. I figured you’d attend the premiere of The Departed, so I came to wait for you.”

Ronan asked, “Is there something you need my help with? I’ll do what I can.”

As long as it was a personal matter for Carmen Kace, he would help however he could.

Carmen Kace shook her head. “Actually, I’ve been doing quite well these past few years. Ronan, do you remember what I said back then?”

Ronan frowned at first, then recalled, “The richest woman?”

“It was probably from watching you those years,” Carmen Kace said with a hint of pride. “I’m not just Estonia’s richest woman now—I’m the richest person.”

Ronan laughed. “Congratulations.”

“I’ve always wanted to make money while also doing something for my country,” Carmen Kace said, her love for Estonia as strong as ever. As a world-class supermodel from Estonia, even after leaving the fashion industry, she could have stayed in the prosperous cities of Western Europe or the United States, living however she pleased. But she had chosen to return to Estonia.

This was rare among supermodels from Eastern Europe, Southern Europe, and Russia. Most who gained any fame would flee as quickly as possible.

Ronan said, “Carmen, you’re still the same Carmen I know—full of surprises, always doing the unexpected.”

Carmen Kace modestly replied, “Compared to what you’ve accomplished, I’m far behind.”

“Go on,” Ronan said directly. “What do you want me to help with?”

Carmen Kace knew Ronan well enough to understand that this was something they could discuss, but whether he would agree depended on the specifics.

This wasn’t a personal matter, and she couldn’t force anyone.

“I visited Bulgaria and Romania recently,” Carmen Kace said seriously. “I learned from their film associations that Relativity Entertainment is in negotiations with them to establish overseas filming bases.”

Ronan nodded slightly. “That’s true.”

The initial connection had been made by Uwe Boll, who handled the preliminary contacts. Once formal negotiations began, Relativity’s official team took over, and Uwe Boll returned to Los Angeles to continue pursuing his dream of directing.

Carmen Kace said, “Could Estonia be included? Estonia is in no way inferior to Bulgaria and Romania. You could send someone to inspect the location before making a decision.”

This would bring not only economic benefits but also effectively promote Estonia.

Ronan said, “Carmen, this isn’t just between you and me—it involves a corporate group and a country. I can’t make any promises.”

Carmen Kace responded, “I understand.”

Ronan wouldn’t make a hasty decision just because his former lover had asked. After a moment of thought, he said, “I’ll send someone to Estonia to assess the situation. We can discuss specifics after the inspection.”

“That works,” Carmen Kace said, satisfied with the outcome. She then asked tentatively, “Won’t you come yourself?”

Ronan refused without hesitation. “I don’t have the time. I won’t be going.” He then said, “When you come to Los Angeles next, be sure to let me know.”

Carmen Kace smiled. “If Relativity Entertainment reaches a cooperation agreement with Estonia, I’ll definitely go to Los Angeles.”

Ronan was well aware that Carmen Kace and Estonia represented the attitude of many European countries toward Hollywood.

Now, European nations were vying to welcome Hollywood, and Hollywood teams were eager to go.

Filming in Europe allowed Hollywood personnel to enjoy a vacation-like experience, but the greater motivation was financial.

Central and Eastern European countries, in particular, had become increasingly attractive in recent years due to their film support programs and low labor costs.

The logic for European countries was that Hollywood productions would create local jobs, stimulate local consumption, and provide global exposure, significantly boosting tourism. These programs were worthwhile investments for promoting their economies.

If it were just about scenery, it wouldn’t be cost-effective. During his conversation with Carmen Kace, Ronan began considering whether he could secure favorable tax rebates or other financial support terms in negotiations with Estonia.

Ronan did not return to the premiere of The Departed. Instead, he invited Carmen Kace to dinner before returning to his hotel alone.

That evening, he contacted Robert Iger and arranged for a professional team to be sent to Estonia for an assessment.

The next morning, Ronan flew to the UK to handle some matters related to Manchester United before returning directly to Los Angeles.

The Departed generated widespread attention at the Cannes Film Festival, especially for the number of times Tom Cruise’s character said the F-word, which was nearly record-breaking.

Although it was an American gangster film, it received positive reviews in Europe. Many professional media outlets even considered it one of Martin Scorsese’s best films to date.

Ronan still preferred the Hong Kong version but understood that the American version’s realistic style was better suited for Western markets.

This was an inevitable result of cultural differences.

As for The Departed winning the Palme d’Or, the chances were slim to none. Tom Cruise and Will Smith were also unlikely to win any acting awards.

The most probable outcome was that The Departed would take home a few consolation prizes.

If Ronan had known earlier that the president of the jury was the Sunglasses King, he might have canceled The Departed’s trip to Cannes.

But the list of jury members wasn’t announced until a month and a half before the festival.

Fortunately, The Departed’s target was the North American awards season at the end of the year. The Cannes Film Festival was just one stop on the road to recognition.

Chapter 933: Wandering the World with Sword in Hand

The Cannes Film Festival quickly announced its awards, with a film Ronan had never heard of, Wind Blows Through the Rice Fields, winning the Palme d’Or this year.

Moreover, under the insistence of the Sunglasses King, this year’s Cannes Film Festival witnessed an extraordinary spectacle.

The awards ceremony announced that there were a total of five Best Actors and six Best Actresses this year!

This was an unprecedented sight at any A-level film festival in the world.

It could only be said that the Sunglasses King’s style was truly unpredictable—whatever he did was beyond imagination.

At the same time, this also greatly diminished the prestige of each Best Actor and Best Actress award.

Rumors had it that, similar to the year when Quentin Tarantino served as the jury president, the final selection meeting saw heated arguments between many jurors and the Sunglasses King. However, the award mechanism of Europe’s three major film festivals meant that the jury president held immense power.

This directly led to a split in the jury. When the closing ceremony and awards ceremony were held, an astonishing scene unfolded—the jury members, who were supposed to appear together as the main figures, were late by a full fifteen minutes.

Tom Cruise and Will Smith naturally had no chance at any performance awards.

However, the jury still gave Martin Scorsese some face, awarding The Departed the Jury Prize.

This was a consolation prize in every sense, as the Palme d’Or and the Grand Jury Prize had already been awarded.

The film festival concluded smoothly in a “multi-win” scenario. The Sunglasses King, with his elegant and aesthetic approach, gently and skillfully constructed a “harmonious film festival” through a multi-win strategy for the awarded works.

Perhaps the 59th Cannes Film Festival itself was a realist film directed by the Sunglasses King.

In Los Angeles, Robert Iger quickly assembled an inspection team to first meet Carmen Kace in France before heading to Estonia for further investigations.

As for Carmen Kace, Ronan certainly wouldn’t backtrack—he could only treat her as an old friend with whom he might collaborate in the future.

The events of the past were choices he had made, and Ronan had no regrets.

Most men probably felt the same way.

After honing one’s sword for twenty years, who wouldn’t want to wander the world with it, traversing mountains and plains, crossing valleys and rivers, to taste the splendor of life?

How many men would be willing to excitedly step out of their homes, only to stumble before reaching the village entrance, then obediently return home to marry and have children?

The old Mr. Kim from the other side of the Pacific had also said: Men, you must wander the world with sword in hand!

Who didn’t know that the progenitor of Eastern Jack Su had taken seven wives?

Back in Los Angeles, Ronan made a special trip to the newly established Princess Animation Studio. Currently, the studio was still centered around Chris Buck’s team, recruiting talent worldwide.

Ronan’s expectations for the Princess Animation Studio in the short term weren’t high—it needed at least the capability to produce two animated features simultaneously.

This couldn’t be achieved by Chris Buck’s team alone, but they were the foundation of the Princess Animation Studio.

Ronan only checked on the work progress and didn’t say much. For now, he wouldn’t arrange any specific animated features.

Apart from completing its personnel, the Princess Animation Studio also needed technical coordination. Pixar provided the world’s most advanced animation production equipment and software, with John Lasseter leading a technical team responsible for training at the Princess Animation Studio.

Following Ronan’s suggestion, once this work was completed, the Princess Animation Studio would adapt Hans Christian Andersen’s fairy tale The Snow Queen into an animated short film as a practice piece.

This princess film would definitely not be another old princess film from Disney Animation Studio.

The specifics would have to wait until the Princess Animation Studio stabilized.

Ronan didn’t stay long at the Princess Animation Studio. After exchanging a few words with Chris Buck and John Lasseter, he went to the floor where the post-production studio was located.

Due to the severe aging of equipment at Warner Bros. Studios, Christopher Nolan had chosen Relativity Tower to complete the post-production of The Dark Knight.

This also meant revenue for Relativity Entertainment, as the The Dark Knight crew had to pay to rent the post-production studio.

As soon as Ronan stepped out of the elevator, he saw Heath Ledger approaching.

“Good morning, Mr. Anderson,” Heath Ledger greeted him first.

Ronan shook his hand and asked, “What brings you here today?”

Heath Ledger replied, “A few scenes need voice acting.”

Ronan nodded slightly and praised, “I’ve seen some of the footage you shot. It’s excellent. You’ve delivered an outstanding performance.”

Heath Ledger smiled. “Thank you.”

Ronan lightly patted his arm and said, “The Joker is just a fictional character. His madness is because of the protagonist’s prestige.”

Heath Ledger thought Ronan was about to lecture him like he did on the set of Brokeback Mountain, so he immediately said, “Mr. Anderson, I won’t take up any more of your precious time. Let’s talk another day.”

Ronan didn’t press further. “Goodbye.”

Connie, following behind Ronan, watched Heath Ledger leave. Accustomed to standing in Ronan’s shoes, she felt the young actor was quite rude.

“What’s wrong?” Ronan noticed Connie looking at Heath Ledger’s back with a strange expression.

Connie bluntly said, “He’s a bit arrogant.”

Ronan didn’t mind. “Talented people always have some pride.”

Probably hearing Ronan and Heath Ledger’s conversation, the door of a nearby office opened, and Christopher Nolan came out to greet them. “Hi, Ronan. I just heard voices and thought it was you…”

Ronan walked toward him. “I ran into Heath Ledger and chatted for a bit.”

Christopher Nolan invited Ronan and Connie into his office and said, “A few scenes didn’t have good on-site recording, so Heath Ledger came today to do the voice acting. This is his last work in the production phase.”

Ronan understood what he meant. “Apart from promotion, has Heath Ledger finished his work with the crew?”

Christopher Nolan continued, “Heath Ledger has already started new work. He’s taken on two new films—one is I’m Not There from The Weinstein Company, a music album-themed film. The other seems to be a project from Sony Entertainment, though I’m not sure about the details…”

Ronan said, “His career is going very smoothly now.”

With new work and new roles, it seemed Heath Ledger had already moved on from the Joker role—perhaps he had long since moved on.

Ronan then asked, “How is The Dark Knight coming along?”

Christopher Nolan replied, “Post-production has just begun. Hans Zimmer has agreed to continue composing the music. Several post-production tasks are in the first phase, and it’s estimated that all production will be completed by the end of the year at the earliest.”

Ronan said, “No need to rush. The film is set for release next summer, so there’s plenty of time.”

“Warner Bros. is a bit anxious,” Christopher Nolan said. “Charles Roven has already urged me several times.”

He looked at Ronan. “It’s probably related to the success of Iron Man and the failure of Superman Returns. I’ve heard that Warner Bros. plans to scrap all DC superhero film plans except for Batman and Watchmen, intending to build a Justice League movie universe like Marvel Entertainment.”

Ronan thought for a moment and said, “Actually, they also want to do more with the Batman series.”

Christopher Nolan asked with slight surprise, “What do Warner Bros. and DC Comics want to do?”

This directly concerned him, so he couldn’t help but care.

Ronan revealed a little: “Recently, Charles Roven discussed with me the possibility of Shai Entertainment withdrawing from the third installment of the series, The Dark Knight Rises, and having Warner Bros. fund it independently.”

Christopher Nolan frowned. “Aren’t they violating the agreement? I won’t agree! Ronan, you know I’m always on your side. If…”

Ronan raised his hand to interrupt Christopher Nolan. “Chris, this involves commercial competition between two companies. You shouldn’t get involved. For this series, you should proceed according to your plan without worrying about me and Relativity Entertainment.”

“I…” Christopher Nolan suddenly felt a bit moved. “My power is limited, and I might not be able to help you much. But Ronan, if you need anything, just ask. I’m always on your side.”

Ronan smiled. “I know. Don’t worry. Even if Shai Entertainment withdraws, Warner Bros. will have to pay a certain price.”

Christopher Nolan connected this to this month’s films. “Will the success of Iron Man and the failure of Superman Returns make the relationship between Relativity Entertainment and Warner Bros. very delicate?”

Ronan said, “This small problem is something Relativity Entertainment can handle.”

The box office of Superman Returns fell far short of Warner Bros.’ expectations. It only held the top spot on the North American box office chart for one week. In its second weekend, the box office plummeted to twenty-one million one hundred thousand dollars, losing the first place to Universal’s newly released Miami Vice.

Even though the latter’s first-week box office of twenty-five million seven hundred twenty thousand dollars was considered a major flop compared to its one hundred thirty-five million dollar investment.

Iron Man crossed the three hundred million dollar mark in North America this weekend, accumulating a total of three hundred eleven million one hundred thousand dollars.

Given its trajectory since its release, it was certain that the film would surpass three hundred fifty million dollars in North America.

The overseas response was still slightly weaker than in North America, but the overseas box office had accumulated nearly one hundred eighty million dollars. The global box office surpassing five hundred million dollars was just a matter of days.

Iron Man had also been released on the other side of the Pacific, with a current box office of fifty-seven million two hundred thousand yuan. It would need some luck to reach one hundred million.

However, related pirated merchandise had already run rampant there.

According to statistics from Embassy Pictures’ Eastern branch, there were more than five versions of pirated copies on the internet alone.

There was nothing to be done—this wasn’t something Relativity Entertainment could solve.

Ronan, who had experienced this firsthand, knew best that even if all of Hollywood united, they couldn’t solve it.

After discussing Warner Bros.’ Justice League movie universe plan for a while, Christopher Nolan suddenly said, “Oh, Ronan, the script for the new project I mentioned to you last time has completed its first draft.”

Chapter 934: The Last Stand

As Ronan had anticipated, the initial draft of the script titled Foundation—written by the Nolan brothers—shared nearly ninety percent of its main plot with the original Inception.

Ronan remembered clearly that Inception was merely the Chinese translation of the film’s title; the original English name had no connection to those four characters.

“Not bad,” Ronan said, closing the script. “Very imaginative.”

Christopher Nolan smiled. “It’s a sci-fi concept. After The Prestige and The Dark Knight, I wanted to try something new.”

Ronan thought for a moment. “The concept is sci-fi, but the film needs a hook. I think we should add more action elements.”

Christopher Nolan had always been a commercial filmmaker, and that had never changed. “Jonathan and I agree. Initially, after I proposed the idea, Jonathan wanted to make it a pure action film. But I recall you saying that old-school action movies are outdated, and a purely action-driven approach doesn’t suit my vision. This film is about dreams and memories—combining sci-fi with action is the best way to present it.”

Ronan nodded in agreement. “Dreams are a high-concept idea. Action elements will make it more accessible to audiences.”

As an investor and producer, market considerations were essential. Any major commercial film that ignored box office potential and market trends was a reckless endeavor.

Christopher Nolan, thinking Ronan might have reservations, quickly added, “I’ve been developing this idea for years. I’ve had a deep interest in dreams for a long time, especially the relationship between the waking world and the life we experience in dreams.”

He glanced at Ronan before continuing, “I’ve always found it fascinating and contradictory—how in dreams, whether we feel fear, joy, or idealization, it’s all an uncontrollable creation of the brain, mind, and consciousness. The imaginative space dreams provide is extraordinary. I’ve been thinking about how to bring this boundless energy to the big screen, expressing it through a grand sci-fi action film from a humanistic perspective.”

Ronan slowly nodded, as if deep in thought.

Christopher Nolan went on, “The core idea of this film is that a concept is like a highly resilient parasite—its traces remain forever in some corner of your mind. If someone could invade your dream space, manipulating it in a way that feels utterly real, even stealing your most private thoughts, the storytelling angle would be incredibly compelling.”

Ronan lightly tapped the script. “Chris, this is what draws me to your script. It’s highly entertaining, with diverse thrills—anything could happen.”

Christopher Nolan asked, “So, this project…?”

Ronan replied, “I have faith in you. Submit the script directly to Shai Entertainment. They’ll expedite negotiations to move the project forward.”

Though such trust was reassuring, Christopher Nolan felt he needed to clarify a few things upfront. “Ronan, this project will require a significant investment. My initial estimate is around one hundred and fifty million dollars. Also, I’ll need ample time to complete it—this film explores ideas I’ve been pondering since I was sixteen.”

Ronan returned the script to Christopher Nolan. “None of that is an issue. I’ll have Shai Entertainment classify Foundation as a top-tier project.”

“Thank you,” Christopher Nolan said sincerely. “Ronan, I appreciate your continued support.”

Ronan smiled. “Don’t mention it. Chris, just make sure it’s a masterpiece.”

Christopher Nolan promised, “It will be.”

The original Inception might have had some convoluted elements, but it was a commercial classic, achieving both box office success and critical acclaim.

Along with The Dark Knight, it had cemented Christopher Nolan’s godlike status among film enthusiasts.

As a director, Christopher Nolan had even amassed a fanbase as devoted as any major star’s.

The battle for IMDb ratings between The Dark Knight, The Godfather, and The Shawshank Redemption had once been so fierce that it forced IMDb to revise its rating system.

The three factions of fans had clashed in an unprecedented spectacle.

As Ronan was leaving, Christopher Nolan mentioned that after finishing The Dark Knight, Christian Bale had accepted an offer from 20th Century Fox to star in Terminator 4, which had already been greenlit.

20th Century Fox had released a considerable amount of information about this new project, with a production budget of two hundred million dollars!

This didn’t even include the cost of reclaiming the Terminator rights from Warner Bros.

Given the typical promotional and distribution investments for large-scale Hollywood films, 20th Century Fox was expected to spend an additional one hundred million dollars or more on marketing and distribution.

Ronan had played a key role in helping 20th Century Fox secure the Terminator filming rights from Warner Bros.

20th Century Fox was taking this project very seriously, aiming to recapture the glory of Terminator 2. They had even approached James Cameron, hoping to bring him on as a producer or writer.

However, James Cameron was under contract with Relativity Entertainment and was focused on Avatar for the next few years. Additionally, his past experiences with 20th Century Fox left him hesitant, and he promptly declined their offer.

With a production budget of two hundred million dollars, 20th Century Fox had no choice but to take the project seriously.

Ronan wasn’t sure which executive at 20th Century Fox had come up with the clever idea of poaching talent who had previously worked with Relativity Entertainment for Terminator 4.

Christian Bale was just one of the talents they had targeted.

They had also approached the Nolan brothers, but both Christopher and Jonathan Nolan had declined—their schedules were already packed for the next few years.

20th Century Fox ultimately settled on Paul Haggis, the acclaimed director, writer, and producer known for Crash. He would serve as the screenwriter and executive producer for Terminator 4.

Paul Haggis had written two highly regarded films, Crash and Million Dollar Baby, which gave 20th Century Fox confidence in his abilities.

Currently, 20th Century Fox was searching for a director. Their top choice was someone with a successful track record at Relativity Entertainment—rumor had it that Guillermo del Toro was their first pick, and negotiations were in the final stages.

Guillermo del Toro had a strong interest in robotics projects.

There were also reports that after completing Pan’s Labyrinth, Guillermo del Toro was seeking a new long-term partner and had pitched his robot-and-monster film project to multiple studios, including the one he had previously discussed with Ronan.

Although 20th Century Fox hadn’t made any official announcements, Ronan suspected that if both parties were interested in collaborating, 20th Century Fox would likely invest in Guillermo del Toro’s robot-and-monster project.

The likelihood was high.

Ronan had to admit, 20th Century Fox’s approach to Relativity Entertainment was, in some ways, similar to how Relativity Entertainment had treated Walt Disney.

20th Century Fox had snatched one project after another from Relativity Entertainment and was aggressively recruiting talent who had long-term collaborations with them.

It seemed they were following Relativity Entertainment’s playbook, leaving them with no room to maneuver.

Ronan had been observing from the sidelines. Relativity Entertainment had no reason to prevent individuals like Paul Haggis, Christian Bale, and Guillermo del Toro from working with 20th Century Fox—none of them had long-term contracts or non-compete clauses.

From every angle, they were free to collaborate with any studio.

Ronan had simply instructed Relativity Entertainment to accumulate more funds and resources, allowing Robert Iger to continuously adapt their plans based on changing circumstances, waiting for future opportunities.

Either they wouldn’t move at all, or they would strike with decisive force.

20th Century Fox still appeared formidable, and this summer season, they were releasing several major films. The most anticipated among them was X-Men: The Last Stand, adapted from Marvel Comics.

This was the final installment in 20th Century Fox’s X-Men trilogy, with a production budget of two hundred and ten million dollars. Its release date was strategically set for the weekend before Memorial Day, one of the best slots in the summer season.

Perhaps due to years of harassment from Marvel Entertainment or the negative reception of the new Fantastic Four comics, 20th Century Fox had made several questionable decisions in this X-Men film.

For instance, Phoenix had fully turned to the dark side, killing Professor X.

Wolverine had ended up with Phoenix, betraying the memory of the deceased Cyclops.

And in the end, Wolverine had killed Phoenix.

The relationships were a mess, poorly handled, and the film’s reception was far from ideal.

However, the first two X-Men films had built a massive fanbase. As both a sequel and the finale of a trilogy, X-Men: The Last Stand still drew an impressive opening weekend crowd.

In its first weekend in North America, X-Men: The Last Stand grossed one hundred and seven million dollars.

Including Memorial Day on Monday, the four-day total reached one hundred and twenty-two million, eight hundred and sixty thousand dollars!

Chapter 935: The Ultimate Convenience King

In today’s Hollywood, North American films that can gross over one hundred million dollars in their opening weekend are as rare as phoenix feathers and unicorn horns. X-Men: The Last Stand had undoubtedly achieved tremendous commercial success.

Inside the Fox Building, Jim Prather looked at the young man who had specially returned from London, UK, and said, “Although the X-Men trilogy has concluded, we will continue to deeply explore the market value of this series.”

James Murdoch stood by the floor-to-ceiling window with his arms crossed, gazing at the Relativity Tower in the distance with a look of keen interest. “Tell me more.”

Jim Prather immediately replied, “Currently, we are planning two projects featuring two extremely popular characters from X-Men—Wolverine and Magneto.”

“I understand Wolverine—he’s the most popular character,” James Murdoch questioned. “But a standalone film for a villain like Magneto…”

Jim Prather explained, “We plan to portray him as a morally ambiguous character who always considers the bigger picture in critical moments.”

James Murdoch said, “I have limited knowledge in this area. You’re the expert, so you take charge.”

Although he said that, Jim Prather still reported one by one, “Besides the X-Men series, we have several other major film projects in production or preparation.”

James Murdoch remained silent, seemingly indifferent.

Jim Prather didn’t think so and continued, “Over the next three to four years, 20th Century Fox will release several major film projects in succession. Ridley Scott’s Pharaoh and the Gods and Roland Emmerich’s 10,000 BC are currently in production, and Robin Hood is about to start filming. The average production budget for these three projects is one hundred and forty million dollars.”

James Murdoch then said, “Given the scale of 20th Century Fox, only major productions can provide sufficient profit margins.”

This was the basic rule of survival for major Hollywood companies. Otherwise, Hollywood studios wouldn’t continue to produce commercial films with total investments of hundreds of millions of dollars, nor would they keep raising the threshold for major productions.

Jim Prather continued, “It’s not just these three. The production budget for Terminator 4 is confirmed to be two hundred million dollars, and a disaster film about storms is also steadily progressing with an expected investment of one hundred and fifty million dollars.”

James Murdoch nodded slowly and then asked, “With so many top-tier productions running simultaneously, will the funding be tight?”

“It is a bit tight,” Jim Prather said with a smile. “But as long as the box office meets our minimum expectations, 20th Century Fox’s financial situation will immediately ease.”

James Murdoch said, “Proceed according to your plan.”

Jim Prather continued, “We are also looking for other suitable major productions…”

James Murdoch thought of something and asked, “Is there no way to revive Fantastic Four?”

“It’s best not to restart it for now,” Jim Prather wisely replied. “The influence of the comics is still there, and the negative impact of the first film hasn’t dissipated.”

He sighed, both to shift blame and change the subject, “Relativity Entertainment and Marvel Entertainment went too far with Fantastic Four!”

James Murdoch asked, “Are they still being aggressive?”

Jim Prather replied, “The lawsuits regarding Fantastic Four and X-Men have never stopped. We can’t remain passive. Ronan Anderson…”

“Don’t act rashly,” James Murdoch interrupted. “I said I would handle the Ronan Anderson issue.”

Jim Prather said no more. James Murdoch was known for his unconventional methods and had often emerged victorious in disputes. Perhaps he could indeed teach Ronan Anderson a lesson.

James Murdoch finally asked, “How is Fox Online developing? Can it compete with Netflix?”

Jim Prather immediately looked troubled but had to tell the truth, “In the short term, Fox Online will find it difficult to threaten Netflix. Netflix has years of accumulation, while we are just starting.”

These were objective facts that James Murdoch couldn’t deny.

He had done some research. After Ronan Anderson acquired Netflix, he spent the first few years preparing and accumulating strength for future development. At that time, Netflix had no competitors and lacked attention. After years of content, capital, technology, and user accumulation, Netflix soared, not only opening up multiple new businesses but also establishing an absolute leading advantage.

Jim Prather added, “There’s one thing we must admit: Netflix Streaming Media’s exclusive dramas have an extremely high quality rate. In this regard, Shai Entertainment behind them has a huge advantage.”

James Murdoch stopped looking at the Relativity Tower and said, “Don’t rush. We’ll catch up step by step.”

Entering June, Netflix Streaming Media launched another new exclusive drama. Over the past year, a saying had gradually taken root in the public mind—Netflix productions are always masterpieces!

Thus, as soon as Breaking Bad went online, it attracted countless drama enthusiasts.

Although the first season of Breaking Bad only had seven episodes, it received universal acclaim, with Netflix Streaming Media’s rating reaching 9.7!

The IMDb rating also reached 9.5!

The extremely high reputation brought continuous growth in traffic and subscribers. After Netflix’s global registered users exceeded one hundred million, the number of paying users surpassed seventy-five million.

In the first week of its release, Breaking Bad added 2.7 million new paying users to Netflix.

Although this was still less than the peak of 95 million paying users for American cable TV, this was the total for all cable TV stations. Now, Netflix had grown into a new media force that no one could ignore!

To further promote Netflix, Relativity Entertainment was also in cooperation negotiations with Comcast, the largest cable TV service provider in the United States, and AT&T, the largest network telecommunications service provider.

Netflix was completely different from Relativity Entertainment, a relatively closed Hollywood company. To grow further, it needed more partners, larger platforms, and more investment.

In a sense, Ronan was also seeking more partners and potential allies.

The purpose of Relativity Entertainment’s negotiations with AT&T and Comcast was to achieve cross-shareholding between Netflix and these two companies to obtain more abundant network communication resources and cable TV channel promotions.

Of course, even after cross-shareholding, Relativity Entertainment would still hold the absolute controlling stake in Netflix.

Additionally, Relativity Entertainment would also become a shareholder of AT&T and Comcast.

This would also help increase Relativity Entertainment’s risk resistance.

Due to the high praise for Breaking Bad and its continuous drive for new users, one week after the drama went online, Netflix Streaming Media sent a new season order to Shai Entertainment.

Starting this year, Netflix Streaming Media would have new dramas or sequel hits every month. Each drama could cause continuous heated discussions on the internet. The exclusive drama and Netflix binge-watching model were changing the way audiences chased dramas.

Also, in early June, after more than half a year of early planning, A Song of Ice and Fire: Game of Thrones officially entered the preliminary preparation stage.

This would be the highest-investment drama by Shai Entertainment since the establishment of Relativity Entertainment, with a per-episode production budget of five million dollars!

The cost of costume fantasy dramas was generally much higher than that of modern dramas.

Even so, after multiple preparation meetings, Ronan made a decision: while ensuring the plot, the fantasy elements would be somewhat diluted.

Why did Peter Jackson almost cut all the magical content from the Lord of the Rings trilogy? Gandalf the wizard casting a spell was just a lighting spell, then charging up to swing a club or a sword. Besides Maia being naturally skilled in close combat, wasn’t it because of insufficient budget?

In the film, what the wizards released wasn’t magic, but US dollars!

With a production budget of less than three hundred million dollars, how could they make such a Lord of the Rings trilogy? What more magic was needed?

Peter Jackson giving Gandalf a lighting spell was already impressive.

Although A Song of Ice and Fire: Game of Thrones seemed to have a substantial per-episode budget of five million dollars, in Hollywood, this was barely enough. They would definitely have to go to Eastern Europe for tax rebates and financial subsidies, and the low local labor costs were truly advantageous.

In California, the cost of hiring one person could hire five in Central and Eastern Europe.

And that one person? Protected by unions and other organizations, any small problem would cause a lot of trouble.

In contrast, those five people might not even care about minor injuries. Perhaps the local government would handle it without the production team needing to intervene.

There were plenty of people in Central and Eastern Europe who prioritized investment.

Ronan would oversee the overall control of this series, but the producer would be George Clint. In his production plan, to save costs, besides the aforementioned items, he also planned to use Huskies to play the role of direwolves.

Could Huskies handle the filming work? Ronan was a bit worried. With so many Huskies in the crew, would the crew collapse?

The second generation of the Wolf family each raised a Husky. After going to battle, the Huskies always reached a consensus with the enemy…

No wonder the Wolf family was almost wiped out.

Regardless, A Song of Ice and Fire: Game of Thrones was about to hit the media platform, and the ultimate convenience king would embark on a super feat of spending ten years crossing the Great Wall to deliver heads.

Recalling the final season, the Night King’s entrance was perfectly atmospheric, fully armored, with shining armor, leading all his troops, including the entire elite command, slowly walking out of the fire in slow motion. If he had a trench coat and a small ghost blowing a fan beside him, it would definitely be Chow Yun-fat’s resurrection.

However, such a cool guy, just as he saw a glimmer of victory in the ghost realm, died.

The Night King and his comrades accompanied the drama fans through eight seasons. Before the grand finale, the Night King bid farewell to everyone and vanished with the wind.

Chapter 936: The Madness of Will

Apart from A Song of Ice and Fire: Game of Thrones, Ronan received another piece of good news—David Finch, after careful consideration and under the persuasive financial incentives from Shai Entertainment, had decided to take on the role of director and producer for House of Cards. He would soon assemble his own production team.

Shai Entertainment had also extended an invitation to Kevin Spacey.

The former Best Actor Oscar winner had just endured the commercial failure of Superman Returns and was at a low point in both his salary and career. Faced with this sincerely extended offer, he had agreed to audition for the series.

Additionally, the first choice for the female lead would be the renowned actress Jennifer Connelly.

The negative impact of Ang Lee’s The Hulk was immense, affecting not only his own reputation but also the careers of the male and female leads. The film had nearly ruined Eric Bana and Jennifer Connelly’s prospects in commercial cinema.

Shai Entertainment had reached out to Jennifer Connelly through Paul Bettany, who had starred in The Da Vinci Code. Although the script contained many explicit scenes, for an actress like Jennifer Connelly, this was hardly an issue.

Jennifer Connelly had been strikingly beautiful in her youth, especially in Once Upon a Time in America, captivating countless hearts. However, as she aged, her features had grown sharper, losing the innocent beauty of her younger years.

This made her perfectly suited to play Claire Underwood, a powerful and formidable woman.

The remaining roles would be cast through auditions once David Finch had assembled his team.

Ronan and David Finch had already agreed on the tone of the series—it would depict political figures and operations in the darkest possible light.

The corruption in Washington, D.C. was already a widely accepted truth among the American public.

Another major production, The Walking Dead, had entered the filming stage. Director Drew Goddard had led the crew to Georgia for on-location shooting.

Drew Goddard and Joss Whedon, who had recommended him, had an idea for a horror film, though it had not yet been put to paper. They would only have time to develop the script after completing their current projects.

Other series, such as Shameless, Hannah Montana, American Horror Story, and The Big Bang Theory, had all been ordered by Netflix Streaming Media. Along with the aforementioned titles, they would begin premiering on Netflix in the second half of the year.

Any series that received positive feedback would continue to be produced season after season, ensuring Netflix had a steady stream of exclusive content for years to come.

For the youth-oriented project, a large amount of material had been collected, and the first draft of a horror-thriller series had been completed. At Ronan’s suggestion, the series was tentatively titled Stranger Things.

Horror had always had a strong audience in North America. After officially joining Relativity Entertainment, James Wan had unleashed an incredible burst of creative energy. In just over half a year, he had prepared and completed the first season of American Horror Story, which was currently in post-production and would definitely be released in the second half of the year.

After completing this series, James Wan would shift his focus entirely to building a horror film universe. He planned to begin preparations for the first Insidious film this year, aiming for a release around Halloween 2007.

Ronan had given James Wan full support.

No one in Hollywood understood better than Ronan the immense value this young Chinese-American director possessed.

Horror films often achieved massive returns on modest budgets. A horror film with a production budget of ten to twenty million dollars could easily gross one hundred and fifty million at the box office, and with additional revenue streams, the profits from a single low-budget horror film could rival those of many directors’ major commercial blockbusters.

Moreover, James Wan’s talent was not limited to horror.

In terms of commercial value, Ronan saw James Wan as no less formidable than Christopher Nolan.

Shai Entertainment had concluded negotiations with the Nolan brothers. Following The Prestige, they would collaborate again on a sci-fi project titled Inception, with an expected production budget of one hundred and fifty million dollars.

Perhaps having enjoyed working with Christian Bale, Christopher Nolan explicitly requested to continue collaborating with a sufficiently dedicated A-list star.

Ronan’s relationship with Leonardo DiCaprio was mediocre, and as with The Departed, he had no intention of inviting Leonardo to play the male lead.

He had already discussed with Christopher Nolan that Tom Cruise and Will Smith were both available for Nolan to choose from.

Both actors were also eager to continue collaborating with Relativity Entertainment.

Whether it was Tom Cruise or Will Smith, both were highly professional, and their market appeal was undeniable.

The biggest difference between them was not their skin color.

Tom Cruise was a lone wolf. Since his divorce from Nicole Kidman, he had no intention of remarrying and was free from any entanglements.

Will Smith, on the other hand, despite his marriage to Jada Smith being in name only—with both parties ignoring each other’s private lives—was an exceptionally devoted father.

Will Smith had always wanted to promote his son or daughter.

Ronan couldn’t say much about this, as it was a family matter.

Will Smith’s career had once taken a nosedive, largely due to his later transformation into a “Fool’s Madman.”

From a father’s perspective, Will Smith was undoubtedly a dedicated and responsible parent.

After 2010, many said that Hollywood was becoming the domain of star children, with countless second-generation stars rising to prominence.

However, Jaden Smith was not among them. Will Smith had invested so many resources, nearly sacrificing his own acting career, yet Jaden Smith, who had started with such high advantages, had only grown worse.

Jaden Smith had even begun to resemble Magic Johnson’s son.

Compared to Magic Johnson’s son, the three Tyson daughters were insignificant.

Some had joked that perhaps one day, Jaden Smith would end up with Magic Johnson’s son…

In the first weekend of June, Embassy Pictures released another film.

The collaboration between Relativity Entertainment and DreamWorks Animation had reached its final installment—Shrek the Third.

DreamWorks was overjoyed. Both Steven Spielberg and Jeffrey Katzenberg attended the premiere.

These two DreamWorks titans seemed to have reached an internal power-sharing agreement. DreamWorks Animation had officially announced that after ending their collaboration with Relativity Entertainment, all their animated features would return to DreamWorks.

“I sincerely hope DreamWorks continues to thrive,” Ronan said earnestly to the two men in the Hollywood Eastern Grand Theater. “Steven, Jeffrey, I believe Hollywood has reached a critical turning point. The stagnant landscape needs a fresh injection of vitality.”

DreamWorks had been shouldering the pressure from Paramount and needed Relativity Entertainment to divert attention from other companies. Relativity Entertainment was preparing to challenge 20th Century Fox head-on and similarly needed DreamWorks to draw fire.

Steven Spielberg said, “We have always been on the same side. I hope that in the future, Hollywood will no longer be dominated by the Big Six.”

Jeffrey Katzenberg added, “Ronan, DreamWorks and Relativity Entertainment are allies. There are no fundamental conflicts of interest between us. Our focus should be on the conservative traditional factions.”

Steven Spielberg also said, “They are the ones oppressing our development.”

The two men might not have realized it before, but half a year after the Walt Disney shareholders’ meeting, although Michael Eisner had successfully retained his position, Disney’s internal strife showed no signs of abating. Instead, due to the intervention of a third-party force, Maple Leaf Entertainment, the intensity of the infighting had only escalated.

How had this third-party force entered Walt Disney? It was Ronan Anderson who had orchestrated it!

People like Steven Spielberg and Jeffrey Katzenberg, who had studied Walt Disney’s situation and were familiar with Ronan, had come to understand that it was Ronan who had single-handedly plunged Walt Disney into a quagmire from which it might not emerge for years.

By the time Walt Disney managed to extricate itself, Hollywood would no longer be the same.

Steven Spielberg and Jeffrey Katzenberg had already reached a consensus. With the resources Ronan Anderson controlled, if he were to target DreamWorks, it would be catastrophic for them.

The two men were expressing their goodwill toward Ronan and Relativity Entertainment.

Ronan smiled at the two men and said, “Relativity Entertainment and DreamWorks have always been allies—past, present, and future.”

His words were diplomatic and elegant, representing an attitude that Relativity Entertainment no longer viewed DreamWorks as a rival.

As for DreamWorks Animation, frankly, the various animation studios under Relativity Entertainment—including Pixar, Shai Entertainment Animation Studio, and the Princess Animation Studio, which had inherited Disney’s excellent animation traditions—would also need competitors in the future.

Ronan left, and the two DreamWorks leaders, temporarily setting aside their power struggles, began whispering to each other.

“This statement is quite credible,” Jeffrey Katzenberg, who had once been close to Ronan, said. “In the short term, Relativity Entertainment won’t be focusing on DreamWorks.”

Steven Spielberg completely agreed. “DreamWorks’ current scale is no longer a concern for Relativity Entertainment.”

The two had speculated that if Relativity Entertainment wanted to advance further, their target could only be one of the Big Six companies.

Katzenberg asked, “When will you fulfill your contract with Relativity Entertainment?”

Steven Spielberg replied, “I’ve already received the original material—a political piece about Abraham Lincoln. Shai Entertainment is working on the script. Since it’s a realistic political subject, it might take a while.”

“Relativity Entertainment is powerful in live-action films,” Katzenberg said. “Their animation division is also terrifying.”

Steven Spielberg sighed. “Pixar…”

Katzenberg shook his head slightly. “It’s not just Pixar. There’s also the newly established Princess Animation Studio.”

Chapter 937: Respect Your Market

“I know that,” Spielberg said, filled with doubt. “The core team of Princess Animation Studio comes from Disney Animation Studio. How many years has it been since Disney Animation produced any outstanding works? These years, Disney Animation’s reputation has been upheld by Pixar.”

Jeffrey Katzenberg, who had been the direct head of Disney Animation Studio before leaving Disney, spoke slowly: “Disney Animation Studio did indeed encounter problems before, but given enough time and resources, with Disney Animation Studio’s foundation, it won’t take long for it to rise again.”

Spielberg didn’t interrupt but listened as Katzenberg continued: “What is the foundation of Disney Animation Studio? It’s actually composed of two parts: one is those classic animated features, and the other is the production team that Disney Animation Studio has built over the years, which is Chris Buck’s team. They are the inheritors of Disney Animation and the core force in Disney Animation’s production.”

Hearing this, Spielberg gradually understood Katzenberg’s meaning: “Now this force has fallen into the hands of Relativity Entertainment and Ronan Anderson.”

“Disney Animation Studio losing this team is like losing the soul of its inheritance and production!” Jeffrey Katzenberg, who had built Disney Animation Studio to its peak, saw things very clearly: “This team was created and brought up by me. No one knows Chris Buck and others’ abilities and strengths better than I do. As long as they have a good creative environment, they will definitely recreate their glory. Unfortunately, by the time I realized the opportunity to dig them up had come, they had already gone to Relativity Entertainment.”

Spielberg said: “Is Disney Animation’s future worrying?”

Katzenberg nodded very seriously and said: “It might be difficult to rise again in the next ten or twenty years. Ronan Anderson seems to understand Walt Disney very well. I don’t understand how he got the live-action adaptation rights for Disney’s classic animated features, but taking advantage of Disney’s internal chaos to dig up Chris Buck and hundreds of core team members has drawn out the soul of Disney Animation Studio!”

This was the first time Spielberg had heard Katzenberg speak like this, and his expression also became unusually serious: “The future landscape of animated films…”

Katzenberg didn’t hesitate at all and said in a decisive tone: “Relativity Entertainment will dominate the animated film market. There’s no doubt about it!”

Spielberg couldn’t muster any desire to refute this statement.

Even though DreamWorks Animation Studio had the Shrek series, it still couldn’t compare to Pixar.

Moreover, Relativity Entertainment’s animation business wasn’t just one Pixar.

Fortunately, after Shrek the Third, DreamWorks Animation Studio would truly belong to DreamWorks.

Ronan entered the theater early. This Shrek the Third would be the last hurrah between Relativity Entertainment and DreamWorks Animation Studio before their parting.

Although Embassy Pictures’ distribution rights for DreamWorks Animation Studio’s films and their merchandise rights would continue until the end of 2008, after this film, Embassy Pictures would no longer handle DreamWorks Animation Studio’s distribution business.

As a distribution company, taking half of the profits from the films they distribute was standard.

Over the past few years, Embassy Pictures’ profits from DreamWorks Animation Studio’s distribution business mainly came from the Shrek series, Shark Tale, and Madagascar. The net profit from online and offline channels exceeded five hundred million dollars.

Distribution business wasn’t just profitable; this was also because, to secure the distribution rights, Embassy Pictures had offered relatively favorable distribution terms.

The most typical example of a distribution company excessively exploiting the production company was Walt Disney and Pixar. The production company had no place to cry.

Not only did the distribution company take away most of the profits, but even the film’s copyright had to belong to the distribution company.

Shrek had also reached the conclusion of the traditional film trilogy. Shrek needed to defend the distant kingdom.

This was extremely critical for a monster with no sense of responsibility.

If we were to talk about the most irresponsible guy in this animated world, Shrek would be second, and no one would dare to claim to be first…

To make this green monster, who exuded swamp stench all over, bear the fate of a country? It was harder than dreaming. He would rather spend his whole life in the swamp, living a life of seclusion.

In the first film, Shrek and Fiona fell in love and got married; in the second film, Shrek met his in-laws and learned how to handle family relationships.

In this film, Shrek needed to shoulder the burden of the distant kingdom.

As Jeffrey Katzenberg put it, it was time for Shrek to take on the responsibilities of an adult.

The first two Shrek films had created a large number of “green fans” worldwide, including non-professional film enthusiasts and professional filmmakers.

The two films had a total box office income of over one billion four hundred million dollars. Embassy Pictures also sold more than ninety million DVDs worldwide through various offline channels.

This brought a massive fan base for the third film.

Under the model of unlimited parody, Shrek the Third exploded the entire North American film market from the first day of its release.

On its North American opening day, this film created a record for the highest single-day box office for an animated film, with forty-two million three hundred forty thousand dollars!

Perhaps after two films, the audience and media had gotten used to this kind of parody of traditional fairy tales, or perhaps during the filming and production process, more effort was put into the parody, leading to a thin plot. The reputation of Shrek the Third wasn’t good.

Even after the first day of release, the film’s IMDb rating was only 6.2.

But Shrek the Third, relying on the large number of fans accumulated from the first two films, had a frenzied momentum in its first week that not only ignored its reputation but couldn’t be stopped by a dozen trains.

On Saturday, Shrek the Third easily refreshed the North American single-day box office record for animated films it had just created, raising the record to forty-eight million seven hundred thousand dollars.

Accordingly, the North American animated film opening record was also taken by Shrek the Third. Its opening weekend of three days, in 4,310 theaters in North America, had a crazy income of one hundred twenty-nine million one hundred sixty thousand dollars!

This also created the highest opening record for the North American film market in June!

Both the distributor and the producer would obtain extremely rich returns through this film.

The reason why Shrek the Third’s opening box office was so high was that the fan base brought by the first two films was key, but Embassy Pictures’ efforts to push the wave were also indispensable.

Embassy Pictures was doing its best to extract the remaining value of this series, striving to maximize profits.

As for whether excessively exploiting Shrek the Third would consume the fans’ expectations and enthusiasm, thereby bringing various negative effects to the subsequent sequels, that was not something Embassy Pictures needed to consider.

After all, even if the next Shrek film was to be produced, it would have nothing to do with Relativity Entertainment.

In fact, the wildly exploding box office and the opposite audience reception had already foreshadowed that this series should take a break.

But DreamWorks had just regained the distribution rights for DreamWorks Animation Studio and was eager to create substantial performance. DreamWorks Animation Studio itself was reluctant to let go of this trump card series.

After the North American opening weekend box office was released, DreamWorks officially announced to the outside world that Shrek 4 had been put on the agenda.

This was Hollywood. Essentially, it was no different from Hong Kong or other film industry circles around the world. Following trends and desperately exploiting the value of popular films were the same.

At the same time, DreamWorks Animation Studio also announced several other animation projects.

Since Kung Fu Panda and The Croods were being filmed and produced at Shai Entertainment Animation Studio, and the film adaptation rights for How to Train Your Dragon had long been in the hands of Relativity Entertainment, many of the animated feature projects announced by DreamWorks Animation Studio this time were ones that Ronan had never heard of.

For example, Guardians of Ga’Hoole, an unnamed animation project about a snail, and an adaptation project based on the legend of King Arthur and the Sword in the Stone.

DreamWorks Animation Studio had lost its previous animated feature projects but was also developing new animated films.

Additionally, DreamWorks Animation Studio reached a cooperation agreement with capital from the other side of the Pacific at the beginning of this month and would jointly establish Oriental DreamWorks Animation Production Company.

With this step, DreamWorks Animation Studio was undoubtedly ahead of the entire Hollywood.

Ronan still had Relativity Entertainment’s animation studio develop according to the established plan and would not rashly cooperate with the market on the other side of the Pacific, adhering to a strategy of respecting but not getting too close.

This was mainly to avoid the strike of the divine beast.

Moreover, Ronan had repeatedly emphasized in Relativity Entertainment’s internal meetings that all company executives were not to participate in overseas political disputes and especially could not casually publicly express so-called insights.

Various government agencies in America, the authorities in Washington, D.C., could say, scold, and discuss anything, which was fine, but regarding overseas matters, no matter whether they understood or not, they should keep their mouths shut.

This applied not only to Relativity Entertainment but also to Netflix’s management personnel.

For example, in the Middle East, carelessly expressing opinions could lead to losing this market full of wealthy people.

Eating from the bowl and then smashing it was something Relativity Entertainment could not do.

Of course, within the company, the words couldn’t be put like that.

The requirement Ronan proposed was phrased in a lofty manner—respect your market! Respect your consumers!

The glory of Shrek the Third continued. After ten days of release in North America, the cumulative box office was two hundred twenty-one million four thousand dollars!

Due to the simultaneous release, the global box office had surpassed four hundred million dollars!

These numbers meant that while Embassy Pictures would gain high profits, DreamWorks was even more eager to distribute its own animated features.

This year, DreamWorks Animation Studio had another new film released, The Tale of Despereaux, with a production cost of one hundred fifty million dollars.

This film had Kate Winslet and Hugh Jackman as voice actors and would be distributed by DreamWorks!

Chapter 938: None of My Business

June was not only the peak of the summer season in the North American film market but also a month filled with numerous global charity events.

Hollywood had always been highly active in philanthropy. Whether it was for show or genuine social responsibility, their annual charity events were always lively and bustling.

Many charitable organizations were eager to collaborate with Hollywood in this regard. Among the various agencies under the United Nations, there were almost always Hollywood stars serving as ambassadors.

This was also a good opportunity for Hollywood stars to build their personas.

For example, Leonardo DiCaprio had chosen environmental protection as his persona and had been collaborating with the United Nations Environment Programme for years.

On June 5th, Leonardo DiCaprio, in collaboration with the United Nations Environment Programme, hosted an event in Los Angeles to call for greater societal attention to environmental protection.

A large number of Hollywood celebrities and notables received invitations.

Ronan received a personal invitation call from Leonardo and also made an appearance at the event.

As expected, Tom Cruise and Will Smith were also in attendance.

At such events, simply showing up was a form of support. Ronan greeted Leonardo before finding a quieter spot with Tom Cruise and Will Smith to avoid the crowd.

“How much has Iron Man made at the box office?”

In the left corner of the banquet hall, as soon as they sat down at the resting table, Tom Cruise asked, “Has it surpassed six hundred million dollars globally yet?”

Ronan thought about the recent data he had seen: “Not yet, but it’s close.”

Tom Cruise ordered three glasses of water, handing one each to Ronan and Will Smith before taking a sip from his own and saying, “I really should have taken that role.”

Will Smith said, “Tom, are you short on roles?”

The three were old friends, used to joking around. Tom Cruise glared and said, “There’s never too many good roles.”

Ronan brought the conversation back on track: “Speaking of roles, I have a sci-fi project where the director is looking for a big-name male lead to collaborate with.”

“What’s the timeline?” Will Smith asked.

“Preparation starts this year.” Ronan thought for a moment: “Shooting should begin next year.”

Tom Cruise interjected: “Whose project is it?”

Ronan said, “Christopher Nolan.”

Tom Cruise nodded slowly: “The one who directed Batman.”

Will Smith then said, “My schedule doesn’t align. I’ve already agreed to work with Sony Columbia Pictures on a sci-fi commercial project.”

Ronan was curious and asked, “What project? You haven’t mentioned it before.”

“It was just finalized recently.” Will Smith briefly introduced: “The script has been around for almost ten years. It was originally a romance script called He Comes Tonight. After Sony Columbia got their hands on it, they did a second draft and turned it into a sci-fi script called Hancock… Hmm, calling it sci-fi isn’t quite accurate. It’s more like a superhero movie.”

Ronan immediately knew which film this was—the Hancock that Will Smith had once starred in with Charlize Theron, where the male lead was a super-strong being who could shoot through rooftops with a single blast.

This was one of Will Smith’s famous films. Ronan vaguely remembered that this was a typical Hollywood project where the script had been around for many years before being made. He had specifically asked someone to find the script, but it was never found.

Hearing Will Smith’s words, Ronan finally understood why he couldn’t find it. The original script wasn’t just called He Comes Tonight; it was a romance, unrelated to sci-fi or superheroes. Only after Sony Columbia Pictures’ second draft did it become what it was later known as.

If he could have found it, that would have been a miracle.

Tom Cruise said, “I have Christopher Nolan’s contact. I’ll reach out to him soon and have a chat.”

Ronan nodded slightly: “It’s an interesting project. It would be good for you to get in touch with Director Nolan.”

At the level of stardom that Tom Cruise and Will Smith had reached, it wasn’t just about projects choosing actors; they also chose projects. It was essentially a mutual selection.

A blonde woman came over to greet Will Smith, also exchanging a few words with Ronan and Tom Cruise.

After she left, Tom Cruise curiously asked, “New lover?”

Will Smith, rubbing his dark face, said, “Not quite a lover, just a one-night stand.”

Ronan was curious: “She looks familiar. I think I’ve seen her in some movie.”

“Denise Richards, the female lead in Starship Troopers from ’97.” Will Smith briefly said, “She’s the ex-wife of Charlie Sheen, the one whose neighbor called the police on him, as I mentioned to you recently.”

Ronan nodded slightly: “No wonder you know so much about Charlie Sheen’s affairs.”

Even now, he found it strange. The first Starship Troopers was well-made and had plenty of appeal. How did it flop?

This film had once been extremely popular online, even considered a classic of soft sci-fi commercial films.

The battle between humans and bugs was so good. Wasn’t it more exciting than Michael Bay’s oil workers going into space to blow up little stars?

Tom Cruise also laughed: “Did you learn this from her?”

Will Smith quickly shook his head: “No, I’m just well-informed. I’ve been keeping an eye on this.” He seemed to think of something: “It’s strange. When other stars have prohibited substances found in their homes and they’re high, the police’s blood test results are made public. But Charlie Sheen’s test results haven’t been released even now, and he’s already been bailed out.”

Tom Cruise agreed: “That is a bit odd.”

Ronan said, “Probably because the money was spent right. After all, Charlie Sheen is a multi-millionaire.”

Will Smith and Tom Cruise both agreed with Ronan’s statement. The three didn’t dwell on the matter, chatting briefly before changing the subject.

This was a commercial society, where the power of money was greater than in most countries and regions.

In Will Smith’s estimation, Charlie Sheen probably didn’t want the media to sensationalize his drug use, which could severely impact his acting career, much like what happened to Robert Downey Jr.

“Someone’s coming to see you.” Tom Cruise quietly reminded Ronan: “Behind you on the left, Michael Eisner from Disney is coming over.”

Tom Cruise didn’t know much about the matters between Ronan and Disney, but he did know that Ronan had played Disney and Michael Eisner.

Michael Eisner turned to face Ronan and greeted him: “Good evening, Ronan.”

“Good evening.” Ronan stood up and shook Michael Eisner’s hand: “Long time no see, Michael.”

From his appearance, Michael Eisner seemed to have aged five or six years in an instant. Without guessing, one could conclude that the past half-year or so had not been easy for Michael Eisner.

Michael Eisner looked at Tom Cruise and Will Smith and said, “Can we talk privately?”

“Sure.” Ronan agreed immediately.

The two then went to another place. When there was no one around, Michael Eisner stopped.

“What do you want?” Michael Eisner asked directly: “What else do you want from Disney?”

Ronan was surprised: “What do you mean?”

Michael Eisner said, “Maple Leaf Entertainment! Ryan Kavanaugh and David Ellison, Ronan, don’t they have your support behind them?”

Ronan said very seriously: “Ryan Kavanaugh and David Ellison’s majority of Disney shares were indeed purchased from Relativity Entertainment, but after their purchase, neither I nor Relativity Entertainment have ever been involved in any Disney-related matters. I haven’t even participated in Disney’s shareholders’ meetings.”

Michael Eisner didn’t believe him: “They have nothing to do with you?”

Ronan said, “Nothing. One has the support of numerous Wall Street investment institutions behind him, and the other has Larry Ellison. Even if I wanted to do something, I wouldn’t have a say.”

Michael Eisner didn’t end it there and questioned: “You promised to support me at the shareholders’ meeting. What’s left for me now? Disney is more chaotic than ever.”

“I promised you that I would absolutely not support Roy Disney at the Disney shareholders’ meeting and help you keep your positions as chairman and Chief Executive Officer.” Ronan calmly said, “Have I kept my promise? Aren’t you still the chairman and Chief Executive Officer of Disney? It’s precisely because you’re still in this position, Michael, that you’ve been able to divide and dissolve Roy Disney’s alliance. The lawsuit in the Delaware Court of Chancery now only has the support of the Disney family’s shareholders, right?”

The latter part was true. Through half a year of operations, leveraging his high position, Michael Eisner had resolved many crises.

But as old crises passed, new ones emerged. New forces were pressing hard, and Roy Disney continued to bite down, making Michael Eisner even more troubled than before.

He knew that saying anything now was useless. Shaking his head, he said, “I will inform other companies to be wary of Relativity Entertainment.”

Ronan slowly said, “How many major companies now don’t take Relativity Entertainment seriously?”

Today’s Relativity Entertainment was no longer developing in the shadows as it once did. It had come into the open, and it would be strange if other Hollywood companies didn’t pay attention.

Michael Eisner looked at Ronan and decided to end this brief meeting: “Good luck, Ronan.”

“Thank you.” Ronan nodded slightly: “Michael, good luck to you too.”

After ending this brief conversation, Ronan said goodbye to Leonardo and left.

Before leaving, he politely invited Leonardo and his new girlfriend, Blake Lively, to the premiere of Embassy Pictures a few days later.

Directed by Zack Snyder, the long-awaited comic book adaptation action film 300 by Warner Bros and DC Comics was about to be released.

This work, reminiscent of an oil painting, was truly full of the director’s style.

Chapter 939: Content Full of Fabrication

“This is Sparta!”

On the screen, King Leonidas roared in fury as he slaughtered the Persian envoy, like a god of war descending upon the earth.

In the front row, Zack Snyder clenched his fist tightly, his tense body revealing his nervousness. The success or failure of 300 was too crucial for him.

Charles Roven had specifically sought him out to discuss the adaptation of DC Comics’ superhero films. Zack Snyder was well aware that although 300 was a Relativity Entertainment production, its commercial performance was a test for him by Warner Bros.

If he succeeded, great power and influence would be his, with clubs and models at his disposal. If he failed, he might have to struggle in the San Fernando Valley.

Cough—

Zack Snyder cleared his throat, quickly discarding these unreliable thoughts.

This film was too important to him.

He turned his head to glance at Ronan’s seat, faintly seeing Ronan whispering something to his assistant, looking quite relaxed.

This eased his mind somewhat. He recalled that after the first test screening, Ronan had told him: This film is excellent!

Ronan indeed wasn’t worried about the film’s prospects. The audience reactions from several test screenings had been very positive. Achieving this level with a sixty-million-dollar investment also proved Zack Snyder’s capabilities. Embassy Pictures’ promotion and distribution efforts were equally relentless.

Moreover, shortly after the official trailer for 300 was released, Iran publicly protested, making several strongly worded statements.

Embassy Pictures, of course, wouldn’t let this opportunity slip. Relativity Entertainment was a group company based in Hollywood and North America, and countering Iran was politically correct.

Over the past half-month, some North American media, driven by Relativity Entertainment, had been engaged in a war of words with Iran, attracting a large number of onlookers.

In simple terms, Iran was firing broadsides, and North American media were firing even broader broadsides back.

Iran claimed that the Spartans and Leonidas were a bunch of ****, and those who supported them were the same.

North American media retaliated, stating that modern Iranians had no connection to ancient Persians, and those who hastily identified with them must have something wrong with their heads.

The media loved such events, wishing for large-scale verbal battles every day.

Both sides were enjoying the exchange, and even many historians joined the fray, denigrating each other as experts.

Come on, hurt each other…

News of such mutual attacks only needed an opening image, and the content was entirely fabricated.

As for the truth, who cared? Probably neither side in the exchange did.

First, they would attack, and then talk about other things.

Iran attacking the United States, and the United States attacking Iran, had always been the correct way to open.

This had nothing to do with justice and evil; it was a natural ideological opposition.

Even the dark-skinned man took the opportunity to make a statement, gaining considerable attention.

300, which had sparked mutual attacks between the two sides, naturally became one of the focal points.

Compared to before, the film’s popularity was even higher.

Just now, Connie had received an urgent notice from the company: Iran had formally protested to Relativity Entertainment, demanding the complete withdrawal of this film.

Ronan looked at the screen where a group of handsome men were marching out and softly said to Connie, “Let the PR department handle it; just stall.”

Connie replied, “I’ll notify them right away.”

Withdrawing 300? Impossible. The film was currently receiving a lot of attention. With proper operation, a profit of over a hundred million dollars wasn’t out of the question.

As for Iran’s reaction, it wasn’t within Ronan’s considerations.

Ronan could swear that Relativity Entertainment had never intentionally provoked the Iranians; it was the Iranians themselves who had come forward to identify with the ancient Persians…

Of course, the ancient Persians in this film were indeed portrayed quite negatively.

For example, Xerxes I was covered in piercings and rings, looking more like the most bizarrely dressed modern hippie in a New York gay bar than a monarch.

Also, the Persian soldiers and generals shown in close-ups had images even more twisted than the deranged characters in traditional American horror films.

Hollywood had never cared about such things. Unless you could bring them profit, what they filmed was their freedom.

Hollywood had always thought this way and acted accordingly.

The countries and regions denigrated by Hollywood, starting from the pig-headed president in the White House in Washington, D.C., were spread all over the world.

Which government department in Hollywood didn’t dare to denigrate, except for the IRS?

Ronan and Relativity Entertainment were just a microcosm of Hollywood. With interests at stake, the themes and content of films dared to challenge heaven, earth, and air.

However, in the eyes of mainstream North American media, no matter how 300 was filmed, the theme was very politically correct: Leonidas and the Spartans resisted the tyrant to uphold freedom. Their brave battle at Thermopylae won time for the Greek alliance to assemble, thereby protecting the bud of democracy.

This kind of nonsense, in the mouths of shameless American media, was spoken with great dignity.

Actually, media all over the world were more or less the same, speaking for the interest groups they represented.

All this added sufficient heat to 300, but for the film to win the audience’s recognition, it ultimately had to be brilliantly filmed.

During the promotion, Embassy Pictures had come up with such a slogan for 300—This is a classic battle that took place 2,500 years ago, a visual feast of flashing swords, and an epic film considered the most anticipated of 2006.

Someone had once asked, what was the biggest difference between Hollywood and European costume war films?

Ronan, who had produced countless films, might have an answer: Hollywood could turn a village-level brawl involving dozens or hundreds of people into an epic, while European directors could turn an epic battle involving tens of thousands of people into a village-level brawl.

Of course, 300 wasn’t a war epic but a typical comic book superhero film.

Leonidas and his underpants-clad army were so powerful they didn’t seem human.

Especially Leonidas, who looked like a superhero saving the world.

The reason this film was attractive, apart from the social factors outside the film, was largely due to its suffocating visual charm. The use of blue-green technology to the extreme created a CG composite image quality that had a charm beyond reality.

The dark and warm tones, splashing blood droplets, and rolling soil were repeatedly presented. The frozen frames also appeared continuously in the fast and slow rhythm switches, easily stirring the audience’s emotions. This almost integrated all existing methods to express the tension of the images, allowing the audience to watch with great interest.

These later became Zack Snyder’s bread and butter.

300 was based on a comic book adaptation, so it was faithful to the original comic’s story, not the historical records. Although historically knowledgeable audiences might notice discrepancies, the slightly magical content was to better attract audiences and increase the film’s selling points.

Of course, there were also the tall, strong, eight-pack abs, and muscular men who shone like Hercules when they ran. Every time a close-up was given to these men, female audience members would occasionally scream from the back…

Using the words of Will Smith, who came to join the fun during the test screening: The Spartan soldiers were all models who had retired from A&F. They fought without armor, shaking their chests and flexing their muscles everywhere! Although the Persians had more people, they didn’t use their brains in battle. The generals were all the same, saying, “I tried, I don’t believe I’ll die for you to see.”

Thus, in the multiple attacks repelled by the Spartans, the Persians’ misery was indescribable. The three hundred were almost portrayed as god-like figures, dealing with ordinary enemies as if cutting melons and vegetables. In this harsh battle, full of blood and gore, the Spartan warriors faced death fearlessly until they shed the last drop of blood.

The film’s features were very prominent, and its flaws were also obvious.

Because the audience was too attracted by the images and rhythm, most of them couldn’t leave a deep impression of the characters and their personalities after watching. Even the protagonist Leonidas’ character might not be as memorable as Gerard Butler’s exaggerated muscles.

Looking at King Leonidas on the screen, Ronan suddenly remembered something. Once, Liam Neeson saved the heavens, the earth, and the air, while Gerard Butler, wherever he went, caused collapse, ruining many presidents and cities.

He could rival the Death Note student.

Wherever the Death Note student went, only a few people died, but wherever Gerard Butler went, it was a world-ending disaster.

King Leonidas was bound to die but won time for the Greek alliance to assemble.

Seeing the Greek alliance appear at the end of the film, Ronan suddenly remembered a flop sequel where the main villain was Eva Green. The daring and revealing Eva Green seemed to have had a super battle with the male protagonist.

This female lead stole all the limelight, fully embodying the villain’s evil, sexiness, and ample figure.

Ronan also remembered another saying about this film: The female lead actively found the male lead to elope. The male lead discovered that the female demon was very fierce and decided to subdue her. Dry wood and strong fire started to burn.

When they were inseparable, the female demon coquettishly said, “Let’s play together for the rest of our lives!”

Everyone knew that words on the bed were just for fun.

But the male lead, being a virgin, didn’t understand this and took it seriously: Didn’t we agree this was an elopement? How did it become forever? I won’t do it!

The female demon was angry. Damn, the little virgin wasn’t fun and didn’t know how to talk.

The elopement failed, and the next day, the battle began!

When the film ended, the theater was filled with sighs of admiration. The professionals in the front row were even more amazed by the technical display in the film.

Being able to achieve such special effects within a sixty-million-dollar budget, Zack Snyder had indeed done an excellent job.

The frequent use of fast and slow-motion switching in the film was also a technique used by MV directors, which Zack Snyder fully integrated into the film’s shots.

Although it was somewhat showy, it helped highlight the film’s visual effects.

Chapter 940: A Big Gift

After the premiere, as Ronan had anticipated, 300 quickly became a polarizing film, especially evident in the two major online movie rating systems.

Rotten Tomatoes, which primarily aggregates reviews from film critics, lifted its embargo the day after the premiere, revealing a freshness score of only sixty percent—barely passing.

Such visually stunning, style-driven spectacles had never been the critics’ cup of tea.

On IMDb, where audience ratings dominate, 300 started with an impressive average score of 8.3.

Phrases like “stirring,” “epic,” and “visual feast” were the most frequently used in fan reviews.

In the reception room of Relativity Tower, Zack Snyder sat on a sofa, waiting for Ronan. He was reading a newspaper featuring a review of 300 by a prominent critic.

“…This is a technique only MV directors would use; real filmmakers wouldn’t stoop to such frivolous tricks!”

Reading this, Zack Snyder felt a surge of frustration.

Just then, the door opened, and Ronan walked in. Noticing Zack’s expression, he asked, “What’s wrong?”

Zack quickly composed himself, greeted Ronan with a smile, then gestured toward the critic’s column in the newspaper. “They just open their mouths, scribble a few words, or tap a few keys, and with their venomous language, they dismiss years of hard work by others.”

Ronan understood. “Zack, don’t let it get to you. You’ll never convince a bunch of trolls—they’ll always find something to nitpick.”

Zack nodded silently, then added, “It just doesn’t feel good.”

“Think of it this way,” Ronan said casually. “What else can these people do besides sitting at their computers and spewing nonsense?”

He picked up another newspaper. “Look at this—CinemaScore collected fan reviews after the premiere, and they gave 300 an average grade of A!”

Zack took it and glanced over it. His mood, which had been swayed by the critics, gradually steadied.

*“300* is visually stunning, with powerful music and an inspiring, blood-pumping story. For me, this kind of visual spectacle is a great film!”

Ronan then asked, “Zack, you came to see me so early—what’s up?”

Zack smiled. “I’ve fulfilled both movie contracts with Relativity Entertainment. Ronan, without your support, I wouldn’t be where I am today. I came to thank you personally.”

Ronan smiled back. “No need for thanks. Cooperation is always mutually beneficial.”

Zack continued, “I might be joining Warner Bros.’ film plans next, so I won’t be able to attend some of the upcoming promotional events. I hope you understand.”

Ronan waved it off. “No problem.” He then asked, “How’s the preparation for Watchmen coming along?”

“It’s just getting started,” Zack said after a moment’s thought. “We’ll have a better idea by Monday.”

Ronan understood the implication—Warner Bros. wouldn’t fully commit to Zack Snyder until they saw 300’s box office performance.

“Be patient,” Ronan said slowly. “It’s just a few days. Movie studios have to consider many factors; some hesitation is normal.”

Zack replied, “I know. After all, Warner Bros. is entrusting me with a major responsibility.”

Though he said this, Zack couldn’t help feeling a hint of dissatisfaction. Relativity Entertainment and Ronan had recently brought a Chinese-American director into Shai Entertainment, making him a producer and executive with stock options—all for directing horror films.

Meanwhile, after his contract ended, Ronan and Relativity Entertainment hadn’t even discussed renewing it.

Fortunately, there was still Warner Bros. and DC Comics. If all went well, he would find his place among them and might even become a major figure in Hollywood’s future.

Hollywood was vast—there was always a place for him to shine.

As their conversation drew to a close, Ronan shook Zack’s hand. “I wish you even greater success in your collaboration with Warner Bros.”

“Thank you,” Zack said with confidence. “I will.”

On Friday, 300 had its wide release across North America. As an R-rated film with extensive content, its distribution was far more limited than PG or PG-13 films. Even with Embassy Pictures’ exceptional distribution capabilities and strong influence over cinema chains, it only secured 3,450 theaters for its opening.

Yet, despite this, 300 exploded beyond expectations.

On its first day in North America, the film grossed an astonishing $29.54 million.

Even though many had anticipated strong numbers, the actual figure was still shocking, especially considering the film’s production cost was only $60 million—a modest mid-tier budget by Hollywood standards.

In the history of cinema, this single-day box office performance ranked third among all R-rated films, trailing only The Matrix Reloaded and The Passion of the Christ.

The box office success, combined with the film’s widespread release, further fueled the buzz around 300.

North American media and Iran reignited their mutual hostility, with the massive controversy even dragging Europe and the Arab world into the fray.

For American media, firing verbal salvos was always satisfying—and they never tired of it.

European media, initially on the sidelines, had been itching to join. Now, they eagerly jumped into the fray.

With such a hot topic, why should only the U.S. and Iran have all the fun? Everyone wanted a piece of the action.

Media outlets from all sides exchanged fiery rhetoric over the history of Thermopylae, ancient ethnic compositions, and cultural heritage—each side thoroughly enjoying the debate.

No one was going to convince the other.

As for historical truth—did it even matter?

On one hand, compared to imagery, text was always at a disadvantage; compared to legend, truth was always secondary.

History existed, but the more it was altered, the less it resembled history.

In other words, from the moment history occurred, its truth was lost.

Would Hollywood studios feel guilty about this?

Someone like Ronan? Unlikely.

How many Hollywood films had rewritten history? Did Hollywood producers care about distorting history?

Over the years, most countries and regions had come to understand the true nature of Hollywood producers like Ronan.

These profit-driven producers had, for the sake of gain, denigrated history and other matters more times than could be counted.

Hollywood had always prioritized commerce. The major studios were masters of market manipulation, and manufacturing or exploiting controversy was an effective way to gain attention.

Even more outrageously, Sony Columbia Pictures had once produced The Interview.

Compared to their actions, Ronan was one of the more conscientious and principled producers in Hollywood.

They say Wall Street is full of vampires, but when it comes to shamelessness, Hollywood is no different.

Faced with Iran’s unexpected assistance, Ronan and Relativity Entertainment couldn’t ignore it—they had to happily accept this gift.

And indeed, once this gift was unwrapped, it revealed substantial financial rewards.

Even though Universal’s The Break-Up and Paramount’s The Crazy Priest had wide releases that weekend, they were no match for 300. They could only look up as 300 claimed the top spot at the North American box office.

Over its opening weekend, 300 grossed an explosive $77.89 million across 3,450 theaters.

The North American opening weekend had already surpassed the film’s production cost—a massive box office hit!

This also made it the third-highest opening weekend for an R-rated film in North America, behind only The Matrix Reloaded and The Passion of the Christ.

300 had undeniably become a star-level film, and director Zack Snyder had become a dazzling star director.

Many in Hollywood turned their attention to Zack Snyder. The Hollywood Reporter even featured him on its cover, praising the British director’s boundless potential!

Faced with the $77.89 million box office figure, the three key figures at Warner Bros. planning the DC Justice League cinematic universe finally confirmed certain decisions.

Charles Roven looked at 300’s box office data and its overwhelmingly positive audience reception. “The numbers don’t lie. The market has fully proven that Zack Snyder is an excellent commercial director, especially suited for superhero films.”

Diego Harris, president of DC Comics, agreed. “It would be hard to find a director more suitable for DC comic adaptations than Zack Snyder. He’s done an outstanding job. 300’s style also aligns well with DC Comics.”

Charles Roven added, “I’ve had extensive discussions with Zack, including his ongoing preparation for Watchmen. He firmly believes that film adaptations must respect the source material and faithfully recreate the comic’s classics!”

He emphasized, “I completely agree with this.”

Both men turned to Kevin Tsujihara, Warner Bros.’ Chief Executive Officer, who made his decision. “Alright, I’ll present Zack Snyder’s proposal to the board. Barring any surprises, it should pass.”

Diego Harris and Charles Roven both smiled.

Kevin Tsujihara continued, “We need to accelerate both the Green Lantern project and Watchmen. Zack Snyder will direct Watchmen, and for Green Lantern…”

Charles Roven was prepared. “Zack and I will serve as producers for Green Lantern and find a suitable director. Once Zack finishes Watchmen, he can fully engage with the Justice League universe.”

Chapter 941: Warning

In just ten days since its North American release, 300 had already amassed a staggering one hundred thirty-nine million two hundred ten thousand dollars at the North American box office. Based on data from primary markets, Embassy Pictures estimated that the final North American box office would land between two hundred thirty million and two hundred forty million dollars.

Thanks to the strong North American performance and the media frenzy involving North America, Europe, and Iran, 300 also performed exceptionally well overseas, with an overseas opening weekend box office of sixty-two million eight hundred fifty thousand dollars.

The film would continue to roll out in more countries and regions in the coming weeks.

Global box office was also poised to surpass five hundred million dollars.

This mid-tier production had already brought substantial returns to Relativity Entertainment.

However, Embassy Pictures’ focus had shifted away from 300 since its release.

Independence Day was approaching, one of the best slots in the summer season. This year’s Memorial Day slot had been taken by 20th Century Fox’s X-Men: The Last Stand, so Embassy Pictures had decided to release Pirates of the Caribbean: At World’s End during the Independence Day slot.

Other films could try to compete during the Independence Day slot, but Pirates of the Caribbean 3 would be waiting for them.

No Hollywood studio was willing to pit their top-tier tentpole against that seductively charming pirate captain.

Films like Clerks II, A Prairie Home Companion, and The Ant Bully were no match for Pirates of the Caribbean 3.

Ronan did have some memory of Little Miss Sunshine, which was set to release the weekend after Independence Day.

This was a road movie produced by Fox Searchlight.

According to Ronan’s sources, the script for this film had been sitting in the script library for five or six years before it was greenlit.

Compared to their own tentpole productions, Ronan didn’t pay much attention to such independent films.

Moreover, Captain Jack Sparrow had been making frequent appearances around the world since mid-June, visiting children with leukemia, fulfilling the wishes of young girls, signing autographs for fans, and fully unleashing the charm unique to the captain.

When interacting with fans, Johnny Depp was always the best captain.

But in front of movie studios, he turned into that troublesome Hollywood A-lister who constantly caused problems.

For example, during promotions, Relativity Entertainment had to rent a private jet exclusively for Johnny Depp, his bodyguards, assistants, makeup artists, and friends, and the plane had to provide special seating and activity space for his pet dogs.

It was no exaggeration to say that Johnny Depp could now be compared to Hollywood’s notorious troublemaker, Jennifer Lopez.

These demands were nothing to Relativity Entertainment, as Captain Jack Sparrow brought in superlative returns.

But during his trip to Australia, Johnny Depp caused a massive problem.

Without informing anyone in the crew or declaring to Australian customs, Johnny Depp tried to bring his two dogs into Australia, and both man and dogs were detained.

According to Australian law, to prevent the spread of disease, dogs entering Australia from the United States must undergo a ten-day quarantine.

Johnny Depp himself faced a lawsuit from the Australian government and was temporarily barred from leaving Australia.

Meanwhile, Johnny Depp showed another side beyond his angelic image, refusing to cooperate with the Australian authorities.

After the news broke, the Australian Deputy Prime Minister and Minister of Agriculture directly issued a stern warning at a press conference: “Either send the dogs back to California, or we will euthanize them!”

“I should have led the team myself.”

In the office, Jessica Felton crossed her arms, blaming herself. “If I had been there, things wouldn’t have escalated like this.”

Ronan shook his head. “This isn’t the first time he’s done something like this. There are many more stops ahead. If it doesn’t happen in Australia, it will happen somewhere else. You can’t follow him everywhere. We’re just in a business partnership with him, not his babysitters.”

Jessica Felton was furious. “How can an adult be so reckless? He clearly knows Australia’s regulations…”

“Depp is not someone you can reason with,” Ronan shook his head.

A knock on the door, and Connie entered, glancing at Jessica Felton.

“Something wrong?” Ronan asked.

Connie said, “Johnny Depp’s agent, Tracy Jacobs, is here.”

Ronan nodded slightly. “Let her in.”

Soon, Connie brought Tracy Jacobs into the office.

“Good morning, Mr. Anderson.” Tracy Jacobs greeted hurriedly. “Good morning, Jesse.”

“Hello.” Jessica Felton, despite her strong opinions about Johnny Depp, maintained basic courtesy.

Ronan got straight to the point. “How do you plan to handle Depp’s situation in Australia?”

Tracy Jacobs thought of the phone call from Johnny Depp. She couldn’t say those words directly, or the consequences would be severe. She had to be tactful. “Mr. Anderson, Depp’s incident happened during the promotion of Pirates of the Caribbean 3. Could Shai Entertainment assist a little?”

“How can we assist?” Ronan asked.

Tracy Jacobs said, “Could you send someone to bring Depp’s pets back first, and then…”

Jessica Felton usually had a good temper, but she couldn’t hold back this time, laughing in anger. “Do you also want us to send another private jet?”

Thinking of Johnny Depp’s demands, Tracy Jacobs could only stiffly say, “Depp’s pets are not used to flying on commercial flights.”

Jessica Felton, a technology-focused person, couldn’t understand such unreasonable demands and questioned, “You want us to send a dedicated team and a private jet to pick up two pet dogs?”

“Don’t rush.” Ronan walked over and gently patted Jessica Felton’s shoulder. “Don’t be hasty.”

Jessica Felton shook her head. “I’ve just never seen such unreasonable demands.”

“Mr. Anderson…” Tracy Jacobs tried to speak again.

Ronan raised his hand to stop her. “First, I won’t handle how Depp’s pet dogs return.”

Tracy Jacobs’ heart skipped a beat when she heard this. Ronan said “I,” not Relativity Entertainment or Shai Entertainment.

As an agent, she had some ability to read people. She had already conveyed Johnny Depp’s words as tactfully as possible.

But from Ronan’s tone, this directly affected his opinion of Depp?

Ronan’s voice was not loud. “Second, Depp must publicly apologize immediately. Third, Depp must bear any penalties from the Australian side. Finally, I hope this is the last time during our cooperation!”

As an agent, Tracy Jacobs had to consider her client’s interests and argued, “Mr. Anderson, Shai Entertainment…”

Ronan looked at her. “Do I need to emphasize this again?”

Tracy Jacobs immediately realized the severity of the situation. Depp might really be in big trouble, not just with Australia.

This matter needed to be resolved quickly.

“Okay, I understand Mr. Anderson’s meaning.” Tracy Jacobs immediately said. “I’ll book a ticket and head to Australia right away.”

Ronan nodded slightly. “You’d better advise Depp. Hollywood won’t indulge his whims indefinitely.”

Tracy Jacobs could only nod, but as she left, she wore a bitter smile. Could she really advise someone like Johnny Depp?

In the office, Jessica Felton said, “I hope this doesn’t affect Pirates of the Caribbean 3.”

Ronan smiled. “It won’t. The first two films have earned the series a huge reputation and fan base. Even if Depp is a jerk, he’s still the Captain Jack Sparrow walking in the real world.”

“Hollywood has many difficult stars.” Jessica Felton said. “I’ve encountered quite a few, but someone like Johnny Depp is truly one of a kind!”

Ronan said, “A significant portion of Hollywood stars have a habit of self-destruction. You can stop them once, but not ten times.”

Jessica Felton curiously asked, “Who else has self-destructed?”

“There have been many in the past.” Ronan casually said. “Wait and see, there will be more in the future.”

In the future, more Hollywood actors would demonstrate what it means to self-destruct through their actions.

Ronan then asked, “How is the preparation for Fast & Furious 4 coming along? The third film’s test screenings have received high praise, so recovering the cost shouldn’t be a problem.”

Jessica Felton said, “We’re still adjusting the script. Justin Lin and I feel that the initial version doesn’t have enough action scenes.”

Ronan nodded. “This series is pure popcorn cinema. The action scenes must be exciting; this directly affects its success or failure.”

“Don’t worry.” Jessica Felton said. “We’ll design this aspect carefully.”

Tracy Jacobs, facing the pressure from Ronan, dared not delay and flew to Australia that same day. It was unclear how she convinced Johnny Depp, but the Hollywood personality star soon released a public apology video through Netflix sharing.

“I apologize for what happened in Australia. I didn’t do it on purpose, and I had no malice. I just didn’t want to be separated from my pet dogs; they are like family to me. Fortunately, I didn’t harm anyone.”

After Johnny Depp’s apology, the Australian side also responded, deciding not to sue Johnny Depp and lifting the restriction on his departure from Australia after he sent his pet dogs back to California.

The matter was resolved satisfactorily, although media criticism of Depp continued. Fans seemed to have no complaints, as if everyone was treating Johnny Depp’s repeated mistakes with the most forgiving attitude.

In Johnny Depp’s life, this might be a minor issue.

But minor issues add up, and one day there will be a super explosion. At that time, Johnny Depp won’t be as carefree as he is now.

The troubles surrounding this Hollywood star were increasing.

And most of them were of his own making.

Chapter 942: Love and Hate

Perhaps Ronan’s warning had some effect, as Johnny Depp restrained himself during the remaining promotional tour. At the very least, he didn’t actively court disaster again until the release of Pirates of the Caribbean 3: At World’s End, avoiding any further negative headlines.

Without negative headlines, Johnny Depp was the best Captain Jack Sparrow.

In the eyes of fans, Johnny Depp was truly flawless. To fulfill fans’ wishes for autographs and photos, he even extended meet-and-greets by half an hour on his own initiative.

So, when Johnny Depp stepped onto the red carpet on premiere day, the fans in attendance were nearly in a frenzy.

The red carpet turned into Johnny Depp’s personal stage. Even as the scene grew chaotic, several bodyguards couldn’t stop him from signing autographs for fans.

Jessica Felton stood on the steps in front of the Sheikh Theater, watching Johnny Depp surrounded by frenzied fans, and said, “This man is really hard to judge.”

Ronan calmly replied, “Angels are always accompanied by devils.”

Jessica Felton slowly nodded. “Depp is a good idol, but not a professional actor.”

Ronan smiled. “At least he hasn’t caused any more trouble.”

Stars like Johnny Depp truly make Hollywood producers feel both love and hate.

This was the premiere of Pirates of the Caribbean 3, and also the first major event of Relativity Entertainment’s 2006 film projects.

With the trilogy concluded, Ronan wouldn’t launch a fourth installment before 2010. He might even pause for a few more years to let Pirates of the Caribbean become a nostalgic memory for more fans.

In fact, the series had already become a nostalgic memory for many.

Established fans strongly supported it, new fans were drawn in by the captain, and even the blacksmith’s apprentice had a large following.

Thanks to the roles of the blacksmith’s apprentice Will Turner and Batman, Christian Bale had successfully risen to the top tier of Hollywood. 20th Century Fox reportedly offered him a $25 million salary to star in Terminator 4.

Although the blacksmith’s apprentice still couldn’t compare to Captain Sparrow, given the current trend, Christian Bale’s future path would only grow broader, while Johnny Depp would struggle to escape the shadow of the captain.

Fortunately, Johnny Depp still had Tim Burton, his good friend who liked to include him in whatever he directed.

As for Keira Knightley, after the box office disaster of King Arthur, the British actress was essentially cut off from major commercial productions.

Whether by choice or circumstance, she would have to work in the independent film circuit for a long time.

She was one of those who had been dealt a good hand but played it poorly, never reaching the heights expected by the industry and media.

Speaking of which, the British media didn’t just hype up British footballers; they did the same in the film industry. As soon as a British actress made a name for herself in Hollywood, they eagerly slapped the “English Rose” label on her.

If you only read Fleet Street’s reports, you’d think Britain was full of geniuses and superstars everywhere.

By the third installment, the film had shifted from a three-lead dynamic to Captain Jack Sparrow being the absolute protagonist.

This wasn’t a deliberate request but a market-driven decision.

After years of persistent effort, coupled with the stimulus of Pirates of the Caribbean 3’s impending release, the series had finally surpassed Peppa Pig to become Relativity Entertainment’s most profitable project.

The first two films had a combined global box office of nearly $2 billion. Including DVDs and other merchandise, the series was raking in massive profits for Relativity Entertainment every day. Adding in various copyright revenues, the total had already reached $1.5 billion.

Among all the merchandise, those related to Captain Jack Sparrow were the most popular. Now, no one could deny that “Captain Jack Sparrow” was one of the biggest factors in the film’s success.

Relativity Entertainment naturally followed market trends and made necessary adjustments.

The facts proved that this strategy was sound.

Pirates of the Caribbean 3 opened in North America with $137.56 million in its first weekend across 4,410 theaters.

Since the film was released globally simultaneously, the global opening weekend box office reached $321.36 million!

But for this film to achieve profitability on its own was an uphill battle, given its production costs had reached a series high of $230 million.

Due to the pre-signed trilogy contract, the director and actors’ compensation was kept in check.

Especially Johnny Depp, whose salary for the third film was only $15 million.

As everyone knew, long-term contracts allowed production companies to limit stars from demanding exorbitant fees for sequels.

For most hot movie sequels, the lead actors’ compensation couldn’t be measured by normal market value. The most typical examples were Johnny Depp and Robert Downey Jr.

No matter what other films they starred in, these two would never get $90 million and $75 million salaries.

Relativity Entertainment’s total investment in Pirates of the Caribbean 3 was as high as $300 million. The global box office needed to reach $1 billion to ensure costs were recovered through theater revenues alone.

Profitability could only come from merchandise.

Pirates of the Caribbean 3 needed not just a good start but also sustained heat to keep people engaged.

After the first weekend box office results for the third installment were released, Embassy Pictures reached a licensing agreement with Unilever. Unilever paid $50 million for a five-year license to use the Pirates of the Caribbean brand on toothpaste and soap.

Subsequently, Unilever announced the development of “Captain Jack Sparrow” branded toothpaste.

As soon as this news was released, Johnny Depp immediately expressed his dissatisfaction.

At a promotional event for the film, a reporter asked, “Many products are now being sold under the Pirates of the Caribbean name. Do you think any of them are too ridiculous and should be stopped?”

Johnny Depp immediately lashed out: “If you ask me, I’d say personal hygiene products. They just look wrong. Like ‘Captain Jack’ toothpaste—someone with gold teeth selling toothpaste? That’s like a bald man selling shampoo.”

Although Johnny Depp strongly opposed it, his words had no impact on Relativity Entertainment’s licensing.

Ronan estimated that after the Australia incident, Relativity Entertainment and Johnny Depp had grown mutually disdainful of each other.

The night Johnny Depp made these remarks, his agent Tracy Jacobs contacted Ronan to sincerely apologize. Ronan didn’t say much, only telling her to keep Johnny Depp’s mouth in check.

This minor issue wasn’t enough for him to take action against Johnny Depp, but if Johnny Depp couldn’t control his mouth and kept spewing nonsense, affecting Relativity Entertainment’s profits, even if Ronan didn’t act, someone else would take the initiative.

Making Johnny Depp as embarrassed as Tom Cruise once was wouldn’t be difficult at all.

Johnny Depp’s scandals were no less than Tom Cruise’s.

But doing so wouldn’t benefit Relativity Entertainment, as they still needed Depp to sell various Pirates merchandise.

Ronan had also seriously considered whether to collaborate with Johnny Depp again if Pirates of the Caribbean 4 were to be planned.

Their contract had expired, and Johnny Depp would certainly demand a $50 million salary plus various ridiculous additional clauses…

Perhaps they would have to wait until Johnny Depp experienced a few more failures and came to his senses before considering this issue again.

With the Pirates of the Caribbean trilogy complete, Johnny Depp’s portrayal of Captain Jack Sparrow had gradually solidified.

As the trilogy concluded, the main creative team of Pirates of the Caribbean also dispersed, mostly ending their collaboration with Relativity Entertainment.

Gore Verbinski moved to Paramount and collaborated with Nicolas Cage on The Weather Man.

Johnny Depp, though fearful of Ronan’s power, occasionally still made discontented remarks about Relativity Entertainment. Their relationship was teetering on the brink of collapse.

Christian Bale was riding high, able to command a $20 million+ salary while also having his pick of projects. He had recently been confirmed to star in Terminator 4, with a production budget of $200 million, and 20th Century Fox had high hopes for it.

Keira Knightley’s situation was clear. The box office failure of King Arthur had caused Hollywood to seriously doubt her commercial value, and Relativity Entertainment was no exception. In the future, they wouldn’t collaborate with Keira Knightley on major commercial film projects.

During the Independence Day holiday, Pirates of the Caribbean 3 dominated the North American film market. In the following weekend, other films still feared it like a tiger. The only film that had a large-scale release was Fox Searchlight’s Little Miss Sunshine.

Of course, no one expected a small-budget independent film to perform well at the box office. Given its audience and promotional investment scale, even if it was exceptionally well-made, it couldn’t pose a threat to a commercial giant like Pirates of the Caribbean 3.

However, among small-budget films, Little Miss Sunshine had a fairly outstanding market response.

In its first week in North America, the film earned $7.37 million in nearly 1,600 theaters.

According to Cinemascore’s estimates, Little Miss Sunshine’s North American box office was very likely to exceed $50 million.

Compared to its production cost of less than $10 million, it was undoubtedly a case of achieving much with little.

Pirates of the Caribbean 3 retained its North American box office crown with $57.24 million. Adding the previous Independence Day holiday earnings, the North American box office had accumulated to $238.94 million.

Overseas, the film’s popularity continued to rise, with the global box office nearing $500 million.

The final global box office was highly likely to exceed $1 billion.

Like the first two films, through theater box office alone, Relativity Entertainment could recover all costs.

Meanwhile, 300’s North American box office was nearing $200 million, and the global box office had already surpassed $400 million.

This uniquely styled blockbuster had generated considerable profits through box office alone.

Not only did it attract male audiences, but it also won the support of many female viewers.

Some even regretted that the film’s scale was still too small.

This made Ronan think of similar works with an even larger scale.

Chapter 943: The New Princess

Many had seen a certain show—or, like Ronan, highlights of it—and been left with a strong impression. Its male lead was a historical figure whose deeds were taught in both Eastern and Western history classes. The role had been adapted into films multiple times, with several actors rising to fame for portraying him—most notably Kirk Douglas, father of Michael Douglas.

That character was Spartacus.

And the show was Spartacus.

Ronan had never watched the full series, only clips, but he knew its most defining feature: its scale. At one point, Spartacus had surpassed A Song of Ice and Fire: Game of Thrones in sheer audacity.

After 300, Ronan had specifically ordered a search for any registered copyrights on similar television scripts. Finding none, he had, following the release of Pirates of the Caribbean 3, personally overseen the initial project planning before forwarding it to Shai Entertainment’s scriptwriting department.

Spartacus was a historical figure—no copyright issues, free to adapt.

After A Song of Ice and Fire: Game of Thrones, Shai Entertainment would increase its investment in large-scale, boundary-pushing productions.

The specifics of the script would be left to the writers, but Ronan had set a broad framework for them to work within.

“In many ways, it’s closer to a B-movie in style,” Ronan said, addressing the heads of Shai Entertainment’s scriptwriting department. “Budget doesn’t need to be high. Focus on violence and bold visuals. The aesthetic should mirror 300—rough CGI is fine.”

He emphasized, “Ideally, this should have the cinematic feel of 300, the realism of Gladiator, and far more nudity than Rome.”

The writers nodded. “Understood.”

“Get the script done by the end of the year,” Ronan said. “You have plenty of time.”

Leaving the scriptwriting department, Ronan headed to the upper floor where the Princess Animation Studio’s offices were located. Inside the conference room, a core team of over a dozen members—led by Chris Buck, Byron Howard, and Rich Moore—awaited him.

Ronan had Connie distribute the materials he had brought before addressing the group. “You’ve all been with Relativity Entertainment for over half a year now. I assume you’re familiar with the company’s structure and personnel.”

Chris Buck replied, “Yes, we’re ready.”

Byron Howard added, “Mr. Anderson, with Pixar’s assistance over the past six months, we’ve updated our computer animation techniques. We’re eager to begin production.”

The others nodded in agreement. They hadn’t joined Relativity to retire—they were here to restore the studio’s former glory.

Ronan pulled out a chair and sat down. “Let me ask you all a question: What kind of animated film do you want to make?”

Silence fell. The question was deceptively difficult.

Ronan rephrased, “Or perhaps, what kind of animation are you best at?”

Without hesitation, Chris Buck answered, “Disney princess films and fairy tales.”

“Exactly,” Ronan said. “That’s your strength. It’s why I brought you to Relativity in the first place.”

Rich Moore interjected, “But the market has proven that traditional Disney animation is outdated. It doesn’t meet modern demands. Otherwise, we—”

He left the rest unsaid, but the implication was clear: if Disney Animation hadn’t declined, the Princess Animation Studio wouldn’t exist.

Chris Buck, ever cautious, added, “Princess and fairy tale features aren’t popular anymore. Since the new millennium, the most successful animated films have been DreamWorks’ Shrek series and Pixar’s releases.”

He voiced his concern, “Ronan, we’re not skilled at pure parody.”

“Don’t worry,” Ronan assured them with a smile. “I won’t ask you to make that kind of film. It’s not what I want either. This studio is called Princess for a reason—I want you to revive the Disney princess and fairy tale genre.”

Asking Chris Buck and the others to make something like Shrek would be a waste of their talents.

Ronan continued, “As I mentioned earlier, once the studio stabilizes, we’ll adapt Hans Christian Andersen’s The Snow Queen into a short film to help the team gel.”

Byron Howard mused, “The Snow Queen is a classic princess story…”

Ronan added, “We can subvert traditional fairy tales—but not through parody. For example, in Sleeping Beauty, the one who awakens the princess doesn’t have to be a prince—it could be a witch. In The Snow Queen, the prince might not fall for the princess but instead seek to conquer her kingdom. Even in Snow White, the princess could defeat the evil queen herself with the hunter’s help.”

The logic was simple, but for former Disney creators bound by tradition, it was a revelation. While some ideas might not suit current societal norms, it shattered a thin barrier—fairy tales didn’t need parody to be reimagined.

Chris Buck and the others flipped through the script outline, which completely upended Andersen’s original tale.

After they finished reading, Ronan said, “Times are changing. More people are developing clearer perspectives. Fairy tale romance isn’t rational, and convincing an audience in ninety minutes why two characters fall deeply in love is incredibly difficult—especially in animation. That’s why these stories rarely explore the logic behind love—why they fall for each other, why so deeply. They just do, with little explanation, making it cliché.”

He cleared his throat and continued, “But familial love and friendship—the love for one’s own family—are far more relatable and moving than love for a stranger.”

Chris Buck pondered, “Past Disney princesses existed only for love…”

Ronan nodded. “You’ve all worked on numerous Disney animated features. Let’s reflect on how Disney princesses were portrayed. They had desires—longing for freedom—but always needed external motivation to act. The Little Mermaid dreamed of human life, but only after falling for the prince and arguing with her father did she resolve to become human. Rapunzel wanted to see the lanterns, but only after a thief familiar with the outside world arrived did she find the courage to leave.”

“They had goals, but they didn’t relentlessly pursue them or pay a real price. That’s their flaw—they had dreams but lacked agency. Even Rapunzel needed outside guidance.”

Byron Howard began to grasp Ronan’s meaning. “These princesses were too passive. They lacked initiative.”

“Exactly,” Ronan said. “The new era’s princesses must be proactive—not loving for love’s sake, not waiting to marry a prince. They need clear goals and the drive to pursue them.”

He paused briefly. “Film is a union of visual and auditory art. What defines characters isn’t their inner emotions but their actions!”

Rich Moore suddenly interjected, “This aligns with the growing feminist movement.”

Ronan gave him an approving look and emphasized, “The next generation of Disney princesses won’t need princes to save them. They’ll save themselves.”

The animated feature that had once revived Disney’s princesses and brought them back to the global stage was defined by subversion and salvation.

The prince removed his glove and became the villain. Anna didn’t need love to save her.

At the time, Elsa’s fans believed it was her true love that saved Anna, while Anna’s fans argued that Anna saved herself…

Disney’s fairy tales and princesses had left a deep mark on Chris Buck and the others. Ronan didn’t expect a single conversation to change them entirely, which was why the Princess Animation Studio’s first project wasn’t a feature film but a ten-minute short.

This would help them integrate new computer animation techniques with fresh ideas.

At the end of the meeting, Chris Buck mentioned that to film the Snow Queen short, they would need to visit Norway and other Nordic countries for inspiration.

Ronan agreed immediately. This was an essential step for outstanding production.

Exotic settings were a major draw for audiences.

Of course, in Hollywood, such “exoticism” was inevitably a blend of half-understood foreign culture and typical American ideals.

Hollywood animated features, regardless of their setting, were all the same.

Disney’s films—Aladdin wasn’t Middle Eastern, The Lion King wasn’t African, The Little Mermaid wasn’t Danish, and Kung Fu Panda wasn’t Chinese. They were standard Hollywood products, tools for profit. Like other North American films that borrowed foreign elements, they were simplistic, even crude, in their appropriation—just enough to make the film feel international.

If a major production were made to authentically represent a single country or culture, reflecting its true elements, the chances of it flopping would be astronomical.

The Princess Animation Studio and Relativity Entertainment weren’t cultural researchers—they were a commercial enterprise.

Chapter 944: He Was Too Trashy

Since entering this new world, especially with the rapid development of the internet, many traditional cultural terms have undergone drastic changes in meaning. Take the word “princess,” for example—even in North America and Hollywood, it no longer carries purely positive connotations.

At the very least, it is often paired with the word “sick” to criticize someone for deliberately acting spoiled and entitled.

In the past, Disney princesses followed one unchanging rule: do everything to wait for the prince’s favor, then live happily ever after.

Elsa’s line to Anna, “You can’t marry a man you just met,” would probably leave the old-school princesses speechless.

At the end of the meeting, Ronan set new guidelines for future princess films—self-reliance, compassion, healthy living, not judging by appearance, trustworthiness, self-belief, moral clarity, giving one’s best, loyalty, and perseverance.

By today’s standards, this sounds more like the Scout Law than princess behavior. But soon, under the rising tide of feminism, it will become an effective tool to cater to audiences.

In the future, feminism will inevitably become an overused term, much like “Black Lives Matter.” It can easily be turned into a marketing gimmick by Ronan and Relativity Entertainment.

Last month, Ronan had Shai Entertainment conduct targeted market research. The data showed that when fans and consumers recalled classic Disney princess films, 75% of their strongest impressions were about the princesses’ appearances, while only 11% were about their abilities and achievements.

These guidelines weren’t just for the Princess Animation Studio but also for other projects at Shai Entertainment.

Live-action adaptations of Disney’s classic animated features!

In some ways, Robert Zemeckis’s Alice in Wonderland could be considered part of this trend.

Ronan had decided to make Alice in Wonderland the starting point for live-action fairy tale films, with future adaptations including Beauty and the Beast, Sleeping Beauty, Cinderella, The Lion King, Aladdin, and many more.

Honestly, these films could rake in money based on nostalgia alone, and the merchandise opportunities were endless.

Belle’s and Cinderella’s dresses had once been hot-selling merchandise. Though not as explosive as Elsa’s market-dominating gown, they still generated profits in the hundreds of millions for Disney.

As for future casting decisions, they would depend on societal trends at the time.

But Ronan didn’t think he would ever lose his mind enough to cast a Black actress as the Little Mermaid.

Everyone knows the Little Mermaid couldn’t possibly have dark skin.

Facing overwhelming social pressure, Disney and Relativity Entertainment had both made questionable decisions.

To be honest, this wasn’t great for overseas box office performance.

Ronan still remembered how many people were disgusted by the female lead in Spider-Man: Far From Home, to the point where they couldn’t even finish the movie.

That Black female lead’s effect was truly unparalleled in driving audiences away.

Peter Parker must have had terrible taste and a broken brain to choose such an eccentric, talentless girl among so many better options.

Tom Holland probably felt miserable too—having to act out a romance in the movie was bad enough, but he also had to pretend to be in a relationship outside of it for promotion.

Regarding Spider-Man, since Relativity Entertainment had been focusing on Disney and later 20th Century Fox, they had already reached an agreement with Sony Entertainment under Ronan’s direction.

Peter Parker wouldn’t be returning to the Marvel Cinematic Universe anytime soon. Marvel Entertainment would have to wait for the right time and opportunity to reclaim the rights.

Ronan spent the morning at Shai Entertainment, mostly in meetings.

Changing people’s mindsets couldn’t happen overnight—it required a process, preferably one that coincided with the creation of new works.

The next priority for the Princess Animation Studio was to produce new princess short films to achieve this goal.

Meanwhile, Shai Entertainment’s scriptwriting department had also allocated resources to adapt The Snow Queen based on Ronan’s outline.

Live-action adaptations of Disney’s classic animated features were also on Ronan’s agenda. Shai Entertainment would soon hire suitable screenwriters to begin drafting scripts.

Among the many projects, Beauty and the Beast was at the top of Ronan’s list.

Following Ronan’s requirements, the first choice was a female screenwriter.

Lindsay Bill would have been a good fit, but she was currently serving as the screenwriter and producer for Twilight, with plans to develop The Hunger Games series and oversee the sequel to Gossip Girl. She wouldn’t have the time or energy for anything else.

Pre-production for Twilight was nearing completion, and filming would begin soon. Embassy Pictures had already secured a release date, tentatively set for next Valentine’s Day.

This would maximize the film’s box office potential.

If Twilight met expectations, The Hunger Games would be next in line for development.

Relativity Entertainment was also building hype for the original novel. Promotions for Lindsay Bill as a beautiful writer and screenwriter were gaining traction. In today’s society, looks often equated to justice. As Lindsay Bill’s fame grew, so did the sales of Twilight.

In this day and age, no amount of marketing could make a movie explode, and the same went for novels.

With the right promotional push, Twilight had entered the North American bestseller list in May and climbed into the top ten by June.

For a novel with a relatively niche audience, this was an impressive achievement.

It also laid the groundwork for the film’s potential audience.

The success of Twilight and Lindsay Bill’s rising fame had also boosted sales of The Hunger Games. This seemingly extraordinary novel had received far more praise than Twilight and had entered the top twenty on the North American bestseller list.

However, after its overseas release, the novel had sparked controversy, especially in Japan.

Many Japanese media outlets claimed that The Hunger Games’ setting and parts of its content were outright plagiarized from Japan’s Battle Royale.

Neither Lindsay Bill nor Relativity Entertainment responded. The voices of Japanese entertainment media rarely made it beyond their shores.

As for filing a copyright lawsuit in North America, the possibility was negligible.

In comparison, expanding the novel’s fame was Relativity Entertainment’s top priority.

The Hunger Games might be on the agenda next year. Ronan wondered if his milk-loving cousin had made it to Hollywood yet.

In the afternoon, Ronan left Relativity Entertainment and headed to the Pacific Investment Foundation, also located in Century City. As he entered the lobby, he saw Taylor Swift stepping out of another elevator.

“Hi, Uncle Anderson,” Taylor greeted him.

Ronan smiled and nodded, looking at the blonde girl with her signature curly hair as they walked toward the entrance together. “Here for work today?”

Taylor smiled. “I wrote two new songs that might work for the TV show. I’m meeting with the production team to see if they fit.”

Ronan said, “I heard from the crew that you did great in Hannah Montana.”

Taylor confidently replied, “I told you a long time ago that I was perfect for this role. I can even write my own songs.”

Ronan chuckled. “Are you leaving now?”

Taylor nodded slightly. “I’m done with work.”

They reached the entrance of Relativity Tower, where Ronan’s Rolls-Royce Phantom was already waiting. “How did you get here? Need a ride? I’m heading to your father’s place.”

“No need, Uncle Anderson,” Taylor said, pointing to a car nearby. “A friend is waiting for me.”

Ronan looked over and saw a handsome young man standing by the car, waving at Taylor.

“Boyfriend?” Ronan asked casually.

Taylor answered matter-of-factly, “Yeah.”

Ronan asked, “Wasn’t the one you introduced to me last time different?”

Taylor didn’t bat an eye. “Oh, him? He was too trashy, so I dumped him. This one is new. He’s given me a lot of inspiration—these two songs wouldn’t exist without him.”

Ronan nodded slightly, not pressing further. “Let’s catch up another time. I need to see your father now.”

Taylor said, “Sure, I’ll treat you to dinner next time.”

A few minutes later, Ronan arrived at the Pacific Investment Foundation and met Scott Swift.

“The person is here,” Scott said. “He’s in heavy asset and resource industries. Our successful collaborations with several natural resource investors caught his attention. Plus, he’s looking to transition into financial investments, so his interest in cooperation is strong.”

Ronan nodded. “Let’s go meet him.”

In the reception room, Ronan met an investor from the East.

The man wasn’t very old, around twenty-five or twenty-six. Though slightly overweight, his short hair gave him a sharp, capable appearance.

Through Scott’s introduction, Ronan learned that this man had taken full control of a conglomerate focused on heavy resources like steel and coal, with a net worth possibly in the tens of billions.

After a brief conversation, Ronan could tell the man was eager to transition into financial investments.

The Pacific Investment Foundation valued every investor and offered the usual fixed investment returns. This was a win-win cooperation—no one was trying to swindle the other.

Chapter 945: Broadening Horizons

The initial face-to-face meeting went smoothly. Ronan met with him again, and Scott Swift accompanied him on a tour of Los Angeles to inspect several projects invested in by the Pacific Investment Foundation, including films and television series.

Both Ronan and the Pacific Investment Foundation demonstrated ample sincerity in their cooperation, without the condescending attitude often shown by traditional American enterprises toward Eastern investors.

Cooperation was a win-win, and respect was mutual—this also helped attract investors.

Moreover, this young magnate in the steel and natural resources industry showed a keen interest in the entertainment world. Rumor had it that in his home country, he had close relationships with several female stars in the local entertainment scene.

Such a high-quality client had come to Los Angeles, to the Pacific Investment Foundation. Scott Swift naturally wouldn’t let this opportunity slip away.

After much effort and a series of inspections by the investor and his team, both parties finally reached an investment agreement.

The Pacific Investment Foundation secured a staggering four hundred million dollars in investment from the other party, offering a fixed annual return rate of six percent.

It had to be said—these natural resources tycoons had an extraordinary amount of cash flow at their disposal.

Depending on the circumstances, both sides would continue to discuss further cooperation.

After opening up numerous investment markets, the Pacific Investment Foundation, through relentless effort and with its good reputation and stable investment returns, was attracting the attention of more and more investors.

Especially in the East, among the first wave of affluent individuals, there were many who aspired to develop in the film industry.

For example, the one who had once built a massive urban commercial complex would, in a few years, frequently invest heavily in Hollywood and the North American film market, even attempting to create an Eastern Hollywood.

Ronan felt that when the timing and conditions were right, it would be entirely possible to discuss cooperation with this individual.

This was completely different from his initial dealings with the Arabs—it was a normal business cooperation, conducted within the bounds of law and regulations.

Ronan also had the Eastern branch of Embassy Pictures make preparations in advance, just in case.

This individual, who had repeatedly attempted to acquire one of the Big Six Hollywood studios but had never succeeded, might bring some assistance to Relativity Entertainment’s future plans.

If all else failed, he could serve as a white knight.

After all, even if a film company were acquired, like Relativity Entertainment absorbing Artisan Entertainment, some of the business might be redundant for Relativity.

But in the eyes of other companies, it could be a highly valuable, irreplaceable resource that they would kill to acquire.

Ronan always believed that no matter what the plan was, it was necessary to prepare multiple contingencies.

Meanwhile, Robert Iger brought two pieces of good news. First, after multiple private negotiations with Avi Arad, Avi Arad would step down as Chief Executive Officer of Marvel Entertainment when his contract expired in September. The new executive would be Ike Perlmutter.

Kevin Feige would also be promoted to Executive President of Marvel Entertainment, specifically overseeing Marvel’s film and television projects.

Second, the survey team sent by Relativity Entertainment to Estonia had returned to Los Angeles, bringing back good news as well.

Estonia showed strong cooperative intent. Its natural and cultural landscapes were suitable for location shooting. To attract Relativity Entertainment’s production team, not only would they establish a professional film studio, but they would also offer favorable tax and financial policies.

In a while, a team led by Carmen Kace and officials from Estonia’s Ministry of Commerce would come to Los Angeles to negotiate with Relativity Entertainment.

Carmen Kace also called Ronan personally to exchange some opinions.

Compared to some countries in Central and Eastern Europe, Estonia had its own advantages, such as a very stable political situation.

The lack of certain strategic resources was not necessarily a bad thing for many small countries.

Possessing great treasures without the ability to protect them—that would be disastrous.

In mid-July, another novel whose copyright was held by Relativity Entertainment, The Martian, was published by Random House. Similar to Twilight and The Hunger Games when they first hit the market, the novel did not cause much of a stir and would need time to gain traction.

This was a relatively hard sci-fi novel, requiring a certain level of reading comprehension, and its audience was relatively smaller.

But novels could always lay the groundwork for future film adaptations—this was an inherent advantage of adapted films.

Currently, the entire Hollywood industry was becoming increasingly cautious about investing in original mid-budget films, preferring to hold onto projects for several years of consideration rather than rushing into investments.

Shai Entertainment had just greenlit a brand-new adaptation film, Kick-Ass, based on the comic of the same name by Mark Millar.

The film adaptation rights for this comic had been in Shai Entertainment’s hands for two years. To obtain the rights from Mark Millar, Ronan had granted Mark Millar the comic adaptation rights for Ace Agents.

Currently, the new comic, closer to the original Kingsman, had been published by Marvel Entertainment.

Under Ronan’s direction, the pre-production of Kick-Ass progressed rapidly. For example, they had brought in Guy Ritchie’s deputy, Matthew Vaughn, who had served as assistant director and executive producer on Lock, Stock and Two Smoking Barrels and Snatch, to direct the project.

This British director had come to Ronan and Shai Entertainment’s attention not because of Kick-Ass, but because of Marvel Entertainment’s pre-production for Thor.

Matthew Vaughn had submitted his materials to Shai Entertainment, hoping to apply for the director’s position for Thor. But after reviewing his resume, especially his recent solo-directed film Layer Cake, Ronan felt he was more suited to the large-scale violent style of Kick-Ass. So, he had Shai Entertainment discuss this project with him.

Both sides hit it off immediately.

Additionally, Shai Entertainment had gathered information on Chloë Moretz.

This actress, a former child star, had been appearing in supporting roles in various Hollywood films and television series since 2004. Earlier this year, she had also participated in the voice acting for the Disney Channel animated series Winnie the Pooh and Tigger Too.

Ronan had an extremely deep impression of the former Hit-Girl. When he first thought of this project, he had always assumed Hit-Girl was the protagonist and had completely forgotten about the nonsensical male lead, Kick-Ass.

From the information, Chloë Moretz was adorably cute, but the only problem was that she was only nine years old this year—her age was indeed a bit too young.

Ronan did not hastily decide whether to choose Chloë Moretz. Along with the profiles of other child actresses like Dakota Johnson, he passed them to director Matthew Vaughn. The selection of the female lead would also need to consider the director’s opinion.

This project was just taken over by Matthew Vaughn, who would also serve as the screenwriter and executive producer, meaning the script would be created by Matthew Vaughn himself.

Actual filming would not begin until next year. White girls tended to develop quickly, so in just over half a year, a little girl could grow significantly.

As an atypical superhero film, Kick-Ass would undoubtedly be rated R. Naturally, its budget could not be as high as a Marvel superhero film. Controlling the investment scale was necessary. If one hundred million dollars were poured into production, the risk of losing money would be much higher.

Ronan had only allocated a twenty-million-dollar production budget for Kick-Ass.

If Matthew Vaughn’s filming and production were a great success, the new Ace Agents could also be entrusted to him.

Regarding the headshot fireworks and the hundred-man slaughter, Ronan had long since arranged for someone to discuss these elements with Mark Millar. These highlights from the past would be incorporated into the comic.

The new comic adopted the typical comic collaboration model used by Marvel Entertainment—Mark Millar had creative rights but not the copyright.

Nowadays, this was how most North American comics were created.

For example, Marvel Entertainment’s ongoing Civil War and DC Comics’ newly started The New 52 series were all of this type.

From sci-fi to commercial, from big-budget to small productions, from horror to Oscar-contending films, Relativity Entertainment had established effective long-term mechanisms in all areas.

As a typical example in the artistic entertainment field, Ang Lee still had a multi-picture deal to fulfill with Relativity Entertainment. However, unlike commercial directors, such directors often required more freedom in their creative time and space.

In mid-July, Brokeback Mountain was officially pulled from all North American theaters. Its final North American box office grossed one hundred twenty-one million five hundred sixty thousand dollars, making it Ang Lee’s second-highest-grossing film after Crouching Tiger, Hidden Dragon.

Overseas, Brokeback Mountain’s box office was also slowly approaching one hundred million dollars, with the global box office already exceeding two hundred million dollars.

For a film with a medium to low budget, achieving such commercial success through Oscar campaigning was a complete victory.

Ang Lee came to Ronan’s office.

“What are your plans next?” Ronan asked directly.

“I won’t rashly take on any new films for now,” Ang Lee said, still haunted by the failure of The Hulk. “I plan to take a good rest for a while.”

Ronan said, “Li, take all the rest you need. Shai Entertainment won’t be a problem. Time and plans can be adjusted to accommodate you.”

Ang Lee smiled and said, “Brokeback Mountain has made me realize many things and fully understand my own strengths and weaknesses. I’ve decided to empty my mind for now, travel the world, see different places, and continue broadening my horizons. I believe this will help my future creations.”

“That’s a great idea,” Ronan affirmed. “Experiencing different things always brings gains.”

Ang Lee agreed, “That’s what I think.”

After a moment of consideration, Ronan said, “Currently, the world has three major film industry hubs: Hollywood, Hong Kong—both of which you’re very familiar with. My suggestion, if you have the time, is to visit India and see how Bollywood films are made and produced, to experience Indian film culture.”

Ang Lee said, “India is already on my itinerary. I’ve wanted to go to India and Bollywood for a long time.”

Chapter 946: Minions

Relativity Entertainment had become the largest collaborator with the Hollywood Chinese-American director community. Ronan couldn’t guarantee anything else, but just like James Wong, Ang Lee, and James Wan, as long as they had talent and value, he would ensure Relativity Entertainment provided a fair and just platform for collaboration.

Ang Lee was undoubtedly a very intelligent Chinese-American director. Regarding Hollywood, he had always actively integrated rather than maintaining a distant relationship to make a quick profit and leave.

The most commendable aspect was that Ang Lee had done an excellent job in blending cultural concepts in his films.

Whether it was Crouching Tiger, Hidden Dragon or Brokeback Mountain, both showcased his skill.

Due to Ronan’s influence, Ang Lee did not take on the film adaptation of Zhang Ailing’s novel. Instead, he focused all his energy on the production of Brokeback Mountain.

Ronan hoped that Ang Lee’s next collaboration with Relativity Entertainment would be Life of Pi.

Since this film helped Ang Lee win his second Oscar for Best Director, Ronan had a rough impression that it was also a novel adaptation.

He had already contacted Embassy Pictures’ Indian branch to find and purchase the relevant copyrights for the novel.

Once the timing was right, Ronan would discuss this project’s collaboration with Ang Lee.

For Ang Lee, after achieving his long-cherished dream of winning the Oscar for Best Director, he needed new challenges and breakthroughs. Perhaps it was this film that drove Ang Lee to the brink of madness, leading him down the path of technical filmmaking.

Unfortunately, two consecutive technically focused films did not turn out very successful for Ang Lee.

As a representative of Chinese-American directors in Hollywood, Ang Lee was preparing to broaden his horizons and accumulate strength for future productions.

Another Chinese-American director whose fame was rising in Hollywood was James Wan. This horror master, after finishing the production of American Horror Story, immediately dove into the preparation of Insidious.

The Saw series had earned James Wan much attention.

Typically, directors who become famous from a single film might carry that burden, but this problem did not exist for James Wan. With Ronan’s support, James Wan decided to take his horror directing career even further.

Insidious was still a typical low-budget horror film project. Since most of the film’s scenes were concentrated in enclosed houses and streets, the production budget submitted to Shai Entertainment along with James Wan’s script was only three million dollars.

Even without considering Ronan’s power support, James Wan’s success with the Saw series would have immediately greenlit the project at Shai Entertainment.

James Wan moved very quickly. As soon as the project was greenlit, he also confirmed the core characters crucial to the horror movie universe plan: the actors for the Warren couple.

Patrick Wilson, who had starred in Hard Candy, and the lesser-known Vera Farmiga both signed long-term contracts with Shai Entertainment.

These two very distinctive actors would become James Wan’s long-term collaborators in the future.

James Wan also submitted an overall plan to Ronan. After Insidious, his next film would be The Conjuring and Annabelle.

The costs of these horror film projects would not be very high.

Compared to general commercial films, horror films often had lower investments, lower risks, and higher audience tolerance.

Nowadays, most of the film projects invested in by small companies were horror films.

Although Relativity Entertainment’s investment in commercial tentpoles was increasing, and the number of projects it operated was also growing, it had never given up on low-investment horror films.

After all, high-risk, high-reward ventures were always welcome.

As time entered late July, Relativity Entertainment had another new film released. Embassy Pictures distributed the second animated feature from Shai Entertainment Animation Studio, Minions.

Last year, Despicable Me was a box office hit, with a production budget of sixty million dollars, earning a global box office of six hundred and fifty-six million dollars, causing a sensation in the market.

Some even believed that the strength of Shai Entertainment Animation Studio could rival that of Blue Sky Studios.

While Despicable Me was a box office success, it also brought about a very peculiar phenomenon. The most popular characters in the film were not the male protagonist, Drew, nor the three little girls he adopted, but the absolute sidekicks, the Minions.

The main profit from animated films came from merchandise, and among Despicable Me’s merchandise, the best-selling items were all related to the Minions.

Originally, the earliest work in this series was the Minions short film. Compared to the previous settings, the advantages were obvious. Ronan and Chris Renaud had long discussed and finalized key settings such as the origin of the Minions.

Thus, the independent film Minions, with an investment of only sixty-five million dollars, naturally came into being.

Embassy Pictures held a dreamy premiere for Minions at the Nokia Theatre.

Looking around the premiere venue, it was a sea of yellow.

Cute creatures dressed as Minions were everywhere, and even the premiere carpet laid out in the theater was the Minions’ yellow.

When hundreds of Minions walked together across the yellow carpet, the atmosphere at the scene reached its peak.

With the huge influence brought by the previous work and the massive promotional campaign by Embassy Pictures, which spent one hundred million dollars on promotion and distribution, Minions gained enough attention.

“If this film continues to be successful, Shai Entertainment Animation Studio will truly establish its brand.”

On the steps in front of the theater, Chris Renaud, the head of the animation studio, said to Ronan, “Our subsequent animated features will also continue to attract attention.”

Ronan nodded slightly and said, “Your goal has always been very clear, hasn’t it?”

Chris Renaud smiled and said, “The top animation studio in Hollywood!”

In fact, with Pixar Animation Studio joining Relativity Entertainment and Shai Entertainment establishing a new Princess Animation Studio, Chris Renaud had already felt the pressure of internal competition.

Often, with pressure, motivation became more abundant.

Ronan asked, “How is the progress of Kung Fu Panda?”

“It can be released next year without any problems.” Chris Renaud said in a low voice, “Despicable Me 2 can also be completed as planned. As long as Embassy Pictures’ schedule is appropriate, releasing two films next year won’t be a problem. By 2008, there will also be The Croods and How to Train Your Dragon.”

Ronan said, “The schedule is not a problem. Embassy Pictures’ promotional and distribution capabilities have grown by at least twofold compared to a few years ago.”

As an extremely important commercial industry chain distributor, Embassy Pictures’ scale had been expanding along with Relativity Entertainment over the years. Its marketing capabilities were not inferior to any of the distribution labels of the Big Six companies.

Not to mention, Embassy Pictures could distribute more than twenty films simultaneously through online and offline channels within a single year.

Moreover, its reach had already spread worldwide.

At this moment, Chris Renaud said again, “The only regret is that I invited people from 20th Century Fox today, but none of them came.”

Ronan understood Chris Renaud’s thoughts. In a way, it was very similar to Jeffrey Katzenberg’s relationship with Walt Disney. He said, “It’s okay. With the speed of information flow today, people from 20th Century Fox will eventually see the news about this film.”

“Yeah.” Chris Renaud felt somewhat relieved, “Maybe they are paying attention.”

Ronan lightly patted his arm and said, “Look ahead. Don’t dwell too much on the past.”

Chris Renaud nodded seriously, “I understand.”

Ronan didn’t say more and turned to enter the theater. The feeling of being swept out the door was not pleasant for anyone, and Jeffrey Katzenberg had not completely shaken it off over the years.

As for whether 20th Century Fox would regret it, Ronan didn’t care much.

Previously, 20th Century Fox had invested all its animation production resources into Blue Sky Studios, but the resources Blue Sky Studios received and the results it produced were never proportional. Apart from the Ice Age series, most of its other works flopped one after another, eventually making 20th Century Fox, which could no longer tolerate it, want to divest and sell.

Unfortunately, it was not easy to find a buyer for such an animation studio.

On the other hand, those who were swept out the door by 20th Century Fox became even more successful commercially.

The former Illumination Entertainment had even become a renowned animation brand in Hollywood and the global market.

The premiere quickly began. Audiences familiar with the Minions and those who had seen Despicable Me could easily understand why the Minions, originally just sidekicks, could “get promoted and receive a raise.”

The film started with the origin of the Minions. Originally single-celled organisms, they gradually evolved into villainous assistants serving supervillains.

The supervillains they served included: Tyrannosaurus rex, Napoleon, vampires, snowmen, and so on.

The Minions always loyally provided various services to their masters, working diligently and without complaint—until they accidentally “killed” each of their masters.

After painfully losing one master after another, the Minions trapped in an ice cave became increasingly restless. Thus, the Minions Stuart, Kevin, and Bob decided to step up, go out into the world, and find a new master to serve.

The plot could be described as unremarkable. Everything in the film was actually designed to make the Minions sell their cuteness.

Minions satisfied the audience’s expectations and fantasies about these mysterious creatures resembling French small breads, effectively and interestingly answering the ultimate questions of what the Minions are, where they come from, and where they are going.

Facing the Minions, who were always joyfully bubbling during their adventurous journey, the young audiences were all convinced, and the parents accompanying them to watch the movie did not find it boring.

The Minions’ cuteness was enough to make the audience overlook their clumsiness. Their various pranks were interspersed throughout the film’s segments, and the existence of these pranks also made up for the film’s insufficient narrative and lack of hard content.

On the other hand, this setup was enough to ensure that the Minions became the absolute protagonists of the film.

Chapter 947: Animation Business

With the release of Minions, if this year’s cutest character were to be chosen, the Minions would undoubtedly be the top contender.

The film’s greatest success lies in its tight grasp of the two most appealing traits of the Minions—cheekiness and cuteness!

Despite the disjointed plot, despite feeling more like a collection of comedic shorts than a full-length animated feature, despite the Minions speaking a bizarre language that sounds like a mix of Italian, Spanish, and French, despite no one being able to understand their dialogue, the Minions’ laughter alone is enough to captivate audiences.

At its core, Minions presents the adventures of three protagonists who are terrible at being villains, with all their actions being quite “mood-dependent.”

The joy the film brings to audiences is light and simple. After all, for creatures like the Minions, who survive on cuteness alone yet insist on relying on their questionable intelligence, one can’t expect much more.

As one audience member put it, “These are a bunch of adorable little rascals who could kill you with cuteness!”

The film’s cuteness is off the charts!

No one can match their cheeky, cute antics!

These qualities alone are enough to win the audience’s love for Minions.

Since the release of Pirates of the Caribbean 3 during the Independence Day weekend, the North American film market has lacked strong new releases, leaving the market rather sluggish.

This weekend, the North American box office was set ablaze by a group of cheeky, cute “Minions.”

Driven by frenzied viral marketing and the series’ already massive popularity, Minions premiered in North America on Thursday night, earning six million two hundred thousand dollars in preview screenings—the best-ever preview performance for an animated film.

By Friday, the film expanded to 4,350 theaters across North America, grossing forty-two million two hundred thousand dollars on its first day (including previews), easily securing the daily box office crown.

This “very yellow, very violent” animated feature is displaying unparalleled market appeal.

Compared to other animated films, Minions is filled with “very yellow, very violent” energy in every frame.

And yet, it’s precisely this “very yellow, very violent” animated film that has quickly taken North America by storm.

The film’s Saturday box office remained red-hot, maintaining a steady pace as it raked in another thirty-eight million nine hundred twenty thousand dollars, retaining the daily box office crown!

While it’s not uncommon in Hollywood animation for side characters to become main protagonists, few have achieved the level of universal adoration and explosive popularity that the Minions have.

Yet, this group of simple-looking, overalls-wearing, gibberish-speaking little creatures has done just that.

Despite mediocre media and critic reviews—with a composite score of only 54 and a Rotten Tomatoes freshness rating below fifty percent—nothing could stop audiences, especially family viewers, from loving Minions.

After three days of its North American opening weekend, Minions exploded at the box office, earning one hundred fifteen million one hundred ten thousand dollars across 4,350 theaters!

In terms of audience demographics, women made up nearly sixty percent, proving that the Minions’ cheeky, cute, and silly combination resonates more with female viewers.

CinemaScore gave the film an “A” rating from theatergoers, and based on audience feedback, the North American box office is projected to exceed at least three hundred fifty million dollars.

These numbers all prove that Relativity Entertainment’s films continue to experience extreme polarization in reception.

No one expected a group of cute, silly, and cheeky little creatures to wield such enormous power when taking center stage on the big screen.

Embassy Pictures and Shai Entertainment quickly analyzed the situation, noting that the Minions had already gained a significant fanbase through several online shorts, and last year’s box office success of Despicable Me laid a solid foundation for this film’s explosive popularity.

But the surprises didn’t end there. The following weekend, Minions opened in multiple overseas markets, riding the wave of its North American box office explosion, generating extraordinary heat.

Minions premiered in over thirty countries and regions, earning an overseas opening weekend of one hundred eighty-nine million five hundred twenty thousand dollars, breaking animated film opening records in twenty-five overseas markets.

In its second North American weekend, Minions maintained its momentum, earning another fifty-four million eight hundred seventy thousand dollars, bringing its North American total to two hundred twenty-three million one hundred seventy thousand dollars.

The film’s global box office easily surpassed four hundred million dollars.

With its relatively low production cost, even with a marketing and distribution budget of one hundred million dollars, Minions will still bring massive profits to Relativity Entertainment.

Moreover, many businesses have approached them seeking commercial licensing opportunities.

Once an animated film becomes a hit, its potential is limitless.

Relativity Entertainment will maximize the film’s profitability, with new Minions shorts and an animated series already in the works at Shai Entertainment Animation Studio.

Ronan is well aware that future animated films following the cute and silly route will have a massive market and a vast potential audience.

The Minions are destined to become the representative of this trend.

This July, the brightest star in the North American film market is Relativity Entertainment, first with the unstoppable Pirates of the Caribbean 3, followed by the irresistibly cute and silly Minions.

After five weekends in theaters, Pirates of the Caribbean 3 has grossed three hundred thirty-one million two hundred forty thousand dollars in North America, with its global box office surpassing eight hundred million dollars, reigniting the worldwide craze for Captain Jack Sparrow.

Johnny Depp has earned countless praises and fans, solidifying his status as Hollywood’s top commercial superstar.

However, this eccentric star, whose fame skyrocketed after playing Captain Jack Sparrow, has not stopped causing trouble. Recent news suggests that Johnny Depp has had a major falling out with his agent and may be looking to replace them.

Ronan suspects this might be due to the agent’s inability to handle the pressure from Relativity Entertainment, forcing Johnny Depp to compromise on several matters.

One should never underestimate the inflated egos of some Hollywood stars.

In their minds, they are the center of the world.

As July turns to August, numerous rumors circulate within the industry, many of them related to Relativity Entertainment.

There’s news from 20th Century Fox and Blue Sky Studios that, following the massive success of Minions, Fox has increased its investment and support for Blue Sky, urging them to actively develop new major animated projects beyond Ice Age and catch up to DreamWorks Animation.

Blue Sky Studios doesn’t see Shai Entertainment Animation Studio as a significant threat.

Shai Entertainment Animation Studio, in turn, pays little attention to Blue Sky, focusing all its energy on future plans.

Apart from Ronan’s animated feature projects, Chris Renaud’s team is also actively exploring new film ideas.

Inspired by American Idol, Chris Renaud believes they could attempt a similar theme, with protagonists not limited to humans—anthropomorphic animals or insects could offer endless possibilities.

Ronan, of course, won’t discourage their initiative. He lets Chris Renaud and his team proceed with preliminary planning, focusing on character design or script outlines.

In today’s Hollywood, there are too many people who do nothing but occupy their positions, and the mentality of “doing more means making more mistakes, while doing nothing means making none” is prevalent.

Animation production is one of the most important businesses for Relativity Entertainment’s future. Shai Entertainment Animation Studio is pushing forward, and the other two studios are not far behind.

Embassy Pictures has scheduled The Incredibles for release during the Thanksgiving weekend this November. This animated feature, delayed due to disputes between Pixar and Walt Disney, is highly anticipated by Pixar, which believes it will maintain their industry-leading position.

Cars has also completed production, but due to scheduling and marketing needs, Embassy Pictures has pushed its release to 2007.

This is a typical case where merchandise profits far exceed box office earnings by dozens of times.

The Lightning McQueen models and various merchandise were once sold like hotcakes.

Ratatouille will also complete all filming and production within the planned timeframe, and the WALL-E project has entered the on-location modeling phase.

However, for this animated feature where critical acclaim far outweighs commercial success, Ronan has instructed Pixar to control costs appropriately, or short-term losses could become a reality.

There are far too many cases in Hollywood where a film wins critical acclaim but fails commercially.

Additionally, the script for Up has completed its first draft, and after Ronan’s review, he quickly gave it the green light.

Compared to WALL-E, he is more optimistic about Up’s commercial prospects.

With Pixar’s original production budget of one hundred eighty million dollars and post-production marketing costs exceeding one hundred million dollars, the total investment could easily surpass three hundred million dollars. Even with higher merchandise profitability, breaking even would still be a significant challenge.

Under Ronan’s direction, Pixar has repeatedly revised its plans, ultimately reducing WALL-E’s production budget to one hundred fifty million dollars.

Pixar’s most important project in the next phase is not WALL-E but Toy Story 3.

This sequel, already in preliminary planning, is the guarantee of massive profits.

At Princess Animation Studio, a professional team left Los Angeles in early August, heading directly to Norway and Greenland in Northern Europe to conduct on-site research for their upcoming animated short.

The humanistic style of Northern Europe and the icy landscapes cannot be imagined by the production team while staying in the dry climate of Los Angeles.

Large Hollywood film companies have always been willing to invest in such endeavors.

This animated short will take at least until mid-next year to complete. If all goes well, Princess Animation Studio will proceed with planning for an animated feature project as scheduled.

Chapter 948: Astonishing Progress

Night fell, and the Beverly Hills club was brightly lit, with luxury cars arriving one after another. Men in formal attire and beautiful women in glamorous evening gowns streamed through the club’s entrance.

On either side of the red carpet outside the entrance, hundreds of reporters gathered in the designated media area, snapping photos incessantly.

This was a celebratory party jointly hosted by Relativity Entertainment and Marvel Entertainment for Iron Man, celebrating the film’s global success.

“Congratulations, Ronan.”

Inside the club’s grand banquet hall, Chris from Sony Entertainment shook Ronan’s hand firmly and said, “Congratulations on Iron Man’s success.”

Ronan smiled and replied, “It’s just not a failure, nothing compared to your Spider-Man.”

Chris didn’t deny it either. “We can’t ignore the gap in recognition between the two. Who would have thought Iron Man could explode like this?”

The film had just ended its North American theatrical run, with a final North American box office of three hundred sixty-one million eight hundred seventy thousand dollars. Overseas, it hadn’t finished its run yet, but the overseas box office had already exceeded three hundred million dollars.

According to various predictions, Iron Man’s final global box office would undoubtedly exceed six hundred fifty million dollars.

Such a result, of course, couldn’t compare to the Spider-Man movies, but the gap in recognition between the two before they were adapted into films was enormous.

Ronan was well aware of this and asked, “Spider-Man 3 won’t be released until next year?”

“It just finished filming, and post-production hasn’t started yet,” Chris didn’t have much to hide. “It’s planned for release during next year’s summer season.”

He suddenly changed the subject and said, “Early May next summer, preferably the first weekend. Does Embassy Pictures have any plans to release a film that weekend?”

Ronan said, “Even if we do, we’ll have to make way for Spider-Man 3.”

This was the truth. Next year, Embassy Pictures’ lineup of major productions didn’t include any hot sequels, and it wouldn’t make sense to pit The Hulk or Transformers against a highly anticipated sequel like Spider-Man 3.

Chris smiled and said, “Then it’s settled.”

“No problem.” Ronan, of course, wouldn’t refuse such a favorable offer. After thinking for a moment, he added, “Chris, do you remember my previous proposal to Sony Entertainment? We could collaborate on Spider-Man and Marvel’s film plans. In the comics, Iron Man often hangs out with Spider-Man.”

Chris evaded the question. “This isn’t something I can decide.”

In the comics, Iron Man hangs out with Spider-Man, but in the movies, wouldn’t that mean Spider-Man would have to hang out with Iron Man? That wouldn’t be fair to Sony Columbia Pictures.

Ronan was just testing the waters. Seeing that it was impossible to achieve his goal, he didn’t press further.

Perhaps time was the best solution to this problem.

The Spider-Man movie trilogy had been a box office success, and Sony Columbia Pictures was confident, naturally unwilling to let Relativity Entertainment and Marvel Entertainment interfere with the series.

Relativity Entertainment’s next target wasn’t Sony Columbia Pictures either. Maintaining the current decent relationship was also necessary.

The banquet hall was getting more crowded, and the central circle of attention revolved around three people: Ronan, producer Kevin Feige, and the living Iron Man, Robert Downey Jr.

Especially Robert Downey Jr., whose success with Iron Man had won back all his reputation, making him the epitome of a prodigal son’s return.

His past misdeeds had not become a burden but rather a foil to his success.

Bad things turning into good things—it was just a matter of one successful blockbuster.

The actors who would star in Marvel’s subsequent superhero films looked at Robert Downey Jr. with a hint of envy in their eyes.

There was also confidence in the future.

Robert Downey Jr. had already shown them the bright prospects of participating in this series of film plans.

River Phoenix was fine; after all, he was a well-known actor who had seen the world. For Jason Momoa and Chris Evans, Robert Downey Jr. was their goal.

“Hi, Jesse.”

Susan Downey, who had changed her name, was also working hard to expand her social circle. She knew that Robert Downey Jr. would be tied to Relativity Entertainment for a long time, so she frequently greeted the executives of Relativity Entertainment on her own. Looking at the tall, sexy, and beautiful Jessica Felton, she sighed inwardly at her choice of career while politely complimenting, “You look beautiful tonight.”

“Thank you.” Jessica Felton responded graciously, “Susan, good evening.”

Susan Downey sat across from her and asked, “Did you come alone?”

Jessica Felton smiled slightly. “I’m always alone.”

“I heard you took over several major film projects at Shai Entertainment?” Susan Downey got to the point. “There are too few female producers in the industry with your achievements.”

Jessica Felton said, “You’re quite remarkable yourself.”

Hearing this, Susan Downey’s eyes unconsciously turned toward Robert Downey Jr. and said, “I wouldn’t say remarkable, but at least I can help Downey a little.”

Jessica Felton had heard a bit about the Downeys’ situation and politely responded, “You two are truly enviable.”

Susan Downey seemed to have become a woman intoxicated by love. “When you meet the right person, you’ll feel that it’s worth devoting yourself wholeheartedly to them and doing anything for them.”

Jessica Felton had no experience in this matter and could only respond perfunctorily, “Yes.”

Susan Downey sensed the politeness in her words and quickly shifted away from showing off her love. “Jesse, I’m also involved in a new project, more on the commercial side. I’m lacking in this area. Could I consult you in the future?”

Jessica Felton smiled and said, “Consulting is too much. We can discuss it together.”

“Great.” Susan Downey hurriedly exchanged contact information with Jessica Felton. “I know several female producers in the industry. We often get together to discuss things. If you have time, you can join us.”

Jessica Felton nodded in agreement. “No problem.”

She was no longer just a technical geek editor. Learning more about industry trends would only be beneficial.

Before ending their conversation, Jessica Felton invited, “In a few weeks, Fast & Furious 3 will be released. Susan, you’re welcome to attend the premiere.”

Susan Downey immediately said, “I’ll definitely be there.”

Elsewhere, Charles Roven, who had come specifically to represent Warner Bros. and DC Comics, approached Ronan.

Charles Roven exchanged a few pleasantries and then probed, “I heard that Marvel Entertainment’s The Hulk is almost finished filming?”

The crew had been shooting on the streets of New York recently, so this news couldn’t be kept secret. Ronan straightforwardly replied, “It will soon enter post-production.”

Charles Roven said, “Your Avengers Initiative is progressing very quickly. Marvel’s speed and efficiency are astonishing.”

Ronan smiled and said, “Charles, it seems Warner Bros. and DC Comics aren’t slow either. I heard you’ve formulated a Justice League movie universe plan and have started planning the first Green Lantern?”

Charles Roven had no need to deny it. “The Justice League and the Avengers are the two major groups of North American superhero comics, with comparable popularity in the comics. As for movie production, you’ve given us inspiration.”

Ronan said, “You’re welcome. If possible, we could collaborate on a Justice League vs. Avengers in the future.”

Charles Roven laughed even more heartily. “I hope that day comes too.”

Ronan chatted with Charles Roven for a few more moments before moving on.

He was well aware of many developments at Warner Bros. and DC Comics. The Justice League movie universe plan was progressing at an astonishing speed.

Probably feeling that they were already behind, Warner Bros.’ management was truly decisive. Under the direction of Kevin Tsujihara, Charles Roven and the increasingly involved Zack Snyder had fully formulated and pushed forward the Justice League movie universe plan. Within three months, a framework had taken shape, and a director had been chosen for Green Lantern.

Martin Campbell, the New Zealand director who had helmed The Mask of Zorro and had just completed Casino Royale this year, had accepted the offer from Warner Bros. and DC Comics to direct Green Lantern.

As for the male lead, it hadn’t been decided yet.

However, following the successful example of Iron Man, Warner Bros. and DC Comics didn’t plan to invite current A-list stars, intending to allocate most of their budget to CGI effects.

Ronan didn’t plan to interfere. There was no room for him to do so anyway.

Robert Downey Jr. came over at this moment.

“Hi, Ronan.” Robert Downey Jr. greeted Ronan and said, “There’s something I want to ask your opinion about.”

Ronan nodded slightly. “Go ahead.”

Robert Downey Jr. hesitated for a moment but finally said, “About Mel Gibson…”

Ronan raised his hand to interrupt Robert Downey Jr. “I won’t interfere in this matter, nor can I. Downey, you’re not new to this industry. You should know better than I do what a massive group Mel Gibson has offended.”

“I know.” Robert Downey Jr. bit his lip. “But Mel helped me. I can’t just stand by and do nothing.”

Ronan only said, “Be cautious.”

Regarding Mel Gibson, Ronan couldn’t help Robert Downey Jr. Not to mention that Mel Gibson had offended all the Jewish people in Hollywood, Relativity Entertainment and Mel Gibson had been at odds over the buyout of The Passion of the Christ.

In late July, a significant event had occurred in Hollywood. Mel Gibson had been arrested for drunk driving and, in front of the police and onlookers, had made derogatory remarks about Jewish people, instantly thrusting himself into the spotlight.

Currently, the torrent of public criticism had almost overwhelmed Mel Gibson.

Mel Gibson’s issue involved the highly sensitive topic of racial discrimination in North America.

Chapter 949: Aerial Combat Hero

The Mel Gibson incident was something that not only put Ronan in an opposing position but also left his past collaborators tight-lipped. Mel Gibson had offended not just one person or one company but the entire Jewish community, which held immense resources. It was easy to imagine that his career would remain stagnant for many years to come, waiting for time to fade the memory.

Hollywood had seen too many stars self-destruct in such a classic manner. How could Ronan and Relativity Entertainment wade into such murky waters? Some thoughts and opinions were fine to express privately, but once spoken publicly, they became a massive problem. The Mel Gibson incident perfectly illustrated the saying, “Disaster comes from the mouth.”

Not to mention, even Mel Gibson’s own talent agency had severed ties with him. Robert Downey Jr. was a man of strong character. During his tough times, he had received care and support from Mel Gibson. Now that Mel Gibson was in trouble, he wanted to help. But Ronan’s direct refusal made Robert Downey Jr. realize that against such overwhelming social forces, an individual was powerless.

“Sorry,” Robert Downey Jr. apologized with a sheepish smile. “I’ve caused you trouble.”

Ronan lightly patted Robert Downey Jr.’s arm and said, “It’s fine, Tony. Give your friend some advice: apologize sincerely and keep a low profile.”

Robert Downey Jr. thought for a moment and said, “I understand. Thank you.”

There didn’t seem to be any other good solutions. Ronan vaguely remembered that Mel Gibson’s downfall had lasted a full decade.

David Ellison walked over, congratulated Ronan, and said, “Relativity Entertainment’s achievements in the film business are truly outstanding.” He probed, “Ronan, how much can the Minions merchandise sell?”

Ronan smiled and said, “The profits are just a bit higher than the box office.”

David Ellison said, “You’re too modest.”

“This isn’t modesty,” Ronan said seriously. “As marketing expenses increase, the profit margins for individual films continue to decline.”

David Ellison was no longer a novice in the industry. He slowly nodded and said, “The investment in promotion and distribution for movies these days is too high.”

He gave an example: “Back when you were working on The Blair Witch Project, the production cost was only a few tens of thousands of dollars. At the time, I thought, ‘This deal is making too much money.’ Later, I found out that you had invested twenty million dollars in promotion and distribution in North America alone.”

Ronan told the truth: “Behind every seemingly low-cost, high-box-office film, there is a massive expenditure on promotion and marketing.”

David Ellison slowly shook his head. “Unfortunately, Disney isn’t willing to invest more in my films.”

Ronan curiously asked, “How are you and Ryan doing at Disney?”

At the mention of Disney, David Ellison instantly perked up: “Ryan and I have both joined the board of directors. Together with Dick Cook, Maple Leaf Entertainment now holds three seats on Disney’s board. However, we’re still far from gaining controlling shares…”

Ronan said, “Disney’s situation is complex. You’ve done very well.”

During the initial deal, Ryan Kavanaugh and David Ellison knew that Walt Disney’s internal situation was chaotic, and that was precisely what they valued. Without internal strife, they would have had no chance to take control.

David Ellison continued, “Maple Leaf Entertainment has ample funds. Ryan and I are waiting for the right opportunity. When the time comes, we’ll show Michael Eisner and Roy Disney what we’re made of.”

Ronan slowly nodded and said, “I wish you early success in taking control of Disney.”

“It will happen,” David Ellison said with great confidence. “Since we’ve joined this game at Walt Disney, Maple Leaf Entertainment will be the ultimate winner.”

He then said, “My new film, Aerial Combat Hero, premieres next week. Remember to attend the premiere.”

Ronan agreed: “No problem.” He then asked, “Is Disney handling the distribution?”

David Ellison said, “The promotion and distribution have been very disappointing.”

Ronan didn’t respond. He had seen the original Aerial Combat Hero before. As for the film itself, it was better left unsaid. However, given his decent relationship with David Ellison and Ryan Kavanaugh, Ronan attended the premiere of Aerial Combat Hero the following week after the celebration party.

At the entrance of the premiere theater, five vintage propeller planes from the 1920s and 1930s were on display. These weren’t models or props but genuine vintage planes from Larry Ellison’s collection. David Ellison and Larry Ellison, father and son, were both passionate aviation enthusiasts.

The Ellison family’s passion for planes was fully reflected in this aerial combat film. At the premiere, besides David Ellison, Ronan specifically chatted with Ryan Kavanaugh for a while.

“We’ve made a lot of effort at Disney,” Ryan Kavanaugh said to Ronan. “We’ve secured some distribution resources from Disney Pictures and Buena Vista International. Distribution for Maple Leaf Entertainment’s films is no longer a problem.”

Ronan said, “Walt Disney’s distribution channels are top-tier in the industry. If utilized well, Maple Leaf Entertainment will have great development opportunities.”

Ryan Kavanaugh sighed: “You don’t know until you’re in the industry. The top distribution resources have already been divided up. If you hadn’t given Maple Leaf Entertainment the opportunity to enter Disney, we might have struggled with distribution channels for many years to come, or paid a huge price.”

Ronan smiled and said, “Nowadays, the success or failure of a film depends more on promotion and distribution than on production itself. Relativity Entertainment was just lucky to establish its own global marketing channels early on. If we had been a few years later, Relativity Entertainment would have had a hard time finding an opportunity.”

The internal strife at Walt Disney might be a cause for concern for many, but in Ryan Kavanaugh’s eyes, it had always been an opportunity: “Walt Disney is Maple Leaf Entertainment’s only chance to reach the top of Hollywood.”

For him and David Ellison, joining this Hollywood game meant aiming for the very top.

Ronan calmly said, “I wish you early success in taking control of Disney.”

One could imagine how fierce the internal struggles would be at Walt Disney, one of Hollywood’s Big Six companies. As for Walt Disney’s long-term plans, Ronan had never heard Ryan Kavanaugh or David Ellison mention them. Perhaps their minds were temporarily focused on seizing control of Disney. Only after gaining power would they consider future development.

But a Disney without long-term planning would inevitably fall behind. Some of Relativity Entertainment’s future plans had already eliminated a powerful competitor.

David Ellison brought a middle-aged man to Ronan and introduced him: “Father, this is Ronan, my friend. Ronan, this is my father, Larry Ellison.”

Ronan shook hands with Larry Ellison and said, “Nice to meet you.”

Larry Ellison, usually arrogant, showed sufficient courtesy in front of Ronan. He smiled and said, “Ronan, it’s nice to meet you too.”

In terms of wealth and company influence, the two were on par. Plus, unlike Oracle and Microsoft, which had conflicting interests, they had a basis for peaceful coexistence.

After a few pleasantries, Larry Ellison said, “I heard you’re working with Steve Jobs?”

Ronan didn’t deny it: “I acquired Jobs’ Pixar, and he became one of the major shareholders of Netflix.”

Larry Ellison asked, “Not considering a collaboration with Oracle?”

Ronan replied, “If the opportunity is right, Relativity Entertainment welcomes every partner.”

Larry Ellison bluntly said, “I’m a more suitable partner than Jobs.”

Ronan laughed. In this regard, Larry Ellison really couldn’t compare to Jobs! Steve Jobs would be gone in a few years and wouldn’t pose much of a threat, but Larry Ellison seemed like he would live for a long time. This was perhaps Steve Jobs’ greatest advantage.

Larry Ellison extended a warm invitation: “You’re welcome to visit Oracle anytime. We can discuss details then.”

Ronan seemed very sincere as he said, “I’ll definitely make a special trip to visit someday.”

Many of Oracle’s software applications were widely used in various industries. For example, some of Netflix’s systems were developed based on Oracle’s software. However, the possibility of collaboration in traditional Hollywood film and television production was slim.

Ronan then entered the premiere theater accompanied by Ryan Kavanaugh. Due to Walt Disney’s limited investment in promotion and distribution, the premiere of Aerial Combat Hero wasn’t grand, and the number of guests who could attend was limited.

Ronan met James Franco and chatted with him for a while. This young actor, who had gained fame for playing the Green Goblin, was currently collaborating with Relativity Entertainment. Shai Entertainment was preparing for The Teddy Bear, in which James Franco would play the male lead—or more accurately, the male supporting role to the super vulgar bear.

Ronan remembered clearly that James Franco had a great talent for comedy. He had later starred in many crude comedy films, which were quite entertaining. For example, James Franco and Seth Rogen had collaborated multiple times. But in this film, James Franco’s performance as the male lead was only average.

When David Ellison invested in Aerial Combat Hero, he had boasted that every additional plane in the film would increase the budget by one million dollars. However, the World War I setting made the aerial combat scenes seem somewhat far-fetched, or lacking in highlights.

After all, movies were movies, not history. This was a commercial entertainment film. As long as the audience bought it, these issues weren’t problems. But David Ellison’s path in Hollywood wasn’t smooth. Aerial Combat Hero’s North American opening weekend box office was only six million three hundred thousand dollars.

Chapter 950: The Little Devil

Many investors in Hollywood often have to pay tuition for their first project, and Aerial Combat Hero was undoubtedly the first hefty tuition fee David Ellison paid in Hollywood.

Following the original trajectory, David would have had to pay such tuition many more times.

Perhaps it was luck, or perhaps misfortune, that David encountered Ronan, allowing him to integrate into Hollywood at a faster pace and even compete for control of a truly top-tier company.

Additionally, Larry Ellison’s support for David was immense. It was said that he had invested a significant amount of money into David’s foundation.

For those born with their starting point already at the finish line of success, others could only look on with envy.

Maple Leaf Entertainment’s next major film project was Rambo 4. Stallone had already finished filming, and it was expected to be released in the second half of the year or early next year.

David Ellison and Ryan Kavanaugh wanted to collaborate more with Relativity Entertainment on specific film projects, but Ronan was unwilling to budge unless they could find another project like Rambo 4.

Moreover, Maple Leaf Entertainment now had Stallone as a long-term collaborator.

Stallone was a visionary director, always seeking to revive the glory of classic Hollywood action films. He had been lobbying everywhere, and his collaboration with Maple Leaf Entertainment was a union of strengths.

Furthermore, Stallone had enough capital to weather any failure, with his three daughters as a safety net.

Someone once said that the greatest difficulty in life is making choices. If faced with three options, what should one do?

A real man wields his sword and wanders the world, never making choices.

In the week following the release of Aerial Combat Hero, another major work from Relativity Entertainment, Fast & Furious 3, premiered in North America.

This sequel completely abandoned the design of the original Dom character, introducing Dwayne Johnson as the new co-lead alongside Paul Walker, thus building a racing family centered around the concept of “family.”

Fast & Furious 2 had completely abandoned Dominic Toretto, and Fast & Furious 3 didn’t even mention him.

At the premiere, the entire racing family made an appearance, and the diverse ethnic backgrounds of the main cast helped attract a broader audience.

The entire film adhered to Ronan and Jessica Felton’s vision, focusing tightly on action and racing scenes, delivering an unprecedented explosive and unrestrained catharsis.

Coupled with Embassy Pictures’ proactive promotion and distribution, the film exploded with vitality from the moment it hit theaters.

In its first weekend in North America, Fast & Furious 3 raked in sixty-eight million seven hundred fifty thousand dollars, setting a new record for the best opening box office in the series.

In just ten days, the film’s North American box office surpassed one hundred twenty million dollars.

With this series successfully revitalized, Fast & Furious 4 was put on the schedule.

Unlike the previous installments, starting from the fourth film, Shai Entertainment would increase its investment, aiming to turn the Fast & Furious series into a near-first-tier commercial tentpole.

New characters would also be introduced to enhance the film’s appeal in overseas markets.

Ronan was well aware that overseas markets were crucial for the Fast & Furious series. Future overseas revenue would undoubtedly surpass North America, making it essential to boost the film’s overseas appeal.

For instance, when the film market on the other side of the Pacific developed further, the racing family would certainly introduce an Asian character.

The film market on the other side of the Pacific had not yet exploded; it had only begun to gain momentum in recent years. Hollywood films’ earnings there were limited, not even comparable to the neighboring market.

This issue could not be resolved without new trade agreement negotiations between the two sides of the Pacific.

After all, box office revenue sharing directly involved trade agreements between the two sides, not something an individual or a single company could decide.

Hollywood’s interests in this regard were aligned. Large Hollywood companies, including Relativity Entertainment and the Big Six, had been lobbying the authorities in Washington, D.C., striving to further open the film market on the other side of the Pacific.

Of course, even if an agreement were reached, Hollywood films would still face certain restrictions there.

The market on the other side of the Pacific was not the only one restricting Hollywood films.

In November 1994, the Hollywood film The Fugitive became the first revenue-sharing film imported into the Eastern markets, creating a box office miracle of twenty-five million that year. This made Hollywood blockbusters famous overnight in the film market on the other side of the Pacific, once becoming the “savior” during a slump in the film market.

After this, films like True Lies, The Lion King, Forrest Gump, and Speed all performed exceptionally well in the Eastern markets.

Perhaps many who grew up in the eighties still cherish the memory of sneaking into theaters to watch Leonardo sketch Kate Winslet—a moment that, looking back, seems incredible.

This was likely due to a high-ranking official directly praising the film.

In 2001, the two sides formally signed a bilateral trade agreement, which included explicit regulations for the film industry.

It allowed the import of twenty commercial blockbusters annually on a revenue-sharing basis, with a box office share of thirteen percent at the time.

The agreement was valid for ten years.

Modifying this agreement ahead of schedule was not easy, and securing a twenty-five percent box office share was even more difficult.

Hollywood was pushing for more than just this. There were two extremely important points: introducing international audit institutions to oversee the Eastern film market’s box office and increasing the number of imported films.

At one point, the Eastern film industry, facing the impending increase in foreign film quotas after 2012, was in a state of despair.

But facts proved that the Eastern film industry did not need to be self-deprecating in the face of Hollywood. Only through competition could it grow stronger, and the same applied to films.

Seeking protection blindly would only backfire.

Someone once said: “Opening the Eastern film market to Hollywood destroys those filmmakers who rely on luck, so-called star power, living off past glories, or manipulating the market through underhanded means. For those who improve the overall production standards of Eastern films and adhere to the laws of filmmaking, it is a blessing.”

Without exaggeration, the audience was one of the biggest beneficiaries.

Which audience wouldn’t want to see a variety of film genres on the big screen?

If the market were closed and stagnant, it was easy to imagine what kind of films would be shown in theaters.

Of course, some restrictions were necessary.

Hollywood’s massive industrial system had effortlessly crushed the film industry in Hong Kong, which couldn’t even put up a fight before being defeated.

The nascent Eastern film industry needed time and space to grow.

In August, Relativity Entertainment only had Fast & Furious 3 in theaters. Its box office success brought endless possibilities for the subsequent series.

By the end of the month, Fast & Furious 3 had nearly reached two hundred million dollars in North America, with a global box office exceeding three hundred fifty million dollars. Recouping the investment through box office earnings was no longer difficult.

Additionally, 300 had exhausted all its theatrical market heat and was officially taken out of North American theaters.

This uniquely styled comic book adaptation film ended its North American run with a box office of two hundred fifty-six million eight hundred ninety thousand dollars.

Currently, the film’s global box office had surpassed the five hundred million dollar mark. Although subsequent growth was slow, it would continue to appear in the film markets of more than a dozen countries and regions.

The massive success of 300 made Relativity Entertainment the biggest winner.

Director Zack Snyder also benefited greatly.

Due to the film’s box office performance, Warner Bros.’ trust in Zack Snyder had doubled. Not only did they grant him final cut privileges for Watchmen, but they also fully involved him in designing the progress and style of the Justice League movie universe plan.

It was said that, under Zack Snyder’s suggestion, Warner Bros. and DC Comics had agreed to use a film style similar to 300, with heavy, oil-painting-like visuals.

This was not just due to 300; it was also related to the Batman series that Ronan had collaborated on with Warner Bros.

Christopher Nolan’s The Dark Knight had completed its initial edit, and its dark visual style had received unanimous praise from almost all high-ranking figures at Warner Bros. and DC Comics.

All of this was driving the Justice League movie universe toward the dark style of the past.

If nothing went wrong, it wouldn’t be long before “Martha” would once again shake the North American film market.

At the end of August, the director for A Song of Ice and Fire: Game of Thrones was officially confirmed.

With a per-episode production budget of five million dollars and a total budget of sixty million dollars for the first season, this massive investment meant Ronan could not hire a newcomer.

After CAA’s recommendation and careful consideration, Ronan chose David Nutter as the director.

Although not widely famous, David Nutter was a renowned figure in the TV industry, having directed many successful American TV series such as Band of Brothers and The X-Files.

In terms of casting, Peter Dinklage was the first to be confirmed. Shai Entertainment directly signed a long-term contract with him, covering both films and TV series.

Hollywood was never short of actors, but someone like Peter Dinklage was a rare resource.

A talented dwarf actor was not easy to find, even in Hollywood.

Peter Dinklage would play the role of the little devil, Tyrion Lannister, in the series.

This dwarf, who shot his own father on the toilet, was once one of the most outstanding characters in the early stages of the story.

A line from the little devil had left a deep impression on Ronan:

“Lord Tywin Lannister never shat gold.”

Sean Bean, who had played Boromir, would play Ed Stark. This actor, who was often killed off in various ways in films, would once again have his head chopped off.

Ed Stark was undoubtedly one of the rare good men in the series, a true knight. Unfortunately, his political wisdom was almost non-existent. A series of reckless actions in King’s Landing not only led to his own death but also the downfall of House Stark.

Chapter 951: A Question of Taste

In recent years, North America had produced a large number of popular TV series, yet fantasy series had never appeared in the prime-time television schedule.

This genre seemed to lack a groundbreaking work.

In the TV production industry, to some extent, the first to take the plunge often reaped the greatest rewards.

The first hit in a particular genre could bring enormous influence.

For example, The Walking Dead.

The biggest problem plaguing fantasy themes was undoubtedly investment.

High production costs were often a major reason why fantasy series couldn’t be produced. Even though Shai Entertainment had a single-season investment of up to sixty million dollars, when filming the first season of A Game of Thrones, they focused more on character, role, and plot development, avoiding large-scale war scenes.

Large-scale war scenes were extremely costly. After all, this wasn’t a summer blockbuster but a TV series that prioritized storytelling. Plus, it was the first season. Rather than spending funds on war scenes, it was better to further refine the plot.

In reality, the full outbreak of war in the original work didn’t begin until after the first volume.

Fantasy creatures like the “Convenience Store King” would only make a brief appearance in the first season.

Without these fantasy creatures, the costly CGI production expenses could undoubtedly be saved.

Since Shai Entertainment had secured a tax rebate of up to six million dollars from Bulgaria, after professional consideration, Ronan unhesitatingly set the main filming base in Bulgaria and other Southeast European countries. They also basically confirmed that the scenes of Westeros would be shot in Sofia.

Several location scouting teams had also been dispatched in advance to find suitable filming locations across Europe and America.

Ronan had also communicated extensively with the creative team. A Game of Thrones wasn’t a youth-oriented film like The Lord of the Rings trilogy but a series for adult audiences. The ideal finished product would be luxurious, bloody, dark, bizarre, sometimes even surprisingly sweet, with malice and kindness intertwined, just like the unpredictability of life.

Additionally, the core concept of the series had long been established by George Martin in his novel and scriptwriting—there was no absolute justice, only eternal power!

George Martin’s philosophy was fully reflected in his works. For example, everyone thought they were the protagonist of the world before they died, but in reality, only history was.

Although in the eyes of many high-end power drama fans, A Game of Thrones might seem like a medieval village role-play, its massive commercial success was undeniable.

The intrigues and struggles in the series didn’t necessarily have to be high-end or complex to be good. Once the audience couldn’t understand, they would abandon the show, which would undoubtedly bring huge losses to the production company.

This kind of thing, once it happened, would undoubtedly bring huge losses to the production company.

The crew had only confirmed two main actors so far, and the rest would be resolved through auditions. As for the former Mother of Dragons, Ronan had no idea where she was.

Speaking of which, she was a very magical actress. As soon as she smiled, her looks would immediately collapse…

The actor who played the Three Fools would definitely be replaced. The former one was too burly and later played Phoenix in X-Men. It was said that the later collapse of the X-Men series was directly related to the failure of the Phoenix casting.

X-Men: Fat Phoenix flopped miserably.

Hollywood’s casting was sometimes really confusing. For example, Disney’s choice of a Black actress to play The Little Mermaid was understood by insiders and outsiders alike.

But a character like Fat Phoenix would easily leave a bad impression on the audience. The casting was simply disastrous.

Ronan remembered a colleague who had watched A Game of Thrones and said of the actress: “She’s so burly she could punch someone to death and still pretend to be weak. The casting treats the audience like fools.”

A 96-year-old looking like a 69-year-old—how could it not flop?

Maybe 20th Century Fox had a problem with their taste.

Ronan remembered that the two final candidates for Phoenix were the Three Fools and Saira Ronan, both naturally looking older.

In terms of actors, Relativity Entertainment had also signed a new cooperation agreement with CAA. Both parties would continue to cooperate deeply in film and TV production.

Shai Entertainment under Relativity produced more than twenty film and TV projects every year, providing employment opportunities for a large number of actors.

Ronan had also emphasized in the Shai Entertainment executive meeting the need to ensure the legitimate rights and interests of cooperative actors.

Now it was 2006, and the twenty-year contracts signed by major production companies with Hollywood’s major guild organizations would expire in two years.

Hollywood’s major guild organizations had never been mere figureheads, so many things could be anticipated.

A new major strike was bound to happen and was unavoidable.

Ronan was also preparing in advance, such as accumulating scripts, so as not to be unable to find screenwriters when the time came.

Actors and directors, as well as those technical workers, were easier to handle. The demands of the first two could always be met by the production side, and the latter’s demands were not excessive. Generally, they just made a fuss and asked for a bigger piece of the pie.

The real trouble, just like the major strike in 1988, would only be the screenwriters.

As the boss and capitalist of the film company, Ronan naturally stood in opposition to the screenwriters.

In early September, a business delegation from Estonia arrived in Los Angeles and began negotiations with Relativity Entertainment on various business cooperations, including films.

The Estonian delegation was led by Carmen Kace and their Minister of Commerce, bringing great sincerity.

Ronan also attached great importance to this. If the cooperation could be achieved, the crews under Relativity Entertainment could receive large tax rebates and financial subsidies when filming in Estonia in the future.

These could effectively reduce the cost of individual projects.

Therefore, Ronan had Robert Iger specifically form a team to negotiate with the Estonian delegation.

Just like the negotiations with Bulgaria and Romania, it involved not only tax rebates and subsidies but also various copyright protections for Relativity Entertainment in their markets.

At this stage, one of the key factors restricting Relativity Entertainment’s development in overseas markets was piracy.

The sales of merchandise heavily relied on copyright protection.

“According to a company statistic,” Ronan said to Carmen Kace, who was dressed in a professional suit, in the reception room on the top floor of Relativity Tower, “this year alone, Relativity Entertainment’s losses in overseas markets due to piracy could reach one billion dollars.”

Carmen Kace said, “This problem is indeed very troubling. I’m also very annoyed. My book and clothing companies have also had infringement losses, but due to legal issues in neighboring countries, they couldn’t be resolved at all.”

Ronan poured her a glass of water and said, “Fortunately, the business environment is generally improving, and the market with rules and order is constantly increasing.”

Carmen Kace picked up the cup and took a sip, then looked around Ronan’s reception room and said, “I remember you used to work in a small office building in Burbank. The office was shabby and old.”

Ronan continued, “Back then, we were living day to day. Having a place to work was good enough.” He laughed, “I remember, the middle-aged woman who sold newspapers at the newsstand under the company building hoped to see me jump off that old building.”

“She must be very disappointed,” Carmen Kace laughed heartily, “You became the most successful person to come out of that old building.”

She tilted her head and looked at Ronan, “Looking back, you really worked hard. Your success is worthy of your efforts.”

Ronan waved his hand, “I wouldn’t say I worked hard. Back then, I would cheat if I could, lie if I could, and to find funding, I almost sold myself.”

Carmen Kace joked, “If I had known, I would have bought you.”

Ronan shrugged, “You didn’t have the money back then. I went to the Middle East specifically to find money. Now, thinking back, I still have to thank the Arabs. They were my lucky stars.”

Carmen Kace laughed, “I don’t think they would agree.”

Ronan said frankly, “Now we are neighbors, living in peace and helping each other.”

In Manchester United City, he and the Abu Dhabi Group were indeed neighbors.

Carmen Kace said softly, “Looking back at the past, it always seems particularly beautiful.”

“This is called the nostalgia effect,” Ronan continued, “People always reminisce, especially as they get older. The best things are always in their memories.”

A group of colleagues from the 80s would get together and talk about how delicious the chicken, duck, fish, and meat were when they were young. After growing up and eating all kinds of fancy dishes, they still couldn’t find the taste of their childhood.

This was less about taste buds and more about the nostalgia effect.

Even if the things from childhood were brought back exactly as they were, they still wouldn’t taste the same as in their memories.

Carmen Kace seemed to be seriously considering Ronan’s words, “The management and marketing experts I hired have said similar things. Nostalgia can always be a selling point for products. For example, the retro fashion of Vogue is also a kind of nostalgia effect.”

Ronan nodded slightly, “That’s a good way to put it.”

After chatting about business for a while, he asked, “How long will you stay in Los Angeles?”

“Not sure yet, but I’ll stay for a while,” Carmen Kace said, “Since I’m in Los Angeles, I should see those old friends from back then.”

Ronan said, “Let me know when you’re free. I’ll hold a welcome party for you at my place.”

Carmen Kace didn’t stand on ceremony with Ronan, “Okay.”

A knock on the door sounded, and Connie pushed the door open, first glancing at Carmen Kace, then saying to Ronan, “Will Smith is here. He has something urgent to discuss with you. I’ve taken him to your office.”

Carmen Kace immediately said her goodbyes, “I’ll leave first. You’re busy.”

Ronan saw Carmen Kace out of the reception room. After she entered the elevator, he walked toward his office and asked, “Did Will say what it was about?”

“No,” Connie thought for a moment, then added, “He made a call when he arrived, mentioning a movie script and his son, Jaden Smith.”

Chapter 952: The Karate Kid

Upon hearing Connie’s words, Ronan had a rough idea of what was going on. After all, he had been closely associated with Will Smith and Tom Cruise for many years, and their situations were basically clear to him.

Will Smith was a bona fide superstar in the business world, not just dominating a single series. In the past two years, under the operation of Relativity Entertainment, he had won the Best Actor Oscar for The Pursuit of Happyness, leveraging the film’s success and his own advantages, reaching the pinnacle of both his life and acting career.

All of this had placed Will Smith at the top of Hollywood’s hierarchy.

But Will Smith had always had a wish or plan, though he had never spoken it aloud. Ronan and Tom Cruise, however, were well aware of it.

Ronan pushed open the office door, and Will Smith was sitting on the sofa. He greeted Ronan, saying, “Am I disturbing you?”

Connie closed the door, and Ronan waved his hand. “Just meeting an old friend.”

Will Smith looked curious. “I heard your first love has returned to Los Angeles?”

Ronan looked at Will Smith. “There’s such a rumor? That’s ridiculous. She’s just one of my ex-girlfriends.”

Will Smith seemed experienced in this matter. “Every ex-girlfriend is different, each with her own unique flavor.”

Ronan realized that this topic was not worth discussing with Will Smith, so he changed the subject. “You suddenly came to see me. What’s up?”

This reminded Will Smith, and he quickly got to the point. “I’ve been looking at a movie project these past few days. I think it’s interesting, but I’m not sure, so I came to you.”

As he spoke, he opened the leather bag beside him, took out a stack of documents, and handed them to Ronan.

Regarding his son’s future, Will Smith felt that only if Ronan approved could he be at ease.

“What project?” Ronan was somewhat curious. “Someone invited you to play the male lead again?”

As far as he knew, actors like Will Smith and Tom Cruise received so many invitations every day that they could only be described as a huge pile.

Will Smith said, “A director named Harold Zwart recommended it to me. He previously directed films like The Pink Panther.”

The director’s name was unfamiliar; Ronan had never heard of him. But Will Smith received many project recommendations every day, and those that caught his attention must have their unique points.

Ronan opened the documents and began to read carefully.

Will Smith continued as usual, “Harold Zwart designed this plan. He wants to remake The Karate Kid, a popular film from the 1980s owned by Sony Columbia Pictures.”

Ronan knew this film. To be precise, it was a trilogy series, and the global box office for all three films combined was around three hundred million dollars.

That was three hundred million dollars in the 1980s!

So, The Karate Kid was a very successful commercial film in the 1980s.

Ronan quickly browsed through the documents. It was clearly the work of a director, containing not only the script outline but also a simple shooting plan.

The outline had a strong Eastern Hong Kong film style. For example, the male lead was a young boy who practiced martial arts, and there was a key supporting character similar to the reclusive sweeping monk in Eastern martial arts novels.

This quickly reminded Ronan of a film he had seen before—The Karate Kid.

Thinking of the previous male lead, looking at the Fool’s Madman Will Smith in front of him, and considering their close relationship over the years, Ronan was not at all surprised that this project had come to him.

Will Smith continued, “When I saw this project, I immediately thought it was great and liked it. The original has already been recognized by the market and the audience…”

Ronan quickly finished browsing and closed the documents, directly asking, “Will, is this a movie project you prepared for Jaden?”

After years of friendship, they understood each other well. Will Smith touched his left ear and smiled, “Ronan, don’t you think the role of the little boy is very suitable for Jaden?”

For this father who had worked so hard for his son, Ronan had nothing to say and could only silently think, “Parents’ love knows no bounds.”

Will Smith added, “I’ve had enough communication with director Harold Zwart. According to his idea, the new work will extract the highlights of the original film and place them in this brand-new story. If the project can proceed, Jaden’s male lead will be a very cute kid who faces many challenges in a strange environment.”

Speaking of his son’s future, Will Smith became visibly excited, “This movie is a child’s coming-of-age story! It can also become Jaden’s coming-of-age story!”

Ronan slowly nodded, recalled, and asked, “I remember the original was about Japanese and karate, right?”

“Yes, it was karate.” Will Smith had clearly communicated enough with director Harold Zwart.

“The action scenes in the original were mainly Japanese karate. But karate is outdated in Hollywood. Harold Zwart plans to use the kung fu that has been popular in Hollywood in recent years.”

Ronan directly said, “Will, there’s something I need to remind you.”

Will Smith silently nodded. “Go ahead.”

“The kung fu scenes in the film, to make the audience marvel, the actors need to put in a lot of effort.” Ronan slowly said, “You want Jaden to play this role. He may need three months or even longer to learn and undergo professional kung fu training. Otherwise, the film might end up with dance-fighting effects like Charlie’s Angels.”

Will Smith nodded repeatedly. “I understand. Jaden can do it. Jaden is a real kung fu fan. Since he was little, our house has been full of kung fu films. He once hoped I could make a kung fu film. Even if it’s not a pure kung fu film, it should at least be an action film with a lot of fight scenes. Actually, more than ten years ago, I had such an opportunity…”

Ronan knew Will Smith was referring to The Matrix. At that time, the crew and Warner Bros. first considered Will Smith for the male lead. After he declined, they invited Keanu Reeves.

“Later, I’ve been paying attention to such themes, but unfortunately, I haven’t encountered a suitable script.” Will Smith pointed to the materials in Ronan’s hands. “Until I saw this project, I wondered if it would be possible for Jaden to personally star in such a film?”

Ronan said, “I have an idea. Maybe we can invite Jackie Chan to try.”

“Jackie Chan?” Will Smith immediately understood Ronan’s meaning. “You want Jackie Chan to act as the kung fu master for Jaden?”

Ronan lightly nodded. “It’s just a preliminary idea.”

Will Smith understood the implication behind these words. “Ronan, do you think this project is good?”

“It’s okay.” Ronan told the truth. “I think there’s some room for operation under Relativity Entertainment.”

Will Smith slapped his thigh. “Working with you, I’m at ease.”

With their friendship, there was no need for roundabout talk. Ronan directly said, “Relativity Entertainment has been expanding into the Eastern markets on the other side of the Pacific. This is a good theme. The people over there should like it.”

Will Smith completely agreed with Ronan’s words. “The main plot of the film discusses how a Western child grows up in an Eastern cultural background, and his life mentor is an Eastern old man skilled in kung fu. It can provide an interesting perspective to interpret Eastern kung fu and Eastern culture. This story can be universally appealing on both sides of the Pacific. We should make it a global production. I think both Asian and Western audiences will be attracted by the story.”

Ronan said, “I hope so too.”

Frankly speaking, this film had basically nothing to do with Eastern culture. It was completely a case of hanging a sheep’s head to sell dog meat. All the gimmicks were based on market considerations, not presenting Eastern culture on the big screen.

As for the content of the previous film, it was entirely Hollywood’s imagined version of the East.

As for Eastern kung fu culture, it was almost becoming synonymous with fraud. Various martial arts masters indeed emerged one after another, but unfortunately, their talents and efforts were all misplaced, entirely focused on “fraud.”

Even in a few years, when someone mentioned “kung fu master” or “martial arts master,” what would be the first thought of ordinary people?

The answer “fraud” would likely be very high.

Ronan shook his head and stopped thinking about these things. After all, overthinking was useless, and he couldn’t solve it nor had the mind to.

“Has the project had an initial budget?” Ronan asked Will Smith.

Will Smith said, “The director hasn’t done it, but after communicating with him, I had someone estimate it. It should be around twenty million dollars.”

Ronan lightly tapped his fingers and said, “Okay. Will, Relativity Entertainment can handle this project.”

“Good.” Will Smith came to see Ronan today for this very reason and immediately asked, “What do I need to do?”

For his son, Will Smith dared to face the bleakness of life.

Ronan had a rough impression. This was clearly the Karate Kid project, which had once been Jaden Smith’s breakthrough role and his peak in film, reaching the highest point of his career. After the film’s release, many media outlets even hyped up “Like father, like son,” listing Jaden Smith as one of Hollywood’s most promising rising stars.

Unfortunately, Jaden Smith never had a better work than The Karate Kid afterward.

As for the bizarre works like After Earth that Will Smith forcefully promoted for him, it was better not to mention them.

This film could also be said to be a brief revival of the kung fu genre in Hollywood.

Purely from a cinematic perspective, the previous Karate Kid was a decent film and could be considered a worthwhile production.

Chapter 953: Surviving Under Pressure

A budget of twenty million dollars wasn’t low for a project like this. Any higher, and the risk of recouping the investment would become enormous. After all, kung fu films had never been mainstream in the North American market.

Ronan reminded Will Smith of a few key points: “Have Jaden start preparing early. Many of the shots will require the actors to perform themselves, so early preparation won’t hurt.”

Will Smith agreed: “I’ll hire a professional instructor for him as soon as I get back.”

Ronan said: “You know Tiger Chen, right?”

“I do,” Will Smith smiled. “One of the action directors for the Matrix series.”

Ronan simply stated: “From what I know, Tiger Chen has been in Hollywood all along. You might consider hiring professionals from his team to train Jaden.”

Will Smith made a note: “I’ll call Tiger Chen myself when I get back.”

When it came to his son’s future, he would naturally take personal charge.

Ronan then added: “There’s another crucial point, Will. You’ll need to handle this.”

Will Smith eagerly responded: “No problem.”

“Since this is a remake of an old film, we must consider potential copyright disputes,” Ronan got to the heart of the matter. “It would be best to obtain the remake rights for The Karate Kid from Sony Columbia Pictures to avoid any copyright issues.”

Will Smith was equally cautious: “That’s absolutely necessary.”

Ronan continued: “Given the sensitive position of Relativity Entertainment and myself, it wouldn’t be appropriate for us to step forward. Otherwise, Sony Columbia might demand an exorbitant price or refuse to grant the rights altogether.”

Will Smith thought of Ronan and Relativity’s success and knew that such a possibility not only existed but was highly likely.

“Leave the copyright to me,” Will Smith took the initiative. “I’ve had a long-standing collaboration with Sony Columbia, and we’re currently working together on Hancock. Getting the rights shouldn’t be difficult.”

Ronan said: “Good, Will. Get the rights as soon as possible.”

Will Smith smiled: “Don’t worry. I have my ways.”

Ronan completely trusted Will Smith in this matter. He was a black movie star who would stake everything for his son’s future.

Such a matter would undoubtedly receive Will Smith’s full commitment.

After discussing further with Will Smith, they agreed to meet with director Harold Zwart as soon as possible. Will Smith then took his leave from Relativity Tower.

He had a lot to do—preparing his son, finding professional coaches, securing the rights—quite a handful of tasks.

In comparison, Ronan had it much easier. He simply had Connie transfer the relevant materials for The Karate Kid to Shai Entertainment and then waited for news from Will Smith’s side.

Additionally, he called the scriptwriting department, which would prepare to allocate or recruit personnel to refine the project’s script.

Whether the scriptwriters understood kung fu or Eastern culture wasn’t important.

They could go to the East for on-site research.

Recalling that old film, it wasn’t hard to see that the entire movie’s character settings and plot were quite fantastical, as if an American had sat at home and imagined an Eastern story.

Perhaps due to long-standing, deeply ingrained perceptions, in their eyes, every Easterner knew some kung fu. Even a property management uncle fixing sewers was an unparalleled master.

Did the scriptwriters think of him as Super Mario?

Probably, Hollywood scriptwriters didn’t understand the truly terrifying existence of a sweeping monk.

In their eyes, a hidden plumber was the pinnacle.

The plumber’s English was more professional, spoken fluently.

On the other hand, there were all kinds of biases in Hollywood.

Every Easterner knew martial arts, and main roads were on rooftops!

To maintain Americans’ peculiar parallel worldview, Hollywood directors had racked their brains.

Besides The Karate Kid, there was also The Forbidden Kingdom.

The plot of that one was particularly eccentric, especially regarding the foreign male protagonist’s setting.

This was typical of Hollywood.

Asian children were tall and mighty, fierce and combative. Under the guidance of strict masters, they showed no mercy to any opponent and must kill them; Eastern scenic spots were always hiding dragons and crouching tigers, so on the mountaintops, which were like tourist attractions, there were always some idle monks practicing martial arts.

There were indeed monks in scenic spots, but they were all professional.

In this modern commercial society, even seclusion could be commercialized in various ways, let alone scenic temples.

A certain Lin Group and its fat chairman and Chief Executive Officer were definitely typical examples of commercial success in this regard.

Ronan also made some preliminary plans. If conditions allowed, this film would be shot on location in the East by Shai Entertainment.

The advantages were obvious.

For example, some representative scenic spots, exotic scenery for North American audiences, and the use of some stunning large-scale group martial arts performances.

Especially the latter, having hundreds of people performing martial arts group exercises in the film would surely be quite impressive.

Ronan would also have the main creative team go to the East for on-site research during the preparation period. After all, this was a realistic-themed film and couldn’t be too far-fetched.

Then there was inviting Jackie Chan, who could be said to be the most well-known Chinese actor in Hollywood and already had a certain box office appeal.

Among Eastern films, only kung fu films truly had a market in North America.

Embassy Pictures had once conducted a professional survey on the East for the North American film market. The top three cultural symbols in Eastern films that North American audiences were most interested in were Eastern kung fu, natural landscapes, and Eastern architecture. The top three most popular Eastern movie stars among North American audiences were Jackie Chan, Jett Li, and Chow Yun-fat, among other action stars.

For a film project like The Karate Kid, North America was still the main revenue market. The production and distribution companies had to understand what Eastern elements the young people, as the main body of the film market, were interested in.

Will Smith acted quickly. After Ronan had met with director Harold Zwart twice, he had already made initial contact with Sony Columbia Pictures regarding the remake rights for The Karate Kid.

Since he was currently collaborating with Sony Columbia on Hancock and had worked with them many times before, Will Smith didn’t have to put in too much effort to persuade Sony Columbia’s executives to sell the remake rights for The Karate Kid for five million dollars.

Like most fathers in this world, when it came to his children, Will Smith was truly very generous.

After obtaining the rights, Will Smith granted a secondary authorization to Relativity Entertainment, so Shai Entertainment no longer had to worry about copyright issues.

The project also received the green light from Ronan and Shai Entertainment, with a production budget of twenty million dollars.

Jackie Chan’s side also responded, expressing great interest in the project.

Shai Entertainment submitted an application to the other side of the Pacific for on-location filming. Companies like China Film Group on the other side were also very interested in this project.

Nowadays, the film industry on the other side of the Pacific that could truly break into the international market was actually only films related to “kung fu”.

Other films, even if they won awards at international film festivals, mostly lost money for publicity.

For films from the other side of the Pacific to seize a certain share of the international market, the task was arduous and the road was long. It wasn’t something one person, or even one generation, could change.

Surviving under the pressure of Hollywood films could be said to be the theme of today’s global film market.

Nowadays, corresponding to the gradual demise of Hollywood’s independent film golden years was the further global expansion of Hollywood’s high-concept blockbusters.

Hollywood’s assembly-line-produced popcorn movies not only devoured the market share of local films in various countries but also posed a huge threat to all other types of films.

Looking around the world, in today’s global film market, apart from India, which could stand alone, the rest of the countries were either completely occupied by Hollywood blockbusters or could only barely maintain, like Japan and Europe, at best achieving a balance in their domestic markets.

But one thing couldn’t be denied: from the perspective of market behavior risk control, Hollywood films obviously had more profit guarantees than the film industries of other countries.

Even in a relatively slow market period like September, Hollywood still had many films that could create box office successes.

For example, Sony Columbia’s The Hunting Season, released in early September, had a North American opening weekend close to twenty-five million dollars.

There was also a new film distributed by Embassy Pictures under Relativity Entertainment.

Final Destination 4 was released on the second weekend of September. This super formulaic horror film had now reached its fourth installment.

This was also the last film James Wong made in collaboration with Relativity Entertainment.

After the setback of directing Space Chase, returning to the Final Destination series, and consecutively directing the third and fourth installments, James Wong grew tired of developing only within a single mode of Final Destination. After completely fulfilling his director’s contract with Relativity Entertainment, he prepared to break out of the horror genre and continue pursuing other areas.

Directors with an unrelenting spirit of pursuit were worthy of praise, and Ronan had no reason to obstruct James Wong’s choice.

Like previous directors such as Guillermo del Toro and Gore Verbinski, Relativity Entertainment would still end the cooperation in a very peaceful manner.

Before leaving, James Wong still created huge commercial profits for Relativity Entertainment.

The film was a carnival of dismembering bodies, with the gimmick being the absurd deaths from flying limbs.

With a production cost of twenty-two million dollars, Final Destination 4 earned twenty-seven point eight eight million dollars at the North American box office over the opening weekend in three thousand four hundred twelve theaters.

Although the series was becoming increasingly formulaic, it had a large group of loyal supporters who could always bring huge enthusiasm for viewing, driving the box office of the sequels.

With such a good audience, the Final Destination series couldn’t possibly stop; it had to continue.

Otherwise, it would be letting the audience down.

Chapter 954: Fleecing the Sheep

“Among all Chinese directors in Hollywood, you rank at the top in terms of cumulative box office.”

In the Beverly Hills clubhouse, several Chinese directors were gathered. The youngest among them, James Wan, said to James Wong, “With your influence, continuing to direct other horror films would easily lead to success.”

James Wong shook his head. “Those so-called box office numbers actually all come from the Final Destination series. They don’t mean much.”

Justin Lin chimed in, “You can’t say that. Box office numbers are precisely the key to our standing in Hollywood.”

James Wan picked up the teapot and poured water for everyone. “I quite like this model. Success or failure is clear at a glance.”

James Wong smiled. “Old Wan, your future at Relativity Entertainment looks the brightest.”

Justin Lin agreed. “You’ve officially joined Shai Entertainment as one of the executives, with a small share of stock rewards. Such treatment is rare.”

James Wan saw things very clearly. “My future is tied to Relativity Entertainment.”

“I wish I could be tied to it too,” Justin Lin didn’t hide his envy. “But there’s no opportunity.”

James Wong said, “Old Lin, you should have a good talk with Jessica Felton and strive for more power.”

Justin Lin shook his head directly. “Forget it. That woman is difficult to deal with. Although Relativity Entertainment provides a fair and just platform for us Chinese, not every executive at Relativity is as easy to talk to as Ronan.”

James Wan added, “Sometimes, women are indeed troublesome.”

James Wong curiously asked, “Do you have a conflict with Jessica Felton?”

Justin Lin waved his hand. “It’s not a conflict. How to put it… This female producer is a technical fanatic. Her technical requirements are extremely strict. It’s okay during filming, but post-production is very troublesome.”

James Wan smiled. “This is also a sign of responsibility. Strict technical requirements may lead to better production.”

Justin Lin nodded slightly. “I know that too, so I’m just venting to you. I always cooperate with her at work.” He suddenly lowered his voice and asked mysteriously, “Is there something special between Jessica Felton and Ronan Anderson?”

James Wan shook his head. “I don’t know.”

James Wong had collaborated with Shai Entertainment much earlier and knew more. “I’ve known about Jessica Felton since around 1999. Back then, she was a pure editor. The first few films from Shai Entertainment, like The Purge, Ace Agents, and Final Destination, were all edited by her. Even the later blockbuster The Blair Witch Project was re-edited by her. She’s a woman who truly relies on her technical skills.”

James Wan didn’t want to dwell on such gossip and changed the subject. “Old Wong, do you have any plans for your next step?”

“I don’t plan to direct horror films anymore,” James Wong said simply. “I’m thinking of trying comic book adaptation films. That’s a hot genre in the North American film market right now.”

Justin Lin asked, “Do you have a specific target?”

James Wong already had specific ideas but wouldn’t easily tell others. “I’m still looking. The copyright for comics is a problem.”

James Wan said, “Ever since Iron Man was a box office hit, any somewhat famous comic in North America has its copyright priced at an astronomical figure.”

Justin Lin spoke a harsh truth. “Without money, nothing can be done.”

The meaning of these words was very clear. James Wong smiled and said, “There are so many production companies in Hollywood. I’m sure I can find a partner.”

James Wan said, “Old Wong, you have the capital now. I estimate that the people who want to cooperate with you could form a long line.”

No matter what, the huge success of the Final Destination series had brought James Wong immense reputation and influence.

The box office figures for this series were right there. No data could more intuitively reflect a director’s ability in the commercial market than box office numbers.

Hollywood’s assessment of a director’s ability was based primarily on the box office numbers of the director’s last two films.

The three of them chatted in the Beverly Hills clubhouse for half an afternoon, agreeing to help each other within their capabilities, and then each went their separate ways.

James Wong was the last to leave the Beverly Hills clubhouse. After getting into his car, he didn’t move.

Final Destination was his breakthrough work and the only one he could truly be proud of. It had brought him great reputation and earned him tens of millions of dollars in high compensation.

Now, it was time to say goodbye to this series.

But James Wong still remembered Space Chase, so even after leaving the Final Destination series, he wouldn’t touch such original themes again.

Over the past two years, through extensive observation of Relativity Entertainment, he had come to a conclusion: original films carried huge risks but had a low success rate.

Even a top producer like Ronan Anderson primarily focused on adaptations and sequels. The original genre films he pushed each year accounted for only a small proportion.

James Wong remembered Ronan once saying that a director choosing the right subject was the foundation of success.

Therefore, when selecting new projects, he focused entirely on the currently popular genres in the North American film market.

Comic book adaptations were undoubtedly one of them.

While filming Final Destination 4, James Wong had made a special trip to Hong Kong to exchange ideas with his peers there. During that time, he met the renowned Stephen Chow, who mentioned a famous comic.

At that time, James Wong took it to heart and specifically had someone inquire about it. The comic’s copyright was still in the hands of the author and the publishing company. Stephen Chow probably only had a preliminary idea and hadn’t taken action yet.

When it came to copyright, being quick was essential. Moreover, the comic itself was very famous, with a huge influence in Asia and a certain audience in North America.

James Wong had no interest in managing the already released Final Destination 4. His mind was filled with thoughts of the new film project.

However, compared to the last time, James Wong was both more cautious and principled, always adhering to one of Hollywood’s famous director’s rules—never invest his own money in the film projects he directs.

James Wong glanced at the document bag on the passenger seat, which contained the preliminary data he had collected and the plans he had made. Next, he would rely on them to find partners in Hollywood.

He had already sent a copy to Relativity Entertainment and Ronan Anderson through his agent, but there had been no feedback yet.

He heard that after attending the premiere of Final Destination 4, Ronan Anderson had gone to Wellington, New Zealand, and probably wouldn’t see his project materials for a while.

James Wong wasn’t in a hurry. For a renowned director like him, with outstanding box office data to back him up, finding partners wasn’t difficult.

Starting the car and leaving the Beverly Hills clubhouse parking lot, James Wong didn’t drive far before his phone suddenly rang. He turned his head to look and saw that the caller ID showed his agent’s number. He quickly pulled over to the side of the road and answered the call.

“It’s me, James,” James Wong said.

Agent Edward’s voice came through the receiver. “Someone heard that you have a new film plan and is very interested. They want to meet with you for a face-to-face meeting.”

James Wong was not surprised by this, as he was a renowned director with capital. “Independent producer or a company?” He preemptively stated, “This is a comic book adaptation project that requires significant investment.”

The meaning of these words was very clear. Those producers or companies with insufficient strength shouldn’t contact them, as it would be a waste of time.

Agent Edward understood and said, “A large company is very interested in you and believes in your abilities. 20th Century Fox wants to meet with you as soon as possible.”

Hearing the name 20th Century Fox, James Wong immediately understood that this would be one of the best future cooperation choices.

In Hollywood, the companies that could rival Relativity Entertainment in strength were actually only a few. For a project like the one he was planning, the first consideration was definitely to cooperate with a major company.

James Wong directly asked, “What time?”

The agent tentatively said, “Tonight?”

James Wong thought for a moment and said, “Okay.”

The agent quickly responded, “Tonight at seven, meet at the Fox Building.”

James Wong acknowledged and hung up the phone. He drove his vehicle towards Century City, needing to make some preparations. 20th Century Fox coming to him was more suitable than those small companies.

At the same time, Agent Edward’s phone also reached the production department of 20th Century Fox.

John Lassinsky, the deputy director from the production department, took the call and immediately went to the office of Chief Executive Officer Jim Prather.

“There’s news,” John Lassinsky immediately reported to his superior. “James Wong and his agent have agreed to meet with us.”

Jim Prather nodded slightly and said, “He’s a very capable director. In the development process of Relativity Entertainment, he played an extremely important role. If we can secure cooperation with him, it will not only promote the development of 20th Century Fox’s film business but also strike a blow to our competitors.”

John Lassinsky smiled and said, “Since they’re coming, I absolutely won’t let them slip away.”

Jim Prather said, “Be prepared. Don’t let anything go wrong. Also… keep an eye on Relativity Entertainment. Don’t relax.”

John Lassinsky said, “We’ve been gradually poaching projects, directors, and actors from Relativity Entertainment’s partners. We won’t stop.”

Jim Prather sighed. “I have to say, Ronan Anderson’s eye for people and projects is indeed outstanding.”

Fortunately, 20th Century Fox wasn’t without options. Relativity Entertainment, that sheep, was standing right there, with a very clear target. 20th Century Fox was like a top-level sheep shearer, ready to go up and start shearing.

Soon, 20th Century Fox would shear Relativity Entertainment bald!

Chapter 955: Dragonball Evolution

Inside a luxurious reception room in the Fox Building, John Lesinski met with James Wong and his agent, Edward.

“Director Wong’s Final Destination series is a masterpiece, a classic of the horror genre,” John Lesinski said smoothly. “20th Century Fox has always wanted to collaborate with Director Wong, but we never had the chance. That has always been my greatest regret.”

Edward smiled and said, “Many in the industry are eager to work with James, and he’s already tied up with Relativity Entertainment. His schedule is packed.”

John Lesinski could tell this was a boast, so he replied, “I sincerely hope that 20th Century Fox can collaborate with such an outstanding figure as Director Wong.”

James Wong responded politely, “Thank you for 20th Century Fox’s high regard.”

Edward then added, “It’s precisely because of 20th Century Fox’s sincerity that James and I are here tonight.”

John Lesinski smiled. “20th Century Fox is very sincere.” He got to the point: “Director Wong, can we discuss your new film project?”

20th Century Fox was trying to poach talent from Relativity Entertainment, and film projects were the most valuable part of that.

James Wong had worked with Relativity Entertainment for many years and had picked up some of Ronan’s habits, believing that directors should always let their work speak for itself. Without hesitation, he opened his briefcase, took out a file, and handed it to John Lesinski.

This was a comic adaptation project.

John Lesinski quickly identified this but hesitated slightly when he saw the specific name and content of the comic.

After all, this wasn’t an American comic—it was a Japanese one.

John Lesinski asked, “Director Wong, who currently holds the rights to this comic?”

James Wong answered honestly, “The original author and publisher. I’ve only done preliminary planning for the project. Due to limited financial resources, I can’t afford to purchase the adaptation rights.”

John Lesinski nodded slightly. “Japanese comics—licensing fees shouldn’t be too expensive.”

With 20th Century Fox’s resources, obtaining the adaptation rights for the comic would be effortless.

James Wong said, “Regarding the rights, I need my partner’s cooperation.”

“That’s not a problem.” John Lesinski asked a key question: “Director Wong, I personally agree with your choice to adapt a comic into a film. The market for this genre is heating up. But I’m still curious—why choose a Japanese comic?”

James Wong was prepared for this. “The influence of Dragonball Evolution is enormous, not just in Asia but also in North America.” He pulled out a data report and handed it to John Lesinski. “These are estimates from several authoritative market research firms.”

John Lesinski examined it carefully.

James Wong continued, “So far, the Dragonball Evolution comic has been around for over a decade. In that time, it has sold a cumulative one hundred and eighty million copies worldwide, making it the best-selling comic globally. It has been adapted into an animated series aired in over seventy countries and has spawned nearly ten theatrical films. No other comic has matched its records, and it has amassed hundreds of millions of fans worldwide.”

Seeing these figures, even someone as experienced as John Lesinski couldn’t help but be tempted.

With such a vast fan base, adapting this work into a film would undoubtedly increase the chances of success and could even lead to a box office hit.

Why was Hollywood so fond of adaptations? Because the original work already had a significant influence and a natural fan base.

Nothing could be more appealing than one hundred and eighty million copies sold.

John Lesinski said slowly, “Adapting such a globally beloved comic into a film won’t be easy, will it?”

James Wong couldn’t deny this, nor did he need to. After the box office success of two Final Destination films, he had not only regained the confidence he lost from Space Chase but had far surpassed it.

“I enjoy reading comics, which sparked my interest in a Dragonball Evolution film. Comics, with their fantastic characters, can take us to an imaginative and wonderful world, and these characters are truly fascinating.”

Facing the executives of 20th Century Fox, James Wong showed no signs of nervousness: “I believe the appeal of Dragonball Evolution isn’t just the cool martial arts. What’s more attractive is the fantastical and beautiful world created by Akira Toriyama. These superhuman characters living in this magical world have complex personalities. Once they appear on screen, they will undoubtedly shine with extraordinary charm.”

John Lesinski nodded slightly. The original comic had a massive fan base, and Director James Wong had an impressive track record. It seemed this project had potential.

But he didn’t make a hasty decision. Instead, he asked, “What about the budget? Director Wong, how much will it take to complete such a comic adaptation?”

James Wong had always wanted to secure a large investment for a big production, which was why he had directed Space Chase in the first place.

He had already thought about this and, after a moment’s consideration, said, “To achieve the desired effect for a comic adaptation, a substantial investment is necessary. For a subject with such a broad fan base, anything less than one hundred million dollars would be difficult.”

20th Century Fox had been working on the X-Men series, so John Lesinski was well-versed in comic adaptation projects.

He knew James Wong was telling the truth, but such a large investment required thorough preliminary research.

“The project is excellent, and I like it personally.” John Lesinski said calmly, “20th Century Fox has extensive experience in comic adaptations and places great importance on such projects.”

James Wong waited patiently for what came next.

John Lesinski said, “However, such a large investment requires some consideration.”

“Of course.” James Wong replied, “Any film project needs thorough market research beforehand.”

John Lesinski smiled. “I hope Director Wong can wait a few days. We will give you an answer as soon as possible.”

James Wong glanced at his agent, Edward, who nodded slightly and added, “That’s fine, but we hope you won’t keep James waiting too long.”

Agent Edward seemed particularly confident: “Mr. Lesinski, James is not short of film companies wanting to collaborate. Several companies, including Lionsgate Films, Paramount, and DreamWorks Pictures, have contacted me, expressing interest in working with James.”

John Lesinski smiled and said, “Rest assured, 20th Century Fox highly values the opportunity to collaborate with James.”

What the other party said might be a bit exaggerated, but in his view, it wasn’t entirely so. Successful directors in Hollywood never had to worry about their next project.

Following the footsteps of success made it easier to achieve success—this was the simplest and most fundamental law of success in Hollywood filmmaking.

20th Century Fox had always believed in this principle, which was why they were trying to poach talent from Relativity Entertainment.

Wasn’t it because the directors, actors, and film projects associated with Relativity Entertainment had all been successful?

The meeting concluded here, and James Wong left, fairly satisfied.

20th Century Fox couldn’t agree on the spot—company procedures wouldn’t allow it—but James Wong could sense John Lesinski’s sincerity in wanting to collaborate.

Now, all that was left was to wait.

On the way home from the Fox Building, Agent Edward asked, “Is one hundred million dollars enough for the production costs?”

James Wong was straightforward: “One hundred million is just the baseline. I can only guarantee basic results with that budget. But to make the film as outstanding as Iron Man or 300, I think it would require at least one hundred and thirty million dollars.”

Agent Edward said, “James, you’ve never directed such a large project before.”

James Wong pushed his glasses up and said, “Everyone has a first time. Take Zack Snyder, for example. His filmography was very thin before Relativity Entertainment invested sixty million dollars in him.”

Agent Edward sighed. “Every new project is a new adventure.”

“Directing is a profession that walks on a tightrope.” James Wong had a good attitude. “Only by maintaining control can one achieve success.”

He fell silent for a moment before adding, “Edward, I also need this opportunity to prove myself.”

“Hmm?” Edward didn’t understand. “Prove what?”

James Wong said, “When I left Relativity Entertainment, Ronan and the company didn’t try to keep me. In contrast, James Wan received much better treatment than I did. I don’t understand why that is.”

Edward didn’t know how to respond.

“I was the first director to collaborate with Ronan Anderson.” James Wong stated some facts. “Even before Relativity Entertainment was established, when Ronan Anderson only had Shai Entertainment, I started working with him. I played a significant role in Shai Entertainment’s success today, didn’t I?”

“Yes.” Edward agreed.

James Wong shook his head. “But what was the result? Ronan Anderson didn’t value me at all. When I wanted to leave, he didn’t even try to keep me.”

Edward felt it was best not to comment on someone like Ronan Anderson.

“I will still succeed after leaving Relativity Entertainment.” James Wong didn’t need his agent to respond. He continued, “This comic adaptation is of great significance to me.”

Chapter 956: Don’t Let James Down

Wellington, New Zealand, at Weta Workshop.

After the Lord of the Rings trilogy and King Kong, this company—founded by Peter Jackson along with his friends Richard Taylor and Jamie Selkirk—had become Hollywood’s second-most prominent special effects studio, second only to Industrial Light & Magic.

It was particularly renowned for its motion capture technology, which had brought to life the iconic character of Gollum, earning it the title of the world’s best in the field.

James Cameron’s Avatar, with most of its special effects completed at Weta Workshop, was no exception.

Like 300, the actors in Avatar did not need to shoot any outdoor scenes.

Ronan had returned to the set after nearly half a year, both to check on the project’s progress and to urge James Cameron to complete the film within the planned schedule.

“Some time was wasted early on,” James Cameron admitted, not personally overseeing the shoot but briefing Ronan on the situation. “The crew has made technical adjustments in both special effects and motion capture to better achieve the effects I want.”

Ronan nodded slowly, listening to James Cameron while observing the shoot.

Currently, they were filming the female lead’s motion capture scenes. Jessica Alba, dressed in a special suit covered in motion capture markers, performed various movements in front of a green screen.

Andy Serkis, directing the shoot, occasionally called for a halt to give Jessica Alba instructions.

Ronan asked, “How’s the funding situation?”

James Cameron replied directly, “I couldn’t say before, but now I can assure you—I will complete Avatar within the second budget’s timeframe, with quality guaranteed.”

Initially, Avatar’s production budget was two hundred million dollars. After an additional investment, the total budget had reached two hundred and thirty million dollars.

This placed it among the highest production costs in Hollywood history, with Superman Returns from Warner Bros. and DC Comics holding the record for the most expensive film ever made.

Even a decade later, Superman Returns might still hold that title.

Reassured by James Cameron’s promise, Ronan felt at ease. “When I return to Los Angeles, I’ll notify Embassy Pictures to select a release date for Avatar.” He still held James Cameron in high regard and asked, “Will 2008 be feasible?”

James Cameron responded with certainty, “I guarantee the film will be completed by the first half of 2008.”

Though known for delays, James Cameron’s confidence meant he had a plan. Ronan nodded slightly and said, “Then let’s tentatively set the release for the 2008 holiday season, between the Thanksgiving and Christmas periods.”

Titanic had been released during this same window, and James Cameron had fond memories of that time. He immediately agreed, “Ronan, you decide.”

With the decision made, barring any major setbacks, Avatar would premiere during the 2008 holiday season.

An earlier release would help Relativity Entertainment recover its investment sooner, easing financial pressure.

After all, with hundreds of millions of dollars tied up for a year, the interest alone would be astronomical.

According to the original plan, including production costs and marketing expenses, Relativity’s total investment in Avatar would exceed five hundred million dollars.

Of course, the film was also expected to generate an enormous return, likely becoming Relativity’s most profitable single project.

As the shoot paused, James Cameron accompanied Ronan to inspect the advanced equipment used for filming.

To create Avatar, James Cameron had spent years preparing the technology, even filming two documentaries to ensure the techniques could bring his vision to life.

Without years of technical preparation, collaboration with Sony Electronics and IMAX Corporation, and countless days and nights at sea, Avatar would not have been possible.

In many ways, this was the most impossible film to replicate, as the technology and patents were held exclusively by James Cameron himself.

This studio housed some of the world’s most advanced filmmaking and production technologies.

For example, the device Jessica Alba wore on her head automatically captured her facial expressions during filming.

Developed by Weta Workshop at James Cameron’s request, this head-mounted device was worn by every actor performing “performance capture.” At its core was a miniature high-definition camera positioned just inches from the actor’s face, recording even the subtlest facial movements. It transmitted ninety-five percent of the actor’s expressions to the virtual character in the computer, ensuring the final CGI character was indistinguishable from a real actor.

Jessica Alba approached Ronan with a warm greeting, “Long time no see, Ronan.”

“Hello, Jesse,” Ronan nodded lightly. “How’s the filming going?”

Jessica Alba, clearly eager to build rapport, replied enthusiastically, “It’s been an incredible experience. I’ve worked on similar films before, but nothing compares to Avatar.”

She flashed Ronan a sweet smile. “What left the deepest impression on me was a scene where my character traverses a jungle. James described the entire atmosphere—the visibility, temperature, height of the trees, depth of the grass, how far I had to walk, the path I took, the creatures I encountered, and the actions I needed to perform. I had to imagine all of it and then act it out in this green screen studio.”

Ronan glanced at the empty green screen studio, realizing that such performances would soon become an essential skill for Hollywood actors.

Perhaps, in the future, some films might not even need actors at all.

He remembered vividly how Disney’s The Jungle Book had only one live actor, and the CGI version of The Lion King was entirely computer-generated.

Jessica Alba’s smile was as sweet as chocolate. “It’s such a strange feeling, but when I saw my movements perfectly synced with the virtual CGI scenes, even though I’ve done this many times before, I have to say—Avatar is the most incredible experience I’ve ever had!”

Ronan smiled and nodded slightly. “Jesse, I’ve seen some of your footage. You’re doing an excellent job.”

Motion capture had effectively masked some of Jessica Alba’s weaknesses as an actress, particularly in terms of her acting skills.

“Thank you,” Jessica Alba said. “Your recognition makes all my hard work worthwhile.”

Ronan looked at the Latino actress, who was often the subject of rumors, and said, “Keep up the good work. Don’t let James down.”

If it weren’t for James Cameron, he never would have cast Jessica Alba as the female lead in Avatar.

Jessica Alba replied, “I’ve been working hard. During my last break, I even went back to Los Angeles to audition for Marvel Entertainment.”

Ronan realized that, after all this conversation, Jessica Alba’s main point was what she was about to say.

Ordinary girls in Hollywood either became shrewd or ended up like Lindsay Lohan.

“Oh?” Ronan asked deliberately. “Which film did you audition for?”

Jessica Alba answered, “The female lead in Thor—Dr. Jane Foster.”

Ronan casually replied, “That suits you well.”

“Really?” Jessica Alba showed a hint of surprise.

Ronan smiled. “The auditions are handled by Kevin Feige. You’ll have to ask him for details.”

Though he said that, Jessica Alba as Jane Foster was far more suitable than Natalie Portman. The Jewish actress simply didn’t fit the role of a “decorative presence” and failed to meet even the basic requirements of such a character.

In the original Thor, Jane Foster’s spotlight was completely stolen by her female assistant.

As an old internet meme put it: “Clearly, the two fierce women were a better match, but Thor chose the ‘three-nothing’ product…”

Perhaps Thor didn’t like women fiercer than himself?

Regardless of whether Jessica Alba passed the audition, Ronan would never cast Natalie Portman as the female lead in Thor.

If the actress had box office appeal, it might be worth considering, but her own box office draw was negligible.

From the early Gwyneth Paltrow to Natalie Portman and later to the “Aunt Flo” meme, it was clear that Marvel had a peculiar preference for “auntie”-type actresses for its female roles.

Even if they weren’t actually older, their looks and figures had to be at an “auntie” level.

After chatting with Jessica Alba for a while, Ronan, led by James Cameron, visited the nearby CGI special effects studio.

The CGI technology used in this film was entirely new, with all equipment custom-built for Avatar. James Cameron hoped Avatar would revolutionize CGI technology and become a new standard for future filmmaking.

James Cameron’s obsession with computer effects was well-known.

Ronan understood the film’s biggest selling point and fully supported James Cameron’s vision for special effects.

Criticisms of excessive CGI or over-reliance on effects meant little to Ronan.

Some might argue that true art in film was black-and-white silent cinema, but Ronan saw no issue with pushing boundaries.

In the afternoon, as Ronan prepared to leave Weta Workshop, he encountered New Zealand’s famous director, Peter Jackson—the majority shareholder of Weta Workshop.

Chapter 957: The Most Difficult Work to Adapt

Ever since Peter Jackson began planning the Lord of the Rings trilogy, his primary identity had been that of a director. Only later did industry insiders take note of his role as the head of a special effects company.

Before filming Lord of the Rings, Weta Workshop could have been called a modest film effects studio. But seizing the once-in-a-lifetime opportunity of Peter Jackson directing the trilogy, Weta rapidly rose to prominence, becoming a special effects powerhouse that rivaled Industrial Light & Magic.

Ronan stood in Peter Jackson’s office, carefully examining the items on the walls and shelves. With his trained eye, he recognized many of them as props from the Lord of the Rings trilogy.

For instance, the golden ring locked in the cabinet was unmistakably the One Ring.

Peter Jackson handed him a cup of coffee and asked tentatively, “Mr. Anderson, are you interested in Lord of the Rings?”

Ronan withdrew his gaze and said, “Peter, call me Ronan. No need to be formal.”

Peter Jackson chuckled in response.

Ronan continued, “Can I say… I’m a die-hard Lord of the Rings fan?”

Hearing this, Peter Jackson was genuinely surprised. “That’s… an honor.”

Ronan spoke directly, “I absolutely love the three films you made. Even the Star Wars trilogy or other movies can’t compare. I think the Battle of the Pelennor Fields is one of the most inspiring scenes in cinematic history.”

Peter Jackson had never expected such high praise from Ronan. He quickly replied, “I just did my best.”

Ronan said softly, “Peter, you started an era.”

The deeper meaning behind these words was something Peter Jackson couldn’t possibly understand.

It was from the Lord of the Rings trilogy that, in order to save money, Gandalf’s abilities were altered, and the profession of wizards—or mages—took on a whole new identity online.

Any wizard who didn’t swing a staff to smash people wasn’t a true Gandalf.

Throughout the entire trilogy, after Gandalf became Gandalf the White, he barely cast any spells. Instead, he rolled up his sleeves and charged into battle with a sword.

Peter Jackson then said, “I heard you were at Weta Workshop, so I rushed back. Finally, I get to see you.”

Ronan asked curiously, “You were looking for me?”

He knew Peter Jackson, but aside from Avatar and Weta Workshop’s business dealings, they had little overlap.

Peter Jackson was, after all, one of Hollywood’s top directors. Without beating around the bush or lowering his stance, he directly said to Ronan, “I recently acquired the film adaptation rights to a novel and plan to direct it myself. The production company hasn’t been decided yet. Since you’re in Wellington, would you consider collaborating?”

Ronan’s interest was piqued. “Peter, you’re not talking about The Hobbit, are you?”

“No, not The Hobbit,” Peter Jackson quickly explained. “The film adaptation rights to The Hobbit aren’t in my hands. After New Line Cinema consolidated the rights to the Lord of the Rings trilogy, The Hobbit’s rights went to New Line, and later, their parent company, Warner Bros, took them over.”

Ronan was somewhat disappointed. “I thought you were talking about The Hobbit.”

Some had once summarized that Peter Jackson directing Tolkien’s works and Peter Jackson directing other works were two entirely different directors in terms of skill.

At least, Ronan had the impression that even in his final year, Peter Jackson had never escaped Tolkien’s shadow. It was as if he had been born to bring Tolkien’s works to the screen.

Peter Jackson opened a filing cabinet, took out a novel, and handed it to Ronan. “This is the original work.”

Ronan glanced at the cover. The title was familiar—The Lovely Bones.

Then, he recalled more information—not from the past, but from the present, because Connie had gathered some data on this work.

This novel had been published as early as 2002 and had spent over seventy weeks on The New York Times bestseller list.

Without exaggeration, The Lovely Bones was a bona fide bestseller.

Since Connie and her assistant team had never stopped collecting literary works, Ronan had seen this novel before and even browsed through parts of it.

But back then, it hadn’t moved him.

Ronan set the novel down and said, “I read it a while ago. I don’t remember if it was a year or two back.”

Peter Jackson asked, “I read it even earlier. After reading it, I bought the rights, wanting to adapt it into a film.”

“Seeing a literary work you like and having a strong desire to adapt it into a film.” Ronan smiled. “That’s an occupational hazard for people in our line of work.”

Peter Jackson asked, “Adapting it requires investment, promotion, and distribution. Ronan, aren’t you interested?”

Ronan didn’t answer directly. Instead, he asked, “I recall you’ve been working with Universal.”

Peter Jackson’s chubby face twitched slightly. “My collaboration with Universal is over.”

Ronan more or less understood. After King Kong, Universal probably wouldn’t easily work with Peter Jackson again.

Back when The Lord of the Rings: The Return of the King had achieved both critical and box office success, Peter Jackson, riding the wave of his Oscar for Best Director, had struck a deal with Universal to direct the new King Kong film. In it, Peter Jackson, his wife, and the production team’s backend deal alone took twenty percent of the film’s global box office!

This was a front-end share, not a back-end profit share.

One could imagine that with King Kong’s box office, Peter Jackson had made a fortune, while Universal, though not in agony, wasn’t exactly thrilled either.

Ronan looked at the novel in front of him and asked, “Peter, there are a few things I need to ask.”

Peter Jackson nodded. “Go ahead.”

Ronan asked directly, “How do you plan to shoot and produce this film?”

“A small-scale project.” Peter Jackson roughly understood that someone like Ronan cared most about investment and return. “Big films can conquer countless fans, but for me, shooting Lord of the Rings or King Kong is an incredibly exhausting job. The pressure of making those kinds of movies is something ordinary people can’t imagine—massive investments, strict shooting schedules, managing teams of hundreds… These things swirl in my mind for over half a year. I can’t stop.”

He shrugged. “So, I plan to focus on smaller projects. The Lovely Bones is one I’ve carefully selected.”

Ronan was full of questions. “I remember many people saying that The Lovely Bones is one of the most difficult literary works to adapt into a film.”

Peter Jackson waved his hand, full of confidence. “It’s not that complicated. The so-called difficulty of this story lies in balancing tragedy and comedy. It’s a sad, infuriating story because it’s an explosion of the dark side of this twisted society, telling the tale of an innocent little girl being brutally murdered. While many directors have tackled similar themes, telling the story from the perspective of a dead girl is probably a first.”

He was very certain. “This will give the film a fresh appeal to audiences.”

“What about the budget?” Ronan asked the most critical question. “How much do you need for this small project?”

If it could be done for one or two million dollars, it would be worth considering. After all, the influence of the original work and Peter Jackson was undeniable.

Peter Jackson smiled. “Without inviting A-list actors, probably around sixty million dollars.”

At this number, Ronan paused slightly. Wasn’t this supposed to be a small project? Sixty million dollars for a small project—was Peter Jackson joking, or did he have a misconception about what constituted a small project?

Ronan slowly shook his head. “Peter, are you sure?”

Peter Jackson frowned slightly. “Sixty million might not even be enough.”

Ronan said, “This isn’t a small project. Sixty million dollars is a medium-scale investment. This year, Relativity Entertainment’s hit film 300 had a production cost of only sixty million dollars.”

Peter Jackson understood what Ronan meant but still tried to persuade him. “Ronan, listen to me…”

But Ronan interrupted Peter Jackson. “If the budget is under twenty million dollars, Peter, you can bring the project to Shai Entertainment for discussion. Beyond that, especially the sixty million you mentioned, I won’t consider it.”

Out of respect for Peter Jackson, Ronan further explained, “This isn’t decided by me, nor by you, but by the market. I’ve read The Lovely Bones in broad strokes. No matter how it’s adapted, it can’t change the fact that it’s fundamentally a niche film subject. Niche subjects inherently have massive flaws in audience appeal. It’s not that if it’s well-made, audiences will obediently go to the theater. High investments only bring enormous risks. If the film has any issues, the investors will lose everything.”

After hearing this, Peter Jackson said, “I understand.” He changed the subject. “Ronan, how long are you staying in Wellington? Tomorrow, I’ll take you on a tour of Weta Workshop.”

Ronan said, “Thanks, but I don’t have the time. I’m leaving New Zealand tonight.”

Whether Peter Jackson had taken his words to heart wasn’t something Ronan could decide. In any case, sixty million dollars for such a niche subject was absolutely impossible.

Peter Jackson said, “That’s a shame.”

Ronan couldn’t tell if the regret was because he was leaving or because they couldn’t collaborate.

But he couldn’t lower the project’s risk control requirements just because the other party was Peter Jackson.

Twenty million dollars was too far from sixty million. They were destined not to collaborate.

That evening, after Ronan invited the main creative team of Avatar to dinner, he boarded a private jet back to Los Angeles.

Chapter 958: The Professionals

The sun hid behind the dark clouds, casting a dim light that made the road ahead seem gloomy. Several Mercedes SUVs drove through a long canyon, following a damaged road into a farm, finally stopping near the farm’s barn.

Here, over a dozen crew members bustled about, with a crane suspended in the air, seemingly repairing the house.

Ronan pushed open the car door but didn’t immediately go over. Instead, he stood on the outskirts.

This was a farm on the east side of Los Angeles. The owner had gone bankrupt due to poor management, leaving the farmhouse and barn in a state of disrepair.

Standing in front of the car, Ronan observed the surroundings. It was no coincidence that James Wan had chosen this farm as the outdoor filming location for Insidious.

The farm was far from the city, ensuring no one would easily disturb them. The dilapidated facilities also created a desolate atmosphere, perfect for a horror setting.

In the United States, many horror legends originated from sparsely populated rural towns.

Looking further ahead, Ronan suddenly felt a sense of unreality.

To the left of the farm’s residential area stood a two-story wooden house. The previous owner must have had a strange idea, painting the house a grayish-black.

In front of the house’s main door, a tree grew, with one of its branches stretching horizontally, crossing the space in front of the house.

This type of tree had a poetic name on the other side of the Pacific—“crooked neck tree.”

Legend had it that it was specifically for those who had reached the end of their rope to hang themselves.

Ronan turned to Finch beside him and asked, “Has anyone died here? Unnatural deaths.”

“Not that I know of.” Finch didn’t understand why Ronan was asking this. After exchanging a few words with someone nearby, he confirmed, “There have been no unnatural deaths here.”

He asked concernedly, “Boss, is something wrong?”

Ronan shook his head slightly. “Nothing.”

James Wan then approached with an elderly woman.

“Hi, Ronan.” James Wan introduced her, “This is Lorraine Warren, the special consultant for the crew. Lorraine, this is Ronan, the boss of Relativity Entertainment.”

Ronan looked at the elderly woman and shook her hand. “Hello, Mrs. Warren.”

Although Lorraine Warren appeared elderly and worked in a field often dismissed as charlatanry, she carried herself more like a scholar. She politely smiled at Ronan. “Hello, Mr. Anderson.”

James Wan interjected, “Lorraine has accepted my invitation. She will serve as a special consultant for the next few horror films.”

Ronan nodded slightly. “I believe Mrs. Warren’s unique experiences will be of great help to the movie.”

“Mr. Anderson is too kind.” Lorraine Warren remained courteous. “This is also a way for Ed and me to clear our names.”

She spoke earnestly, “Ed and I have faced too much criticism. Many people have never believed in our research. This career is very important to us.”

An assistant director came over, and James Wan spoke to him briefly before whispering to Ronan and heading to the crew’s location.

Lorraine Warren didn’t leave. Instead, she curiously examined Ronan and suddenly asked, “Mr. Anderson, do you believe in ghosts and evil spirits in this world?”

Ronan answered without hesitation, “I’ve never considered this question.”

This answer was unexpected. Lorraine Warren was taken aback, and the words she had prepared got stuck in her throat. She wondered why this man didn’t follow the usual script.

Belief was belief, disbelief was disbelief—what did “never considered” mean?

Lorraine Warren didn’t give up easily. “For the past fifty years, Ed and I have been considered the most outstanding experts in the fields of souls and demonology in the United States. We have been repeatedly called upon by the church to investigate supernatural phenomena across the country…”

Ronan nodded slightly. “I’ve heard about you from James Wen.”

Lorraine Warren smiled. “In our careers, we’ve encountered over ten thousand supernatural cases.”

“So?” Ronan asked directly. “What is your point, Mrs. Warren?”

Lorraine Warren spoke very seriously, “If Mr. Anderson ever encounters confusion or unsolvable problems in the future, I can provide consultation and assistance.”

Ronan understood her meaning—she was treating him as a potential big client!

Thinking back to the other side of the Pacific and looking at Steve Jobs, it seemed this wasn’t uncommon among the wealthy.

Ronan casually replied, “If needed, I will.”

Lorraine Warren nodded slightly at Ronan, handed him her business card, then turned and left without another word, embodying the legendary demeanor of a master.

Ronan glanced at the business card and handed it to Finch beside him. “If you ever encounter evil spirits or the like, go find her.”

Finch took the card, looking uncomfortable. “You don’t actually believe what she says, do you?”

Ronan laughed. “Even if ghosts do exist, there’s something more suitable as a solution.”

Finch asked curiously, “What is it?”

Ronan shook his head and didn’t answer. The curious Finch could only follow helplessly behind him.

Some things, Ronan wouldn’t say casually. After all, this was a nation that believed in God.

But speaking of which, many sayings from the other side of the Pacific were indeed profound truths, like “money makes the mare go.”

In this super-commercial society of North America, with Ronan’s wealth and fortune, the power of money was beyond imagination.

As for Lorraine and Ed Warren, it was hard to evaluate them. Some things in this world were inexplicable.

For example, many of his colleagues had been staunch materialists before having children. But after becoming parents, their stance changed because some childhood illnesses couldn’t be cured by medicine alone. Sometimes, it was the so-called “witch doctors” who had remarkable effects.

Ronan remembered a relative who had come to his city to seek medical treatment for their child. All the tests came back normal, but the child remained listless and couldn’t eat. Finally, the attending physician hinted: “Have you considered factors outside the hospital?”

Strangely enough, after returning home and having someone perform a ritual twice, the child recovered…

This was something Ronan had personally experienced, and it left a deep impression.

Whether the Warrens’ experiences were true or not didn’t matter. What mattered was that their experiences, adapted into movies, could bring huge profits to Relativity Entertainment.

Accompanied by Finch and other bodyguards, Ronan walked around the farm.

The farm was very large, with a vast grape plantation. Due to neglect, most of the grapes had rotted on the ground. The faint smell of fermenting fruit wafted over from a distance.

“How many acres would you estimate?” Ronan asked Finch.

“Hmm…” Finch roughly calculated. “Front to back, it should be over a thousand acres.”

Ronan asked, “Would it be feasible to buy it and build a racetrack?”

Finch thought for a moment. “It might require some procedures.”

Ronan said, “When you get back, let Connie know and have her gather the relevant information.”

This place wasn’t far from Beverly Hills. If the ordered helicopter arrived, it would take at most twenty minutes to fly here.

As for the procedures, they weren’t a problem for Relativity Entertainment.

Around noon, after finishing his work, James Wan came over, and Ronan had lunch with him.

“I plan to use the bungalow on the east side of the farm to shoot Insidious,” James Wan had also planned the filming use of this farm. “The wooden house area on the west side will be perfect for shooting The Conjuring next year.”

Ronan nodded slightly. “This farm feels eerie. The atmosphere is very suitable for filming.”

James Wan added, “I looked at more than twenty locations before choosing this one. I was drawn to its inherent eerie atmosphere.”

Ronan couldn’t help but laugh. “I hope the night scenes don’t scare the actors too much.”

He vaguely remembered that there had been a professional ghost storyteller who had died of a sudden heart attack. There were rumors that he had been scared to death.

James Wan said, “That won’t happen. The crew consists of people who truly love horror movies.” He implied, “Besides, we have a special consultant. She’s a professional.”

From the various materials collected by the crew, Lorraine Warren was indeed a professional. Moreover, there were people from the church willing to vouch for her, and not just one.

But no one could guarantee anything. James Wan, who had deep interactions with the Warrens, could only say that they were paranormal investigators. Beyond that, he didn’t know much.

In any case, everything was for the sake of the movie.

After lunch, Ronan spent a little more time with the crew before preparing to leave.

James Wan suddenly came over and said, “I heard that Director Wong submitted a new project to the company, but you’ve been holding it back?”

Ronan knew he was referring to James Wong. “I’ve been too busy lately. I haven’t looked at his project yet. I’ll check it when I get back.”

Relativity Entertainment had collaborations with many Chinese-American directors, who also supported each other. James Wan’s mention of James Wong was a reminder.

James Wan added, “I recently received news that James has started discussing a new project with 20th Century Fox. If the company wants to continue working with him, we need to act quickly.”

Ronan knew this was for Relativity Entertainment’s benefit and immediately said, “I’ll go back and look at the project details first. Depending on how it is, I’ll have someone contact James Wong.”

He remembered clearly that James Wong had stated he would no longer direct the Final Destination series and instead pursue new paths.

In this regard, neither he nor Relativity Entertainment could or should interfere.

After all, James Wong’s director contract with Relativity Entertainment had expired. He was a director who could make free choices.

Good beginnings and good endings had always been Ronan’s attitude toward directors, actors, or other staff he had worked with.

Even if the cooperation ended, there was always the possibility of new collaborations in the future.

The next day at work, Ronan had Connie bring over the new project details from James Wong and prioritized reading them.

But when he saw the name of the new project…

Dragonball Evolution!

Chapter 959: Summoning the Dragon

When Ronan saw the proposal for Dragonball Evolution written by James Wong himself, he was left speechless. The reasons James provided were undeniably compelling.

For instance, comic book adaptations were thriving in the North American market, and their prospects would only grow brighter.

Dragonball had sold an astonishing one hundred eighty million copies worldwide, making it the best-selling comic in history.

If the first film succeeded, the series could easily be expanded, yielding unimaginable profits.

Moreover, James Wong was more confident than ever after the success of the Final Destination series under Relativity Entertainment. He was determined to turn Dragonball Evolution into a top-tier Hollywood blockbuster.

James proposed a staggering budget of one hundred thirty million dollars.

Ronan, of course, couldn’t agree. The primary market for Japanese comics was in East Asia, and strictly speaking, it was limited to just two regions. While North America had some audience, it was undeniably a niche market. Relying on just these two markets to justify such a massive investment was impossible.

In the past, Hollywood had adapted many famous Japanese comics into films, but any with a slightly higher budget had ended in failure.

Even James Cameron himself couldn’t change that.

Ronan had unique experiences that shaped his stubborn belief: any adaptation that ignored cultural differences would fail so spectacularly that even its own mother wouldn’t recognize it.

For this reason, Ronan had rejected Mexican director Guillermo del Toro’s mecha and monster projects. He certainly wouldn’t invest in a Japanese comic adaptation destined to fail.

Japanese comics were popular, but only within their small market and circle.

A top-tier Hollywood production needed explosive success in North America and couldn’t ignore the global market. A comic that only thrived in a corner of the world wasn’t suitable for a global film adaptation.

Ronan wasn’t sure about developments twenty years later, but in the next decade, Japanese comic adaptations were only worth two or three million dollars in investment. Any more, and the money might as well be thrown into the water.

Instead of adapting Japanese comics, films that borrowed their creativity and settings but were fully transformed into the Hollywood model were more likely to succeed. There were many examples, like The Matrix and Inception.

But no one thought these films had anything to do with Japanese comics.

Perhaps this was the right way for Hollywood to handle Japanese comic material.

Cultural differences couldn’t be ignored in the film market.

For example, Ang Lee’s Crouching Tiger, Hidden Dragon was well-received in the United States, but Eastern audiences found it dull and far less exciting than Xu Haofeng’s wuxia films. Yet Xu’s films had no place in North American theaters.

Ronan couldn’t greenlight James Wong’s project, but remembering James Wan’s words, he had Connie contact James Wong to inquire about the latest developments with Dragonball Evolution.

After Connie reached out, Ronan exchanged a few words with James Wong, subtly expressing his concerns about the project.

Regardless, James Wong had contributed significantly to Relativity’s growth, and Ronan didn’t want to watch him walk down a path to failure.

But people changed with their status and position, and not everyone would heed the advice of a former business partner.

It was no exaggeration to say that those who succeeded in Hollywood were mostly obsessive individuals who grew more confident with each success. This trend was evident in over ninety-five percent of directors, actors, and behind-the-scenes professionals.

For example, Ronan had subtly warned Heath Ledger and Paul Walker. The former ignored him completely, while the latter was obsessed with the thrill of speed.

Sometimes words held infinite power; other times, they were utterly powerless.

James Wong thanked Ronan for his reminder and good intentions, promising to approach the project with utmost care to avoid mistakes.

Ronan didn’t say much more, only instructing Connie to gather detailed information about James Wong and the Dragonball Evolution project.

Since James Wong had already finalized a partnership with 20th Century Fox, many details were public, making the information easy to obtain.

Soon, the specifics were forwarded to Ronan.

20th Century Fox had greenlit Dragonball Evolution and signed a preliminary agreement with James Wong. They had also quickly acquired the film adaptation rights from Japan for five million dollars.

Despite being the world’s best-selling comic, Japanese comic rights had never sold for exorbitant prices in Hollywood. If an American comic had such sales, the film rights wouldn’t be obtained for less than tens of millions.

20th Century Fox had high hopes for Dragonball Evolution, aiming to create another successful comic adaptation series alongside the X-Men franchise.

Thus, after securing the comic rights and James Wong’s directorial contract, they moved swiftly, finalizing a production budget of one hundred forty million dollars.

They also planned to invite star actors.

For market considerations, the protagonist would inevitably be changed to an American, which was a given.

Reportedly, at James Wong’s suggestion, 20th Century Fox had invited the renowned Eastern star Chow Yun-fat to play the pivotal role of Master Roshi.

Ronan’s warnings had gone unheeded, and with 20th Century Fox involved, he wisely chose to remain silent.

If speaking further was futile, it was better to say nothing.

Ronan wasn’t surprised that 20th Century Fox had taken on this project. He had seen James Wong’s Dragonball Evolution before, and the opening sequence had been under 20th Century Fox.

He specifically inquired about the behind-the-scenes details and learned a few things.

For instance, 20th Century Fox had taken the initiative to approach James Wong for the Dragonball Evolution collaboration.

Now, Ronan was certain that 20th Century Fox was targeting Relativity, aiming to follow their path and leave them with no way forward.

“It’s fine.”

In the office, Ronan said to Robert Lee, “Let 20th Century Fox dig their own grave.”

Robert Lee replied, “They can only target those whose contracts with us are expiring. Those under long-term contracts won’t breach them for 20th Century Fox’s invitation. The consequences aren’t something actors and directors are willing to face.”

Ronan still cautioned, “Don’t worry about the personnel. Hollywood never lacks talent. But our projects, especially the ones I’ve specifically instructed you to acquire the rights for, must be kept confidential.”

Robert Lee assured, “You can rest easy. All key projects are handled by a specialized team under my direct supervision.”

Ronan nodded slightly, “Don’t be careless.”

“I understand,” Robert Lee added, “What about us? Should we do something?”

Ronan waved his hand, “Not for now. Our plan against 20th Century Fox is a big one. We shouldn’t make too many moves early on to avoid drawing their attention.”

Robert Lee sighed, “It just feels like they’re taking what’s ours.”

Ronan calmly replied, “What they take isn’t necessarily the best, nor is it guaranteed to succeed.”

How many projects had 20th Century Fox snatched from Relativity? Were they planning to collect all seven Dragon Balls and summon the dragon?

He hoped 20th Century Fox wouldn’t end up spitting blood.

Ronan did a quick mental tally. In the past year, 20th Century Fox had confirmed several projects directly linked to Relativity.

There was Ridley Scott’s Pharaoh and the Gods, Roland Emmerich’s 10,000 BC, Russell Crowe’s Robin Hood, the disaster epic Super Storm, and Terminator 4, which seemed determined to make audiences sick of the franchise.

Now, Dragonball Evolution had been added to the list.

These blockbuster projects had budgets ranging from one hundred twenty million to possibly two hundred million dollars.

20th Century Fox was definitely collecting all seven Dragon Balls to summon the dragon!

Relativity also held the rights to a Japanese comic. To attract James Cameron and secure independent investment rights for Avatar, Ronan had sent Robert Lee to Japan to purchase the film adaptation rights for Gunnm (Battle Angel Alita), a comic James Cameron was deeply interested in.

However, things had progressed more smoothly than Ronan expected, and Gunnm hadn’t been used. The rights remained with Relativity.

Ronan had no short-term plans to adapt Gunnm.

The same problem persisted: if the investment was too high, the Japanese comic adaptation would flop. If the investment was insufficient, the film’s quality would be disappointing.

As for James Cameron, Ronan believed the truck driver’s remaining life was destined to fill the massive pit of Avatar.

By late September, 20th Century Fox and James Wong held a joint press conference, officially announcing the Dragonball Evolution project.

Meanwhile, Jessica Felton brought good news. At the recently concluded Toronto International Film Festival, Juno, which had participated in the competition, won the highest award—the People’s Choice Award—thanks to overwhelming audience support.

This instantly boosted Juno’s reputation, making it one of the most talked-about indie films in Hollywood.

Chapter 960: A Beautiful Lie

As Juno won the Audience Choice Award at the Toronto International Film Festival, Embassy Pictures seized the opportunity to push the film into theaters. However, given its relatively niche subject matter, the film’s promotional and distribution budget was limited, making a large-scale wide release impossible—unlike commercial blockbusters.

Even compared to Relativity Entertainment, cinema chains were reluctant to take risks.

The subject matter of Juno inherently limited its audience reach.

Fortunately, the film still had the Audience Choice Award to its name.

At the end of September, Juno began its limited release in seven theaters across the United States.

This was the inevitable path for a niche film.

A premiere, of course, was out of the question.

However, director Sofia Coppola, thanks to Lost in Translation, still held some box office appeal in North America. Embassy Pictures’ marketing campaign heavily emphasized “Sofia Coppola’s new work.”

The audience reception for Juno wasn’t as overwhelmingly positive as Ronan had expected. Many viewers who came to see it based on its reputation gave it lukewarm reviews, resulting in an average IMDb audience rating of only 7.5.

Ronan had assumed that, given how much the film had been hyped, the IMDb rating would be at least 8.5 or higher.

But in reality, the audiences who bought tickets for the limited release were more interested in the sensitive topic of teen pregnancy than the film itself, leading to mediocre reviews.

The kind of overwhelming praise he had anticipated simply didn’t materialize.

For a film targeting the awards season, this kind of audience reception was far from ideal.

But Juno had one thing going for it—the controversial subject matter made it incredibly easy to attract attention under Embassy Pictures’ marketing.

As everyone knows, the more controversial a film is, the less it lacks for an audience.

In its first weekend of limited release, fueled by the heated debate over the highly sensitive topic of teen pregnancy, Juno sold out every screening despite its lackluster reception. Across seven theaters in the U.S., it grossed nearly four hundred and twenty thousand dollars, averaging fifty-nine thousand one hundred and twenty-four dollars per theater!

Juno’s limited release delivered an impressive commercial performance.

There was no universal acclaim, no unanimous praise, and certainly no audience entranced by the film. Instead, there was only the heated controversy stirred by the sensitive topic of teen pregnancy.

This had long been one of the sharpest social issues in North America.

Teen pregnancy was far from rare in the country, and the debate over abortion versus carrying to term had never ceased.

The issue had even become political capital in the battle between donkeys and elephants, a tool to sway voters.

Public opinion remained fiercely divided over the matter.

Society inevitably influenced cinema.

Juno was a prime example.

In its second weekend, the film expanded its limited release to forty theaters across the U.S. The massive controversy continued to draw audiences in droves.

While the film’s reception wasn’t stellar, it wasn’t terrible either. With an average IMDb rating of 7.5, it was an average performer among awards-season art films, but still well above the passing grade.

In its second weekend of limited release, Juno earned another one million four hundred and thirty thousand dollars in North America, averaging thirty-five thousand six hundred and eighty-six dollars per theater.

After ten days of limited release, the film’s North American box office had already reached two million one hundred and sixty thousand dollars.

Most importantly, Juno sparked a massive societal discussion, bringing the issue of abortion back into the spotlight across all U.S. media and audiences.

Unwed pregnancy, the judgment of others, young mothers—these cruelest pains of youth, seemingly incomprehensible and unacceptable to mainstream culture, were delicately depicted by director Sofia Coppola in a style unique to youth films, as if the final oil painting gradually transformed into something resplendent.

The most sensitive topics, the most heated debates, brought endless attention and buzz.

In the hands of Embassy Pictures and Relativity Entertainment, this translated into stacks of green bills.

Nothing pleased a film studio more than cold, hard cash.

Post-release surveys by Embassy Pictures showed that the majority of Juno’s audience—over sixty percent—were adults over twenty-five, while viewers under twenty made up a smaller portion. Teenagers showed little interest in the film.

This was understandable.

To American teenagers, the kind of experiences Juno went through probably didn’t seem like a big deal, nor were they particularly cruel—just slightly worse than getting high, stripping naked, and jumping into a fountain.

Though Juno’s budget wasn’t exorbitant, the combined production and marketing costs exceeded ten million dollars. With the growing buzz, Embassy Pictures naturally decided to expand its release.

By the second weekend of October, Juno had finally expanded to over a thousand theaters in North America. Due to its inherently niche subject matter, the occupancy rate began to fluctuate wildly after the expansion.

That weekend, the per-theater earnings plummeted from over thirty-five thousand dollars to just over ten thousand.

The disadvantages of its subject matter and budget were laid bare.

Fortunately, the ongoing controversy continued to draw audiences. After that weekend, the film’s North American box office total reached twenty-two million one hundred and fifty thousand dollars.

The North American box office alone was enough for Relativity Entertainment to recoup all its investments.

Of course, while maintaining its release momentum, Juno also faced plenty of criticism.

The most common critique was that Juno wasn’t serious enough—that it had fairy-tale-ized an extremely grave subject. Real pregnancy was far from as carefree as depicted, especially for an unwed teenager.

Roger Ebert even wrote in his column: Juno is another beautiful lie fabricated by Hollywood.

He wasn’t wrong. Hollywood had always been adept at dressing up lies to make them look pretty.

If people in real life followed Hollywood films as a guide, they wouldn’t just end up battered and bruised—they’d lose their lives.

The most typical example was water in Hollywood films.

In Hollywood, whether hero or villain, once water was involved, all laws of physics vanished. Water became like a Tai Chi master, effortlessly deflecting thousand-pound forces, protecting fragile flesh from destructive blows.

But reality was far crueler. Water might seem soft, warm, and harmless, but underestimating its power came at a steep price.

Diving was no joke. Some curious souls might have tried chest-first dives in a pool—only to be met with an impact so powerful it left a lifelong impression.

If splashing by the poolside could do that, imagine the destruction caused by a high-altitude fall into water.

At high speeds, the water’s surface became as hard as cement. Even with Arnold Schwarzenegger’s muscles, the force would tear a body apart without mercy.

Ronan once had a classmate who tried a three-meter platform dive—feet-first, no less. Because his legs were too far apart upon entry, the pain afterward was unbearable, forcing him to seek medical attention.

Sometimes, things really could go horribly wrong.

Compared to successful popcorn films, Juno’s box office growth was slow, but it made up for it in longevity.

“According to Embassy Pictures’ projections…” Jessica Felton said as they walked out of the Relativity Tower elevator, “Juno’s North American box office has a good chance of breaking one hundred million dollars. If it secures a few major awards or key nominations during awards season, it could even reach one hundred and twenty million.”

Ronan replied directly, “It won’t be easy for a controversial film like this to win during awards season.”

Jessica Felton nodded slightly. “True. Mainstream entertainment is very cautious about these social issues.”

In fact, before its Toronto International Film Festival screening, Juno had also competed at the Venice Film Festival but came away empty-handed.

“The subject matter of Juno is very American,” Jessica Felton observed. “Its reception in overseas markets will definitely be much weaker than in North America.”

Ronan, however, was more relaxed. “The current box office numbers are already enough to recoup all our investments. Everything beyond that is pure profit. This project is a success.”

Jessica Felton added, “It’s less a victory for the film itself and more a victory for its subject matter.”

“Exactly,” Ronan agreed. “Choosing the right genius who aligns with societal realities—even in a niche genre—can lead to big profits.”

As they talked, they exited the main entrance of Relativity Tower. Ronan’s Rolls-Royce Phantom was parked right at the door.

“How are you getting home?” Ronan asked. “Need a ride?”

Jessica Felton hadn’t driven, and since she also lived in Beverly Hills, she was heading in the same direction. She accepted the offer. “Sure.”

She got into the car with Ronan, and they continued their conversation. “Do you think Juno has a chance at the Oscars?”

Ronan shook his head. “Unlikely. First, the subject matter isn’t something the judges favor. Second, Relativity Entertainment’s main focus this year is Martin Scorsese’s The Departed.”

Jessica Felton immediately understood. “You’re planning to help Martin Scorsese make an Oscar run?”

Ronan replied seriously, “This isn’t about helping Martin Scorsese. Winning awards is how Relativity Entertainment ensures The Departed makes a big enough impact and turns a profit.”

“True,” Jessica Felton said, catching on. “Oscar wins directly translate to commercial success.”

Ronan smiled. “Otherwise, why would we put so much effort into playing the Oscar game?”

Just then, a phone rang. Jessica Felton swallowed the words she was about to say. Ronan pulled out his phone and saw that the call was from Will Smith.

He answered, and Will Smith’s booming voice immediately filled the car. “Ronan! Where are you? God, I finally got through to you! Get to St. Mary’s Hospital in Beverly Hills right now! Something’s happened! If you don’t come soon, you won’t see me again!”

Chapter 961: Blood Test Center

The call ended abruptly, and Ronan’s expression turned serious. He had never seen Will Smith so panicked before. What on earth had happened?

Jessica Felton glanced at Ronan, noticing his unusually grave expression. She tentatively asked, “What’s going on?”

Ronan said, “Will’s in trouble. I need to go to St. Mary’s Hospital.”

Jessica Felton, seeing Ronan’s expression, also felt uneasy. “I’ll go with you,” she offered.

Ronan nodded slightly and instructed the driver, David, “To St. Mary’s Hospital.”

At the intersection ahead, the Rolls-Royce Phantom didn’t go straight but turned right onto another side road, quickly merging onto Rodeo Drive and heading straight for St. Mary’s Hospital.

Ronan immediately tried calling Will Smith again, but the call went unanswered.

Having been close friends with Will Smith for many years, Ronan couldn’t help but worry. But with the call not going through and no details, he could only hope that Will Smith was alright.

Jessica Felton took out her phone and quickly browsed through online entertainment news. “There’s no news about Will being in danger,” she said.

In this day and age, smartphones were becoming widespread among teenagers, and paparazzi phone messages were increasingly easy to come by. Any hint of a celebrity’s movement was impossible to escape the public eye.

With the addition of social media platforms as instant sharing media, many celebrities’ incidents were often exposed online moments after they happened.

Due to Will Smith and Jada Smith’s open marriage, Ronan didn’t have Jada Smith’s contact information, so he called Tom Cruise instead.

Tom Cruise was currently serving as a producer for Paramount’s Dusty Love and was filming in Orange County. When he received Ronan’s call, he was also clueless about what was happening.

Ronan didn’t say much, asked a few questions about Tom Cruise’s work, and quickly hung up. Tom Cruise also asked Ronan to inform him as soon as he knew about Will Smith’s situation.

Bound by years of cooperation with Paramount, Tom Cruise had taken on the role of producer for Dusty Love. The film’s director was Robert Downey Sr., father of Robert Downey Jr. Ronan had heard from Tom Cruise before that the male lead of the crew was Hollywood’s famous box office flop specialist, Colin Farrell.

Any film company daring to invite Colin Farrell as the male lead for medium-scale or larger projects was undoubtedly a fearless warrior.

Jessica Felton continued to refresh online news about Will Smith and said, “Still no news about Will having an accident.”

Ronan nodded slightly. No news was undoubtedly good news.

St. Mary’s Hospital wasn’t far. The Rolls-Royce Phantom left Rodeo Drive and arrived at the commercial area of Beverly Hills, quickly stopping in front of a large white building.

This was a private hospital. High walls blocked outside views, and various security and confidentiality measures were world-class, with extremely high fees. Its clients were mainly the wealthy and celebrities residing in Beverly Hills.

The nature of the client base determined that the hospital had to prioritize security and confidentiality.

Ronan got out of the car without waiting for Jessica Felton, who was getting out from the other side, and quickly walked into the main entrance of the white building.

Jessica Felton, feeling uneasy, hurriedly followed.

Ronan casually asked at the front desk, turned left into a corridor, walked forward for several meters, and stopped in front of a VIP lounge door, lightly knocking.

Someone immediately opened the door from inside—a young blonde nurse who seemed to recognize Ronan and greeted him politely, “Hello, Mr. Anderson.”

Ronan nodded slightly in acknowledgment and asked, “I’m looking for Will Smith.”

“Hey, Ronan.” A voice from inside the room seemed to have heard him: “I’m here, come in.”

It was the familiar voice of Will Smith. Ronan’s initially tense heart relaxed halfway. The blonde nurse quickly opened the door wider, stepping aside.

Ronan strode in, and the moment he saw Will Smith, not only was his heart completely at ease, but he also had an urge to punch him.

He wanted to give that face with its distinctive ears, always full of comedic charm, a good punch!

Will Smith sat with his legs crossed on a single sofa, reading a copy of The Hollywood Reporter, looking completely at ease, with no trace of the urgency from the phone call.

Jessica Felton also entered, seeing Will Smith’s demeanor, said nothing, and just stood slightly behind Ronan.

She and Ronan were very good friends, but Will Smith was not.

In fact, her impression of Will Smith wasn’t great, at least not as good as Tom Cruise’s.

But since she and Ronan were just friends, the best choice regarding Ronan’s friends was to neither comment nor speak.

Ronan waved at the blonde nurse, who looked at Will Smith. Seeing no objection from Will Smith, she quietly pushed out of the reception room.

Finch closed the reception room door from the outside.

“You finally made it.” Will Smith put down The Hollywood Reporter, his tone not as relaxed as his appearance, but rather heavy: “I’m worried to death.”

Ronan looked at Will Smith, whose dark face still exuded humor, making any worry hard to detect. This was probably a natural gift.

Will Smith smiled and waved at Jessica Felton, “Good afternoon, Jesse.”

“Good afternoon, Will.” Jessica Felton returned the smile.

Ronan had Jessica Felton sit wherever she liked and then sat on the sofa next to Will Smith. “Tell me, what’s going on? I tried calling you again on the way, but it didn’t go through.”

Hearing this, Will Smith looked around and said, “My phone!”

Without another word, he jumped up from the sofa: “This phone can’t be lost. There’s too much stuff in it. If it gets out, it’ll blow up all of Hollywood!”

Ronan immediately realized the severity of the issue and asked, “You called me ten minutes ago, and the phone was still with you. Think carefully, where did you put it?”

Will Smith used the latest custom smartphone with a camera resolution far exceeding market phones. He often took photos and videos involving many actresses, models, celebrities, and even female agents. If they leaked, it would undoubtedly cause a global sensation.

“Blood test center!” Will Smith remembered: “I left my phone at the blood test center when I went for a blood draw!”

Before Ronan could react, Will Smith rushed out of the reception room.

Ronan frowned slightly. Blood test center? Blood draw? Was this for a physical exam? Could Will Smith have a terminal illness? He didn’t seem like it.

But thinking carefully, Will Smith’s appearance naturally carried an optimism and humor. Even when worried, it was hard to tell.

Thus, Will Smith rarely acted in tragedies because that would be a complete tragedy for him.

Listening to Will Smith’s words and seeing him rush out of the reception room, Jessica Felton had an urge to cover her face. As a Hollywood producer, she naturally understood the implications of Will Smith’s words.

Such matters couldn’t be commented on, nor could they be simply judged as right or wrong. The entire industry’s atmosphere was like this.

She had never used her power as a producer to do messy things, but she had no right to interfere with others in the industry.

Hollywood’s powerful men used their influence to develop intimate relationships with women wanting to rise. Similarly, many powerful women in Hollywood also developed intimate relationships with men.

Jessica Felton had heard from her good friend Lindsay Bill about the audition of female director Katherine Hardwell and male lead Robert Pattinson in her crew.

As long as it wasn’t forced, and both parties were willing, no one could say anything.

Her gaze turned to Ronan. They were not just colleagues but friends for many years. Ronan was undoubtedly a typical example of mutual consent.

Ronan looked at his wristwatch. Will Smith’s phone shouldn’t have left this building yet. If necessary, he would call the president of St. Mary’s Hospital.

As a Hollywood big shot, whether out of friendship with Will Smith or for his own interests, he didn’t want a huge scandal to emerge in the industry, causing chaos.

Hurried footsteps approached, and Will Smith pushed the door open, holding a black phone in his hand.

“Phew…” He sighed in relief: “I forgot my phone at the blood test center during the blood test.”

Ronan nodded slightly and confirmed, “No one touched it?”

Will Smith said, “My phone has an encryption lock. No one opened it.”

He sat on the sofa, picked up a water cup, took a sip, and said, “Today, I really lost my mind. I was a bit panicked.”

Ronan softly said, “Calm down.”

Will Smith took several deep breaths, and his anxious mood gradually subsided. Sitting on the sofa, he said, “I’m much better now.”

Ronan directly asked, “Will, what exactly happened? This isn’t like you.”

Usually, Will Smith was optimistic, lively, and full of humor, not at all like his current state of losing composure.

Jessica Felton was a smart woman. She stood up and said, “I’ll make a call.”

Will Smith shook his head: “We’re all friends here. No need for that.” Without waiting for Jessica Felton to react, he said, “Ronan, do you remember me mentioning something about Charlie Sheen?”

Ronan frowned, and combining Will Smith’s previous words, he immediately realized something: “Did Charlie Sheen’s blood test results come back?”

“Not publicly, but I heard from a friend at the police station.” Will Smith had collaborated with the Los Angeles Police Department multiple times for filming: “Charlie Sheen’s HIV test came back positive!”

He cursed, “Shit! I slept with Charlie Sheen’s ex-wife, Denise Richards!”

Chapter 962: After the Storm

At a previous party, Dennis Richards had come over to say hello, and Will Smith had even mentioned to Ronan and Tom Cruise that he had spent a few passionate nights with Charlie Sheen’s ex-wife.

In Hollywood, this was hardly news. You sleep with my ex-wife, I date your ex-girlfriend—it happened all the time.

Like how a certain star’s ex-wife was currently in a passionate relationship with her current girlfriend’s ex-boyfriend. In Hollywood, this was far too common.

At the time, neither Ronan nor Tom Cruise had taken Will Smith’s words seriously.

Because the number of women in the industry who had been with Will Smith was countless.

But this time, it was different.

Ronan immediately grasped the core of the issue and asked, “Are you sure Charlie Sheen’s blood test came back positive for HIV?”

Will Smith spoke very seriously, “You usually focus on major industry news and company developments, rarely paying attention to gossip. I’m different—I like to get to the bottom of things. Charlie Sheen was reported by his neighbors for hosting wild parties and was arrested by the police. They found prohibited substances in his home. According to the law, he had to undergo a blood test, but the results were never made public. I was curious, so I asked a friend in the police…”

He rubbed his short hair vigorously with both hands, “Charlie Sheen is an intravenous drug user. The police conducted a routine HIV test as required, and the result was positive!”

This was the second time Jessica Felton had heard Will Smith say this. An HIV-positive test result—even though she wasn’t very knowledgeable about medicine, she understood what it meant: an HIV carrier!

Given that Will Smith had been involved with Charlie Sheen’s ex-wife, it was no wonder he was so panicked.

If Will Smith were infected…

Jessica Felton gasped, unable to imagine the consequences.

Although Will Smith’s reputation as a playboy wasn’t as notorious as Leonardo DiCaprio’s, that was because Leonardo DiCaprio never avoided the media when dating women.

Jessica Felton knew that in this regard, Leonardo was similar to Ronan—if they did something, they didn’t bother hiding it.

But Will Smith was different. His private life was usually very low-key, but the number of women he had actually been with was probably several times more than Ronan or Leonardo.

If… if Will Smith were infected, this wouldn’t just be a scandal—it could cause a massive earthquake in the industry.

Compared to Magic Johnson’s case back then, this would be like a drizzle versus a torrential downpour.

Jessica Felton’s gaze suddenly fell on Ronan. An industry earthquake, whether Will Smith was infected or not, had nothing to do with her. But Ronan was different—they had been close friends for nearly ten years.

And Ronan’s private life… well, it was better left unsaid.

There were too many “Fellow Travelers” in Hollywood, and cross-infection was all too easy.

Ronan’s expression remained unchanged. If this became public, Hollywood wouldn’t be in a state of panic, but it wouldn’t be far from it.

Will Smith rubbed his dark face, “Those bastards at the Los Angeles Police Department, I don’t know how much money they took from Charlie Sheen to not release his blood test results!” On the surface, he didn’t seem affected, but the psychological pressure was immense. His outburst was more of a venting of inner frustration: “Ronan, Jesse, do you know? After Charlie Sheen was bailed out, he not only continued to buy pure stuff through intermediaries but also started dating other actresses—he’s already had two new girlfriends in this short time! He doesn’t even have the most basic sense of public morality!”

Ronan gently patted Will Smith’s arm and said, “Will, calm down!”

Will Smith’s face was a mess, but instead of looking sad, it had a strange, almost comical effect. “I can’t calm down!”

Anyone would find it hard to stay calm in such a situation.

Jessica Felton sighed softly but remained silent. Silence was the most appropriate response.

Ronan frowned slightly and asked, “Have your blood test results come back?”

“Uh…” Will Smith scratched his face and said, “Not yet.”

Ronan couldn’t help but smile, “Alright, don’t worry. The results aren’t back yet, so what’s there to worry about? If you took proper precautions, it’s not that easy to get infected.”

Will Smith’s face was still a mess, “The problem is, the few times I was with Dennis Richards, I didn’t take any precautions.”

Ronan had nothing to say. When men got carried away, their brains didn’t work properly—all they thought about was that one thing, without any regard for protection.

“How much longer until the results come back?” Ronan asked.

Will Smith glanced at his watch, “The preliminary results should be ready in about half an hour. The detailed results will take two days.”

“It’ll be fine.” Ronan remembered that Will Smith had never had any such rumors before, “We’ll know the results soon.”

This reassurance was weak and ineffective, doing little to ease Will Smith’s mind.

But Will Smith suddenly said, “Ronan, do you want to get tested too?”

Hearing this, Ronan was taken aback, “Me?”

Will Smith said, “Yeah! You never know with these things… it could spread…”

Ronan fell silent. In recent years, he had indeed become much more restrained. The women he still maintained relationships with were all once famous stars.

Like Gianna from South Korea.

And then there were Scarlett Johansson and Anne Hathaway… and he had been with Candice Swaneepoel a few times.

Other than that, there were no others.

Under normal circumstances, there shouldn’t be any risk. After all, these actresses had once been major figures, and there had never been any rumors about them in this regard.

In contrast, Jessica Alba, despite being beautiful and sexy and having hinted at him multiple times, Ronan had completely ignored her.

In some ways, he was still very careful.

Jessica Felton’s gaze also fell on Ronan, her eyes full of concern.

Ronan noticed Jessica Felton and turned to look at her, shaking his head with a smile.

Jessica Felton spoke softly, “Ronan…”

She didn’t finish her sentence, but Ronan could hear the concern in her voice and sighed lightly.

Will Smith added, “Getting tested will put your mind at ease.”

Ronan thought about it and realized that made sense, “Alright, I’ll get tested too.”

He called Finch and had him contact the hospital to arrange a blood test.

Soon, Ronan left the reception room and went to a private blood draw room, where professional doctors and nurses immediately attended to him.

Since the An family lived in Beverly Hills, Ronan had been to St. Mary’s Hospital many times before. The doctor and nurse were the same two people who often served him.

Compared to Will Smith, Ronan was much calmer because he was almost certain he couldn’t be infected.

But with these things, it was better to be safe than sorry.

As everyone knew, AIDS was incurable. Although money could ensure survival, it would ruin the happiness of the second half of one’s life.

In the reception room, only Will Smith and Jessica Felton remained.

While Will Smith appeared somewhat agitated, Jessica Felton was no longer as composed as before. She kept glancing at the door, clearly concerned about Ronan.

Seeing Jessica Felton’s actions, Will Smith couldn’t help but misunderstand and said, “Jesse…”

“Hmm?” Jessica Felton looked curiously at Will Smith.

From a place of concern for Ronan, Will Smith tentatively asked, “Do you want to get tested too?”

This question made Jessica Felton a little unhappy, but she maintained her composure and smiled, “I don’t need to.”

Her life was extremely simple—just work and home. All her energy was devoted to researching various film technologies.

Will Smith didn’t press further and simply closed his mouth.

Jessica Felton’s eyes turned back to the reception room door, her deep brown eyes flickering, lost in thought.

The door to the reception room opened, and Ronan entered with Finch.

Jessica Felton immediately stood up and asked with concern, “Are you alright?”

Ronan waved his hand, “I’m fine, just waiting for the results.”

Jessica Felton nodded slightly, “Don’t worry, you’ll be fine.”

Ronan smiled, “What could happen to me?”

Will Smith’s face was full of bitter amusement, “You two, could you comfort me first?”

He knew very well that the chances of Ronan having a problem were negligible, but he was different. He had had unprotected intimate contact with Charlie Sheen’s ex-wife, Dennis Richards—he was a true “Fellow Traveler.”

Ronan didn’t know how to comfort Will Smith. Instead, after sitting down, he felt an inexplicable unease, a hint of nervousness.

Not much, but noticeable.

This was probably the strange psychology of a patient.

Even if he was very sure he was fine, before the test results came back, he couldn’t help but worry—what if he was infected?

After all, Hollywood was a mess.

Charlie Sheen wasn’t the first in Hollywood to be infected with AIDS, nor would he be the last.

Ronan had always believed his life was precious, especially now, with a net worth of billions of dollars…

Thinking of this, he too became restless. The feeling of waiting for test results was truly unpleasant.

Jessica Felton gently squeezed Ronan’s hand, “It’ll be fine.”

Ronan felt an inexplicable sense of calm and nodded at her with a smile.

The door to the reception room was knocked, and Finch entered with a doctor. The doctor held Will Smith’s test results and announced that Will Smith had no issues.

At the moment the doctor spoke, Will Smith slumped onto the sofa, feeling an overwhelming sense of relief at having survived the storm.

Soon, Ronan had a similar feeling—his blood test results were also clear.

Although he had been confident of this, hearing the doctor’s confirmation still brought a strange sense of relief.

Chapter 963: Everyone on Edge

In the reception room, Will Smith, who had been slumped in a chair, finally struggled to his feet. The inexplicable sense of joyful despair had completely vanished, and he seemed to have returned to normal.

“I was scared to death!” Will Smith’s description of himself as a survivor of a disaster was not an exaggeration. “Thank God I didn’t get infected.”

He spread his arms and hugged Ronan tightly. “I’m fine! I’m really fine!”

Ronan could roughly guess that Will Smith seemed calm on the surface, but in reality, he was terrified.

After all, anyone would be scared half to death in such a situation.

“You’re choking me,” Ronan deliberately pretended to be short of breath. “If you don’t let go, I’ll be the one in trouble.”

Will Smith quickly released Ronan and said, “I’m just too excited.” He paced back and forth in the room, his emotions surging. “Even when Bad Boys was a box office hit, I wasn’t this excited.”

Ronan raised his hand to check his wristwatch. “Alright, since we’re fine, let’s go.”

Will Smith agreed. “I don’t want to stay in the hospital either. It’s too scary. If this happens again, I’ll lose half my life.”

Ronan led the way out of the reception room, waiting for Jessica Felton to catch up, and they walked together toward the main entrance.

As they walked, Will Smith said, “This time, God blessed me, and Lady Luck was on my side. I’ll throw a wild party later to celebrate.”

Ronan was speechless—this was truly Will Smith.

Jessica Felton wasn’t friends with Will Smith, so she naturally didn’t say much.

“Do you want to come?” Will Smith extended an invitation.

Ronan refused without hesitation. “No, I don’t want to worry.”

Will Smith waved his hand. “You’re too timid.”

Ronan replied directly, “Wasn’t it you who was slumped on the sofa in fear just now?”

“Isn’t everything fine now?” Will Smith, knowing he was safe, instantly forgot about Charlie Sheen’s situation. “Since I’m fine, what’s there to worry about?”

Jessica Felton couldn’t help but say, “Being careful is never a bad thing.”

Will Smith couldn’t refute Jessica Felton’s words, so he rubbed his ears and changed the subject. “Charlie Sheen actually set such a big trap for me. I can’t let this slide. I’ll expose him.”

Ronan said, “Do as you see fit. With Charlie Sheen’s status, it won’t be a problem for you.”

The old Will Smith was back. “I’m also warning the women in the industry to be careful, so they don’t get tricked without knowing it.”

Jessica Felton, being a woman, said, “I think exposing him is good. It can reduce harm to others.”

Will Smith casually said, “Watch the news in the next day or two.”

The three of them left the main entrance of the hospital building. Ronan asked Will Smith, “How did you get here?”

Will Smith smiled and said, “I have a car. I’ll go by myself. Ronan, Jesse, goodbye.”

“Goodbye.” Ronan and Jessica Felton waved.

Will Smith went to the parking lot. The Rolls-Royce Phantom had already been driven over by David. Ronan opened the car door and invited Jessica Felton to get in. “Let’s go too. I’ll take you home first.”

Jessica Felton got into the car, and Ronan went to the other side. He instructed David to drive back.

As the car drove out of St. Mary’s Hospital, an eerie silence filled the interior.

Jessica Felton was wearing a professional women’s suit. The well-fitted outfit accentuated her waist and chest, her arms crossed in front of her, pressing her breasts so tightly that the buttons on her shirt seemed ready to pop.

Ronan was still thinking about Charlie Sheen’s situation. This matter had some impact on him. The relationships in Hollywood were too messy.

AIDS was something that, once infected, was a thousand or even ten thousand times more troublesome than the rumors about Jessica Alba.

This touched him.

Of course, Ronan wasn’t sure how long this feeling would last.

As Tony Koch had once said, the psychological experience of interacting closely with an ordinary beautiful woman was completely different from interacting with a female star.

When Anne Hathaway put on a cat tail and dressed as Catwoman, trying her best to please him, the mental experience was fundamentally different from an ordinary beautiful woman doing the same.

Jessica Felton suddenly broke the silence in the car. “Were you nervous just now at St. Mary’s Hospital?”

Ronan turned to look at her and asked, “Was I?”

“Yes, but not obviously.” Jessica Felton said directly, “Were you worried?”

Ronan smiled and said, “Before the blood test, I wasn’t worried at all. But after the blood test, I couldn’t help but feel a little uneasy.”

Jessica Felton, having been Ronan’s friend for nearly ten years, felt it necessary to remind him a little. “Worried about getting infected?”

Ronan thought for a moment and said, “A little, I guess.”

Jessica Felton spoke softly, “Ronan, we are friends. Some words may not be pleasant to hear, but our years of friendship compel me to remind you.”

Ronan gently patted Jessica Felton’s hand. “It’s fine. Just say what you have to say. I’m not the kind of person who can’t take advice.”

Jessica Felton didn’t say much more. As an old friend, she simply reminded him, “This industry is too chaotic. You should be a little more careful.”

Ronan understood what she meant. After a moment of silence, he said, “Jesse, thank you for the reminder. I will.”

Jessica Felton was no longer the technical geek who only knew how to frantically practice editing skills. She understood that even with her and Ronan’s very good relationship, words should be kept to a minimum. She immediately stopped talking about this topic and instead said, “Aren’t you going to call Tom Cruise?”

Ronan then remembered. “I almost forgot if you hadn’t mentioned it.”

He quickly took out his phone and called Tom Cruise, briefly explaining Will Smith’s situation. Tom Cruise on the other end seemed to be affected as well and said he would go to the hospital for a blood test the next day.

In this regard, the big shots in Hollywood were mostly the same—very few were truly clean.

To some extent, being in Hollywood, facing so many temptations, you could refuse once, twice, three times, but it was hard to refuse ten times.

The nature of this industry determined that when a person reached a certain height, even if they did nothing, countless beautiful and sexy women would come at them like sharks smelling blood, actively and crazily pouncing on them.

Most of the time, the only thing that could restrain the big shots in the industry was their personal moral character.

As everyone knew, when facing constant temptations, relying on personal moral character to restrain oneself was often the least reliable.

The former Kevin Tsujihara, if it weren’t for the media exposure later, how many people would have thought that the Chief Executive Officer of Warner Bros, in order to hook up with a beautiful woman, would promise her the role of Wonder Woman, only to deny it after pulling up his pants.

Kevin Tsujihara was definitely not the only case among the executives of the Big Six. It was just that Warner Bros’ performance was poor, and this master of shifting blame eventually had to take the fall, being abandoned by Warner Bros and Time Warner.

But Ronan still listened to Jessica Felton’s words.

He could hear the sincere advice from a friend.

The Rolls-Royce Phantom stopped in front of Jessica Felton’s small villa. Jessica Felton pushed open the car door and got out. As usual, she waved to Ronan. “Goodbye.”

Ronan smiled and nodded slightly. “Goodbye.”

Jessica Felton closed the car door and walked alone toward her front door. Her tall figure cast a long shadow under the streetlight.

Only when Jessica Felton opened her front door and the light came on inside did Ronan say to David, “Let’s go, back home.”

The black Rolls-Royce Phantom started and slowly drove away from the villa’s entrance.

Inside the villa, Jessica Felton watched through the window as the car, like a black ghost, gradually drove away and disappeared. She shook her head slowly, walked into the kitchen to prepare dinner, and then did her daily essential yoga exercises to prevent breast sagging.

This was a specially designed routine to effectively exercise the chest, reduce chest fat, lessen the burden, and strive to maintain a D cup while reducing the risk of sagging.

Only a woman with such a figure knew the pain.

The next day, Ronan specifically called Tom Cruise. Tom Cruise also had a blood test, and no abnormalities were found.

On the same day, multiple entertainment gossip tabloids simultaneously reported that Hollywood star Charlie Sheen had tested positive for AIDS in a police blood test for prohibited substances, but the LAPD had not disclosed this information.

With the spirit of the paparazzi, once the news leaked, it wasn’t difficult to dig up more related content. Soon, a series of events were reported by the media.

The LAPD faced enormous pressure and unhesitatingly abandoned Charlie Sheen, making the test report public.

With the publication of this report, Hollywood was suddenly in a state of panic!

Especially the many female stars who had interacted with Charlie Sheen were almost driven crazy.

Charlie Sheen himself was straightforward. In an interview with a reporter, he directly said, “I admit here that I am an AIDS carrier!”

High-end private hospitals in the Los Angeles area saw a sudden surge in blood test appointments. In this industry where heterosexual and homosexual relationships were extremely chaotic, no one knew how many people their previous partners had been with, and whether they were indirectly connected to Charlie Sheen. No one could be sure.

Not only Hollywood but also the San Fernando Valley circle had set off a wave of testing.

This Hollywood male star had been entangled with several female artists from San Fernando Valley in the past. Those female artists were highly productive, and the male artists who partnered with them were also quite active.

Additionally, many people knew that Charlie Sheen had been a major client of several famous intermediaries in Hollywood for over a decade. The number of Hollywood insiders and business elites who had transactions with these intermediaries was enormous.

Whether someone had been infected, no one could be sure.

Chapter 964: The Least Profitable Film

Because of Charlie Sheen, Hollywood was on high alert—this was no exaggeration.

Within Relativity Tower itself, even high-ranking executives with strong personal relationships often discussed one topic in private: Have you gotten tested? You haven’t been infected, have you?

The scandal inevitably affected Relativity Entertainment as well. Fortunately, since Relativity’s circles had little overlap with Charlie Sheen’s, no one in the company had been directly impacted—yet.

Relativity was one of Hollywood’s largest entertainment companies, and it was impossible to remain entirely untouched by industry trends. Ronan wasn’t naive enough to impose strict rules on executives dating Hollywood actors—such a policy would be unenforceable.

Some things were simply unavoidable in this industry. Besides, he wasn’t exactly in a position to judge.

Just like the civil rights movement, no single person or company could single-handedly challenge deeply ingrained social norms. Even if they tried, change had to come gradually—not through outright rejection of everything. That approach would only backfire.

However, Ronan had repeatedly emphasized in internal meetings that no action should ever harm the company’s interests. Everything had to align with Relativity’s best interests.

For example, when Robert Pattinson auditioned at director Catherine Hardwicke’s home, the deciding factor in his casting was still his performance. If he hadn’t delivered, no amount of personal visits would have secured him the role.

Ronan held final approval over all lead casting decisions in Relativity’s productions, with veto power. But for most mid-to-low-budget films, he no longer concerned himself with the specifics. Even so-called “art films” requiring exceptional acting skills were ultimately about finding the right actor for the role—and Hollywood never lacked talent.

Unless it was a case as mismatched as Natalie Portman playing Jane Foster, Ronan rarely interfered with casting.

Charlie Sheen had utterly destroyed his own career. Yet, Hollywood’s wild parties continued unabated.

Ronan had taken precautions, though. When Gianna suggested inviting the two actresses, Li and Song, to Los Angeles, he politely declined. And of course, he had no intention of attending Will Smith’s celebratory party after his clean blood test results.

He had never participated in such gatherings before and never would.

As his mental age and financial status grew, Ronan underwent subtle changes—changes he himself barely noticed. Fortunately, most of these shifts were positive.

One question, however, had begun to weigh on his mind—a question every Eastern person inevitably faced: Who would inherit his billions, or even trillions, in the future?

Charity? Impossible. Ronan had never pretended to be selfless or noble. The legendary acts of sages were beyond him.

Certain questions naturally arose with age and experience. Ronan was no exception.

But he wasn’t about to lose his mind over it. After all, as Ronan Anderson, he was only twenty-eight. He had plenty of time to plan.

Charlie Sheen’s downfall had affected him in unexpected ways.

Before, Ronan had heard of celebrities contracting AIDS, but it had always felt distant. Now, with Will Smith—a close friend—linked to Charlie Sheen through Dennis Richards, the threat felt alarmingly close.

Will Smith’s terror had struck a chord with Ronan. And when Will threw a wild party to celebrate his clean test results, it resonated even more deeply.

This was Will Smith’s way of life. Ronan couldn’t change it.

What struck Ronan most about Charlie Sheen’s situation was the same lesson Heath Ledger and others had taught him: self-sabotage.

October 2006 was a month Hollywood would never forget. Stars and executives alike lived in fear, pouring fortunes into discreet private clinics for testing.

Those high-end Los Angeles medical facilities probably prayed for a new Charlie Sheen scandal every year. Nothing boosted business like Hollywood’s paranoia—not even the best advertising or strictest confidentiality measures.

That same month, Embassy Pictures released The Prestige, directed by Christopher Nolan, into North American theaters.

With a modest $40 million budget, the premiere was understated, attended mostly by industry figures who had previously worked with Nolan.

Magic-themed films were niche, even with Nolan at the helm and a cast featuring Christian Bale, Hugh Jackman, and Scarlett Johansson. Embassy Pictures wasn’t optimistic about its prospects, deliberately avoiding the competitive summer and holiday seasons by opting for an October release.

The premiere was modest. At the time, The Dark Knight hadn’t yet premiered, and Nolan was still a tier below top-tier directors. Though Batman Begins had earned him a devoted following, his influence paled compared to what it would become.

Embassy Pictures couldn’t justify pouring excessive resources into promoting a magic-themed film. Profitability in such projects required meticulous calculation.

Fortunately, the film’s quality was solid. While not Nolan’s best work, it surpassed his average standard.

Nolan had long proven his genius for crafting mystery and disorientation—qualities that made him a rare director who thrived in both independent and mainstream Hollywood cinema.

Yet, anyone familiar with Hollywood history knew most directors and producers avoided magic-themed films like the plague. The prevailing belief was that audiences assumed cinematic magic was fake, making genuine magic in films hard to sell.

Even today, the idea that “film and magic are inseparable” remained controversial.

Nolan’s The Prestige managed to blend the two surprisingly well.

Entertainment Weekly’s post-screening review captured the film’s essence best: “Not a mainstream movie, yet still deeply entertaining.”

Audience reception was outstanding. On its first day, IMDb ratings averaged 8.8, while CinemaScore gave it an “A” from theatergoers.

The numbers spoke clearly—those who saw The Prestige loved it.

But sometimes, even stellar reviews and word-of-mouth couldn’t guarantee box office success. The Prestige had all the hallmarks of a commercial film—thrilling visuals, intricate plotting, a shocking twist ending—yet its niche subject matter was a fatal flaw.

Its appeal might not even match Juno.

In Hollywood, magic-themed films had never been box office gold. If The Prestige hadn’t been directed by Christopher Nolan—if Nolan’s future value hadn’t been so apparent—Ronan would never have invested in it.

The silver lining? Nolan’s films always had a solid floor, both in reputation and earnings.

The Prestige opened in 3,215 North American theaters but didn’t explode at the box office, earning only $23.89 million in its first weekend—less than $10,000 per theater on average.

It debuted at second place on the North American box office chart.

The crown went to Warner Bros.’ Happy Feet, an animated feature that had dominated the previous weekend with $45.68 million and held strong in its second weekend with $29.87 million, crushing The Prestige’s debut.

Even with Nolan at the helm, a niche film couldn’t defy market realities.

Luckily, The Prestige’s stellar word-of-mouth kept it afloat. By the end of its first weekend, IMDb ratings remained at 8.6, ensuring steady performance.

In its second weekend, it dropped only 35%, earning $15.53 million. Combined with the previous four weekdays, its North American total reached $42.37 million—enough to cover production costs.

But Embassy Pictures’ market projections were grim: The Prestige wouldn’t exceed $80 million domestically. Recovering costs from North America alone was impossible.

The strategy was clear—rely on global box office and ancillary revenue streams to turn a profit.

The Prestige might be one of Relativity Entertainment’s least profitable films this year.

But the investment was never about immediate returns—it was about the future.

Chapter 965: Filled with Malice

During Christopher Nolan’s filming of The Prestige, Ronan had already been considering another magic-themed film—the one that investors from the other side of the Pacific had once been involved in, Now You See Me. However, Ronan knew that magic-themed films were a niche genre in Hollywood, so he had hesitated, waiting to see the market response to The Prestige before making a decision.

Based on recent market data, The Prestige had performed mediocrely in North America, and its reception in overseas markets was equally lackluster. Its opening weekend in nearly thirty countries and regions overseas had only brought in a little over ten million dollars.

After all, the film’s director was Christopher Nolan, who had a strong grasp of balancing commercial appeal with storytelling. His previous work, Batman: The Dark Knight, had even earned him a large base of devoted fans.

If another director had been at the helm, The Prestige would have undoubtedly fared even worse.

After weighing all factors, Ronan automatically abandoned the Now You See Me project. The grand magic effects required a massive number of special effects shots, which meant the production costs would far exceed those of The Prestige. However, the inherent niche appeal of the genre posed a significant investment risk.

Still, he handed the script outline to the screenwriters at Shai Entertainment, instructing them to complete the script and register the copyright.

At the very least, it could serve as a future project in Relativity Entertainment’s copyright reserves.

Markets and audiences were always changing. Superhero films, for instance, had been a niche genre over a decade ago. Who could have predicted that they would become one of the pillars supporting the global box office today?

Perhaps one day, magic-themed films would also rise to prominence.

Another niche film distributed by Relativity Entertainment, despite being directed by a woman, was performing better than Christopher Nolan’s The Prestige.

Since its wide release, Juno had not experienced any box office explosions on any weekend, yet its earnings remained remarkably steady.

The topic of abortion, a widely debated social issue, once stirred, was difficult to quiet down. Even if the discussions were no longer as heated as they had been at the beginning, they still garnered attention.

In the United States, the Democratic and Republican parties had long been at odds over the issue of abortion. For a significant period, abortion had been a crucial factor in both parties’ efforts to win over voters.

Since the release of Juno, the topic of abortion had gradually come back into focus.

On one hand, Virginia had openly supported abortion up until the moment of birth. On the other hand, in southern states like Alabama and Georgia, many official organizations were discussing the possibility of signing the “Heartbeat Bill,” which would make abortion a crime once a fetal heartbeat could be detected, around forty days into pregnancy.

All of this ensured that Juno continued to receive a certain level of attention.

Since its wide release, Juno had not seen a single weekend where its box office earnings fell below ten million dollars.

Although there had been no explosive growth, the steady box office performance was quite remarkable for a niche film.

By late October, after six weeks of steady screenings, Juno had accumulated seventy-one million and one hundred forty thousand dollars at the North American box office.

This figure was more than ten times the film’s six million dollar production costs.

Moreover, with sufficient buzz supporting it, Juno’s box office journey was far from over.

The film had not yet been released in markets outside North America, and Embassy Pictures was currently preparing for its overseas release. According to market research estimates, due to the limitations of the genre, the overseas box office would be considered successful if it reached half of the North American earnings.

Juno could be described as a very American film.

In many parts of the East, for example, while abortion was also a sensitive topic, it was not uncommon. The cultural differences meant that the mindset while watching the film was entirely different, and audiences would struggle to understand the actions taken in Juno.

In fact, in the film circles on the other side of the Pacific, there was a prevalent notion that “there is no youth without abortion” when it came to making youth-themed films.

This phenomenon behind the notion was probably quite common among those artistic youth circles?

At any rate, Ronan had gone from middle school to high school and then to four years of university, and he had always been someone with relatively good connections. Yet, he had never heard of any classmate having an abortion.

Perhaps this was also related to his social circle not being broad enough.

Juno had become famous, its influence had grown, and its box office earnings had increased, but troubles had followed.

A twenty-five-year-old woman from Arizona named Samantha, along with her lawyer, accused the media that Juno had used her real-life experiences as the basis for the story without her permission, damaging her reputation and violating her civil rights.

“Shai Entertainment attempted to obtain my consent and a waiver during the film’s production and character portrayal, but I refused to give up my privacy rights and did not provide the consent or waiver. Nevertheless, Shai Entertainment still used my personal experiences to produce and promote the film.”

Behind every hot-selling Hollywood film, there were always countless “victims of infringement” emerging.

As for whether their claims were true or false, it was obvious to any discerning eye.

Samantha accused, “Shai Entertainment’s producer, Jessica Felton, and director, Sophia Coppola, are filled with malice and have no respect for the truth. The film has permanently damaged my personal reputation.”

Subsequently, Samantha and her lawyer formally sued Shai Entertainment, demanding ten million dollars in compensation for the harm caused to her and an additional ten million dollars in punitive damages, totaling twenty million dollars.

Samantha was just an insignificant figure. When the copyright and legal affairs department of Relativity Entertainment saw the news, they quickly obtained all the information about her and her lawyer. There was no powerful backing behind them; they were simply trying to make a quick buck.

It was true that Samantha had been pregnant during high school and had given birth to the child, who was then adopted by another family. This seemed similar to Juno’s experience.

When someone’s mind was filled with greed, all they could see was money, and they would act recklessly, making many foolish mistakes.

“Greed really moves people’s hearts!”

In the lounge, Jessica Felton paced back and forth, saying to Ronan, who was sitting on the sofa, “Across the entire United States, there are hundreds, if not thousands, of women who have had similar experiences. According to this lawsuit, Hollywood shouldn’t make such films at all.”

This was the first time she had encountered such a situation, and she couldn’t help but feel a little uncomfortable.

After all, Samantha had directly accused producer Jessica Felton of being filled with malice.

Ronan said, “It’s fine. She’s an insignificant figure; she can’t stir up any trouble.”

Jessica Felton asked, “How should we respond?”

Without hesitation, Ronan replied, “We’ll fight it in court, all the way to the end.” He added, “Also, the copyright and legal affairs department will have someone investigate this woman named…”

“Samantha,” Jessica Felton reminded him.

“Yes, Samantha,” Ronan said. “They’ll hire professionals to look into her tax situation and hope she’s a law-abiding citizen.”

Thinking about the tax authorities and the potential severe consequences, Jessica Felton, being a woman, couldn’t help but feel a pang of sympathy. “Isn’t this a bit too much?”

Ronan didn’t answer directly but instead joked, “Has Hollywood ever considered Hitler’s feelings when making films that denigrate him?”

Jessica Felton couldn’t help but shake her head and laugh, putting her momentary softness aside.

Those who could rise to the top in the bustling business world and the fiercely competitive Hollywood were never saints.

“This kind of thing…” Jessica Felton also saw the crux of the matter. “If we don’t respond strictly the first time, there will be a second and third time.”

Ronan smiled. “Actually, I’ve lost count of how many times Relativity Entertainment has been accused of film copyright infringement. These kinds of troubles will keep coming, one after another.”

For example, James Cameron’s Avatar, which was currently in production, would undoubtedly face a wave of accusations of copyright infringement once it was released.

Relativity Entertainment had already done a lot of preparatory work in advance, both legally and in terms of copyright, reaching the limits of current laws and industry regulations.

However, after the film’s release, it was still difficult to avoid such situations.

In the end, it all came down to one thing: greed moves people’s hearts.

For many people, even if they could only get a small hair from Avatar, it would be enough to set them up for life.

The temptation was simply too great.

These people who sued for copyright infringement weren’t really interested in going to court; they just wanted to reach an out-of-court settlement with the film company and get some money.

Relativity Entertainment had never settled out of court with anyone on this matter.

This also represented an attitude.

Some things, even if you concede once, will bring more trouble.

Jessica Felton rubbed her smooth forehead. “Just thinking about it gives me a headache. At first, I was just a simple editor. Editors don’t have to worry about final cut rights; they just follow the director’s or producer’s instructions, complete the work, and focus purely on technique. Later, I gradually took on the role of post-production producer, having to consider all aspects of post-production. The workload increased a lot, but I handled it with ease. Now, as a producer, my vision has broadened, and I’ve realized that this industry isn’t as simple as I initially thought…”

Ronan said, “Different positions offer different views.”

“Yes, that’s true,” Jessica Felton nodded lightly. “In the past, I wouldn’t have worried about copyright lawsuits at all.”

Ronan glanced at his watch. “It’s about time. Let’s go to the press conference.”

Jessica Felton had been keeping an eye on the time. “Let’s go a little early to show respect to our media friends.”

The two left the lounge and headed toward the side door of the press hall.

Today, Shai Entertainment had gathered the media for the press conference of Fast & Furious 4.

Chapter 966: Time Does Not Allow

Since acquiring the sequel rights to the Fast & Furious series from Universal, plans for the next installment had begun. Universal had produced the first two films, and Ronan naturally had no intention of taking a franchise now centered in the Western world to a distant location like Japan.

The previous Tokyo Drift had been a misstep—not only had key actors like Paul Walker departed, but setting the story in Tokyo had been a major blunder.

For a commercial film of this type, locations like Canada, Latin America, Europe, or even Australia would have been far more effective.

After all, the first two films hadn’t yet achieved the global reach of Hollywood’s top-tier commercial blockbusters.

Globalization was built step by step on a strong foundation.

In the current global film market, racing movies still weren’t the most widely appealing genre.

The series’ later success could be attributed to two factors: the cumulative effect of multiple sequels and another reason everyone could guess.

Shai Entertainment took over the series starting with Fast & Furious 3, which had been in theaters since August. Its North American box office had already reached one hundred eighty-one million two hundred fifty thousand dollars.

As everyone knew, pure popcorn films like this rarely maintained their heat for long without special factors. Embassy Pictures estimated that Fast & Furious 3 would struggle to surpass two hundred million dollars in North America, likely settling around one hundred ninety million.

However, the film’s overseas box office had already surpassed one hundred fifty million dollars, with many markets yet to open, leaving significant room for growth.

The global box office for Fast & Furious 3 was poised to reach four hundred million dollars.

This success meant that Fast & Furious 4 wasn’t just moving forward—it was getting a major budget boost. The fifth film’s investment would soar to one hundred thirty million dollars.

In today’s Hollywood, this was already crossing the threshold of a top-tier commercial blockbuster.

The press conference officially began. Thanks to Relativity Entertainment’s growing influence, even a simple project announcement drew over a hundred reporters.

Given the importance of the Fast & Furious series, Ronan took the stage himself and spoke first.

“As the highest-grossing racing franchise in film history, Fast & Furious appeals to young audiences in every way,” Ronan said, naturally hyping up his own project—no studio head who couldn’t promote their own films was a competent producer. “And now, as the series reaches its fourth installment, the characters will break out of North America, and the roar of engines will echo overseas.”

Prompted by reporters with deep ties to Relativity, the press conference erupted in enthusiastic applause.

Press conferences thrived on atmosphere, and planting people to stir up excitement was standard practice.

After Ronan, Jessica Felton, the project’s direct overseer, took the microphone.

Though dressed in a professional women’s suit and having trimmed down through years of yoga, Jessica Felton’s striking face and fiery figure still drew every reporter’s lens the moment she appeared.

The relentless flashes temporarily silenced her.

Jordana Brewster and Gianna Quan, the two female leads present, were completely overshadowed in both looks and presence by the producer.

Jessica Felton had to gesture for the cameras to settle before she could speak.

“As the producer, I want Fast & Furious 4 to be a high point for the series,” she declared confidently. “We aim for this film to set new benchmarks in every aspect—longer chase scenes, deeper character relationships, and even higher production costs.”

The reporters quieted down as Jessica Felton spoke with ease. “I have complete confidence in this film because the Fast & Furious series grows more popular with each installment. It’s a franchise on the rise, and with the fourth film, we need to take stock of the entire series. Many ideas we’ve wanted to use but couldn’t for various reasons will finally come to life in Fast & Furious 4.”

Jessica Felton kept her remarks brief before passing the microphone to Justin Lin, who was returning as director.

The success of Fast & Furious 3 had significantly boosted Justin Lin’s confidence. “The script for Fast & Furious 4 is complete,” he announced. “The story will follow the timeline naturally, seamlessly integrating past elements without forcing them together. We’re also keeping the series’ signature traits—this time, we’re taking the racing to a new city.”

He smiled. “Rio de Janeiro was chosen earlier this year. It’s a place where old and new cultures clash, with a unique architectural style. Audiences will see our most thrilling racing adventure yet on the big screen!”

Relativity’s decision to film in Brazil received an enthusiastic response from Rio de Janeiro. Not only would the city provide tax incentives, but it also agreed to allow all street racing scenes to be filmed on location, with full support from the local police.

This last point was particularly rare—few major global cities would permit such extensive on-location filming.

After Justin Lin, the main cast shared their expectations for the new film.

The production continued its tradition of casting actors from diverse backgrounds to appeal to minority markets.

Dwayne Johnson, one of the male leads, was of mixed race and, by most U.S. standards, classified as Black.

The pairing of Black and White leads covered the two largest audience demographics in Western cinema.

Though Dwayne Johnson appeared to be just a muscular action star, he had a knack for comedy. “The director told me from the start this wouldn’t be easy, and I said, ‘I’ve been through worse—bring it on!’”

Embassy Pictures had conducted market research on the third film, and Dwayne Johnson’s popularity was already surpassing Paul Walker’s.

Perhaps his combination of muscle and humor appealed to a broader audience.

Shortly after the press conference, the crew, led by Jessica Felton and Justin Lin, would head to Rio de Janeiro to prepare for filming.

As Ronan and Jessica Felton left the press room, he reminded her, “Jesse, remember—Fast & Furious 4 is still a PG-13 film.”

“I know,” Jessica Felton replied with a smile. “Don’t worry, the beautiful women in swimsuits are for looking, not touching.”

Ronan joked back, “An occasional touch wouldn’t hurt.”

They entered the hotel lobby, where Gianna Quan suddenly approached. “Hi, Ronan.”

She then turned to Jessica Felton. “Hello, Jesse.”

Jessica Felton nodded at Gianna but said nothing before leaving. However, just before exiting, she couldn’t help glancing back.

Ronan asked, “Something you need?”

Gianna Quan said, “October 30th is my birthday. Next month, I’ll be heading to Rio de Janeiro to prepare for Fast & Furious 4. Before I go, I’d like to throw a birthday party.” She looked at him hopefully. “Ronan, do you have time to come?”

Ronan hesitated only briefly before declining politely, “My schedule is packed. I don’t have the time.”

Gianna Quan’s face fell. “Just one evening…”

“Sorry, Gianna, I really don’t have time,” Ronan said firmly. “You’re still at the same place, right? Expect my birthday gift.”

Hearing this, Gianna Quan remained disappointed, but her mood improved. She and Ronan had been close for years—she was skilled in every way, and he was always generous. Without him, there would be no international superstar Gianna Quan. His gifts and favors were always top-tier.

Finally, Gianna Quan said, “Alright, work comes first. We’ll catch up another time.”

Ronan didn’t linger. After saying goodbye, he left the hotel and instructed Connie, “Order a gift. Have it delivered before the 30th.”

Connie immediately agreed.

Outside, Ronan got into his car and had David drive him back to Beverly Hills.

Some had said there was no need to admire materialistic women, but neither should they be scorned—women loving material things was no different from men loving beauty, and few men could resist that.

Many tried to escape their predetermined fates, but in modern society, it was becoming harder.

When you were poor, those around you were poor too—who could help? It was cruel but a reality in North America.

The weak in this era had few choices. Once trapped, escape was nearly impossible.

Ronan didn’t personally handle Gianna Quan’s birthday gift, leaving it entirely to Connie, who had plenty of experience.

As for declining Gianna Quan’s invitation, it was partly psychological and partly due to genuine time constraints.

On October 30th, just before Halloween, Relativity Entertainment would hold the premiere of a high-risk, high-reward film series.

James Wen, stepping down as director to become a producer, was set to release Saw IV.

Chapter 967: Chaos Born of Despair

The success of the first three films had not only brought the Saw series considerable influence but also a steadily solidifying fanbase. Horror fans were known for their loyalty.

On the day of the premiere, crowds of fans wearing Billy the Puppet masks gathered outside the Sheikh Theater, beginning their annual ritual of revelry.

Unlike most horror franchises, the Saw series had an unusually strong merchandise market, with the majority of its revenue coming from Billy the Puppet. The small puppet, symbolizing Jigsaw and death, saw explosive sales every Halloween. This October, sales of Billy-related merchandise across North America had already exceeded twenty million dollars.

Billy had even surpassed Jigsaw himself as the franchise’s most recognizable icon.

The premiere reached its climax when James Wan, the creator of the series, walked the red carpet alongside Billy on an electric tricycle.

For promotional purposes, Ronan also stepped onto the red carpet, fielding questions from the media.

“The first time I saw James Wan’s finished film, I was stunned,” Ronan said, and he wasn’t exaggerating. Most viewers who saw the ending of the first film felt the same way. “From the opening shot, it gripped the audience’s attention. It was bold, brilliantly structured, and delivered fear in a raw, unfiltered way.”

But Ronan didn’t stop there. He elevated the film’s themes even further: “What truly sets it apart, however, is its moral seriousness. The story isn’t just about scaring you—it pulls you in, forces you to think alongside the characters, to ask yourself what you would do to survive. In today’s world, whether as an individual or a member of society, that’s a question worth pondering.”

This kind of pretentious rhetoric had a strong market among modern film audiences.

After three films and extensive word-of-mouth, fans who sympathized with Jigsaw had become the majority.

A popular perspective among Saw fans was gaining traction:

“Because of his cancer, Jigsaw developed a deeper appreciation for life—few of us ever come that close to death. But he wasn’t the type to comfort himself with simple hedonism or a trip to Europe. Instead, he used the concept of survival as a lens to examine others’ moral choices.”

“He delved so deeply into these ideas that he created these survival games. Though the games themselves are twisted, his goal was to help people—using his love of philosophy or his supposed altruism to change society…”

This morally questionable, nonsensical viewpoint was, for some reason, gaining more and more support among North American audiences.

Perhaps fans of gory horror films had questionable morals to begin with.

During media interviews at the premiere, one fan reiterated this view, emphasizing: “That’s why I love Jigsaw. In the horror genre, he’s a true original—a thinker, an outlier.”

After taking photos with the main cast and exchanging a few words with Darren Bousman, James Wan’s former assistant and the director of this installment, Ronan entered the theater.

James Wan walked beside him.

The Chinese-Australian director’s success wasn’t just due to his talent—his emotional intelligence was equally sharp. He understood that even in America, relationships mattered.

Ronan asked, “Has Insidious started filming yet?”

“Everything’s ready,” James Wan replied immediately. “We begin shooting early next month. Should wrap all scenes within a month.”

Ronan nodded slightly. “In time for next year’s release.”

James Wan continued, “After Insidious, I plan to immediately start The Conjuring with the original crew, just replacing a few actors. Then we’ll move into post-production for both films.”

Ronan approved. “James, you’re the producer. You make the call.”

“Understood.” James Wan knew that with greater power came greater responsibility.

If this horror universe succeeded, he would soar to new heights in Hollywood and beyond. But failure would have severe consequences.

He was well aware that Hollywood didn’t judge talent by morality or artistic merit—only by success or failure.

As they neared the entrance to the screening hall, someone approached.

“Hey, James.” James Wan greeted James Wong with a hug. “Thanks for coming.”

James Wong smiled. “I wouldn’t miss your premiere.”

After the exchange, James Wong quickly turned to Ronan, shaking his hand. “Good evening, Ronan. Thanks for Relativity’s invitation.”

Ronan smiled back. “We’re old friends and partners. No need for formalities.”

James Wong seemed to have something to say. Glancing at James Wan, the latter, ever perceptive, excused himself. “I’ll head in first.”

Once James Wan disappeared into the foyer, James Wong spoke. “Ronan, my collaboration with 20th Century Fox doesn’t mean anything. They just offered the best terms. Purely business.”

Ronan nodded. “I understand, James. No hard feelings.”

Relieved, James Wong continued, “Besides Dragonball Evolution, I won’t be involved in any other Fox projects.”

Ronan chuckled. “James, do you really think I’m that petty?”

James Wong realized he was overthinking it. Given Ronan’s status, he wouldn’t hold a grudge over a director working with another company—even if that company was Fox, a rival of Relativity.

Directors working with multiple studios was common in Hollywood.

Ronan gestured for James Wong to follow. “Let’s go in.”

As they walked toward the screening hall, James Wong asked, “Ronan, any advice on Dragonball Evolution?”

Ronan thought for a moment. “I told you over the phone last time.”

James Wong fell silent.

Out of respect for their long partnership, Ronan reminded him again. “My personal opinion: the key to Dragonball Evolution is controlling the budget.”

This was old advice. Ronan had said the same thing during their last call.

James Wong hadn’t listened then, and he wasn’t listening now.

“Fox has already set a budget of one hundred thirty million…” he said.

Ronan didn’t press further. He knew James Wong had been chasing a big-budget blockbuster since Final Destination. Space Chase had delayed that dream but hadn’t killed it.

After two warnings with no effect, Ronan knew further words were useless.

To some extent, successful Hollywood directors were stubborn. Many had walked away from projects rather than compromise their vision.

Ronan had said his piece. Inside the theater, he took a seat in the front row.

The ceiling lights dimmed one by one, plunging the theater into darkness.

Directly across from the first row, beneath the screen, stood Billy the Puppet on his tricycle. In the pitch-black theater, the sight was unsettling.

James Wan had placed it there himself—a clever bit of merchandise promotion.

He was learning to think like a producer and studio executive.

The Saw series had now reached its fourth installment.

The film continued in its signature style—one per year. Even though Jigsaw had died in the third film, the story still revolved around him, delving deeper into his ideology and worldview.

“What the hell is going on? Where am I?”

The same line from the first Saw film, spoken in the opening minutes, encapsulated the core emotion of the series: despair leading to chaos, helplessness breeding fear, and sheer, unbridled terror.

Every Saw film revolved around the traps Jigsaw designed. He was a terminally ill cancer patient whose rigid moral code had turned him into a genius of horrific “survival games.” His victims—people he deemed worthless—had no choice but to play.

The Saw series struck a unique chord with horror fans worldwide, wresting the baton of horror dominance from classics like Halloween and A Nightmare on Elm Street.

It had become a benchmark for Hollywood horror, dominating theaters, DVD sales, television broadcasts, and streaming platforms—one of the most profitable horror franchises in film history.

Chapter 968: Jigsaw Is a Disease

By this week, the three released Saw films had already grossed over five hundred million dollars worldwide at the box office, with their related DVD products selling more than twenty-six million copies.

This series, alongside Final Destination and The Purge, continued to help Relativity Entertainment dominate the horror film industry. From early theatrical promotion to later DVD sales, it was undeniably the number one in its field.

Excluding rentals, the twenty-six million DVDs sold alone brought Relativity Entertainment over two hundred million dollars in net profit.

With each sequel’s release, this number would continue to grow.

Sequels effectively boosted the offline sales of previous films, but this also meant rising production costs for each new installment.

To date, the Saw series had seen its production budget rise from one million five hundred thousand dollars for the first film to eight million dollars for the fourth.

But the series’ earnings justified its increasing costs.

Some films, however, were well-known but earned little.

Take The Man from Earth, for example.

After Relativity Entertainment acquired the film at a low price and released it in theaters, it only had a brief one-week run before being pulled due to lack of audience interest, accumulating a mere one thousand six hundred and fourteen dollars at the North American box office.

Fortunately, there were offline channels.

Thanks to a group of fans with unique tastes, The Man from Earth became a cult classic among certain niche audiences, boosting DVD sales and rentals.

Of course, anyone with a bit of sense could tell that such films could never achieve the inflated numbers fabricated by the hype machines on the other side of the Pacific.

After nearly half a year of offline operations by Embassy Pictures, The Man from Earth had sold over thirty thousand DVDs, with rental income reaching nearly four hundred thousand dollars.

Compared to its cost, the return on investment was impressive, but getting rich off such films was practically impossible.

The Saw series was far more reliable, though its explosive earnings came with ever-increasing marketing and distribution costs.

For the fourth film, Embassy Pictures’ global promotional and distribution investment reached twelve million dollars.

Behind every low-budget blockbuster was a massive, unavoidable marketing and distribution budget.

Fortunately, the investment in Saw was worth it.

Saw IV opened in North America over the Halloween weekend, playing in three thousand four hundred and fifty-six theaters and grossing thirty-five million seven hundred and fifty thousand dollars in three days. It outperformed other Halloween releases like Saw IV and The Texas Chainsaw Massacre: The Beginning, topping the North American box office chart.

Embassy Pictures’ previous release, The Prestige, hadn’t claimed the box office crown, but Saw IV did not disappoint.

That same weekend, Saw IV also opened in Latin America, Europe, and Australia—regions where Halloween was widely celebrated. Thanks to the influence of the first three films, the fourth installment received a strong international response.

In its first weekend overseas, the horror film grossed forty-two million one hundred thousand dollars across more than thirty markets.

In reality, by the end of its first weekend, Relativity Entertainment had already recouped all its investments in Saw IV, even turning a profit.

For film studios, movies that quickly turn a profit are always good movies.

Even if their reputation continues to decline.

Saw IV had a Rotten Tomatoes score of only twenty percent, and its IMDb rating dropped for the first time to a failing five point nine.

For a formulaic gore horror film, this was an inevitable outcome.

From the masterpiece of the first film to the increasingly poor reception of the sequels, even if James Wan had remained as director, the situation wouldn’t have changed.

From the studio’s perspective, they didn’t want to alter the series’ proven successful formula. Like Jason, Freddy, and Michael Myers, Hollywood had been churning out these classic horror icons for decades, repeatedly following the same successful blueprint.

And the facts proved that this was the safest way to ensure profits.

This formulaic approach could easily be applied to the Saw series.

As one fan of the series put it: “If you’ve seen the first three, no matter what I say, you’ll still go see the fourth!”

Saw IV primarily explored Jigsaw’s past and present, even inventing a backstory for his ex-wife. The plot was reasonable, though not particularly thought-provoking, and while moral themes were present, they weren’t strongly emphasized.

The film had two main features.

First, in some ways, Jigsaw was a disease.

The power of this virus lay in its ability to infect people invisibly. Once someone was infected by Jigsaw’s ideology, their life would be turned upside down.

Second, there was more blood—much more blood.

The fourth film used nearly twice as much fake blood as the third, and future sequels would continue to push the boundaries of gore. Fans of this style wouldn’t be disappointed.

By the fourth film, even James Wan could only focus on Jigsaw’s disciples and the brutal, bloody games. The series had to follow its established formula.

As for whether there would be more sequels, Relativity Entertainment wasn’t about to let go.

The film itself had laid the groundwork for future installments.

With an open-ended conclusion and the original Jigsaw dead, countless Jigsaw viruses continued to spread, infecting people’s minds. This seemingly righteous but ultimately twisted story would always have its devoted audience.

Perhaps all Saw fans would forever cherish the first film, never forgetting the chilling sensation of waking from a nightmare to find it was morning.

James Wan would invest less and less time in the Saw series, shifting his focus entirely to the “Horror Movie Universe” plan. Insidious, The Conjuring, and Annabelle were already on the schedule, with Insidious set to begin filming in November and release the following year.

Insidious would be the beginning, with The Conjuring and Annabelle further expanding the universe, especially the world of the Warrens’ paranormal investigations.

Reading the Warrens’ paranormal case files, one couldn’t help but think—didn’t they know that since the late 1940s, demons and monsters worldwide had been suppressed by an iron fist?

With Saw IV’s successful opening weekend, the fifth film was inevitable. Shai Entertainment quickly finalized plans, maintaining an eight-million-dollar budget and keeping Darren Bousman as director.

Rather than risking a new director, continuing the proven formula was the key to ensuring the next sequel’s success.

After Halloween, Ronan personally saw off Jessica Felton and the Fast & Furious 4 crew at the airport. Over the next few days, he stayed in Shai Entertainment’s screening room, reviewing the final cuts of various projects submitted by the production department.

2006 was drawing to a close, and 2007 was on the horizon. Shai Entertainment had completed post-production on several new films, preparing for Embassy Pictures’ marketing and distribution next year.

David Finch’s The Girl, which took two years from pre-production to filming and post-production, had finally been completed. The review panel, consisting of Ronan, George Clint, and Garcia-Rodriguez, was very satisfied with David Finch’s final edit.

This was a film filled with David Finch’s signature dark style, yet it also had a uniquely bizarre and absurd tone.

To match the film’s content, style, and themes, Ronan and David Finch agreed to rename it Sunshine Girl, set for a 2007 North American release.

Additionally, Ronan suggested that David Finch further tighten the editing to make the narrative pacing more compact.

The film would also be submitted to European film festivals and the upcoming Hollywood awards season.

After wrapping up Sunshine Girl, David Finch had already agreed to take on the role of producer and director for House of Cards. Kevin Spacey had signed on as the lead, and they were just waiting for the director to begin filming.

Ronan hoped to complete House of Cards before the rise of the #MeToo movement, allowing it to be released on Netflix’s streaming platform.

Kevin Spacey had caused plenty of trouble later, forcing Netflix to remove him from the show.

But it was only 2006, and Shai Entertainment had plenty of time to finish the series.

Thinking of Kevin Spacey, Ronan recalled John Lasseter. There were already many rumors about John Lasseter within Pixar, some of which were barely even secrets—more like open whispers.

Ronan made a point to speak with John Lasseter, who wasn’t foolish and promised to be more careful in his work methods.

This would help avoid future complications.

Next, Ronan reviewed Michael Bay’s completed edit of Transformers. Though some special effects shots were still missing, the film’s structure was already in place—a classic Michael Bay popcorn blockbuster.

Transformers was set for a summer 2007 release.

Another major summer release was The Hulk, with Joss Whedon still working on final edits and special effects. To avoid clashing with Sony Columbia’s Spider-Man 3 in early May, The Hulk’s release date had to be pushed back.

Thor, also slated for next year, was about to begin filming, aiming to enter post-production by early 2007.

One of the most important projects was Twilight, whose final cut Ronan had approved. The film had been completed in just six months, from filming to post-production.

Embassy Pictures had specifically chosen Valentine’s Day 2007 for Twilight’s release.

There was no better time for such a melodramatic romance.

As November arrived, North America’s holiday movie season began, with several major releases hitting theaters. DreamWorks had also sent Ronan an invitation to their premiere.

Chapter 969: Not Afraid at All

As the first weekend of November approached, the Kodak Theatre on Hollywood’s Walk of Fame was packed with crowds. Many industry elites had been invited to attend the grand premiere hosted by DreamWorks.

This premiere was extraordinary—it marked the first time DreamWorks Animation Studio had returned to the DreamWorks system after its separation. DreamWorks had finally achieved the vision that Spielberg and Jeffrey Katzenberg had strived for: DreamWorks animated features would now be entirely produced and distributed by DreamWorks itself.

The animated film premiering today was The Tale of Despereaux, the most expensive animated feature in DreamWorks Animation Studio’s history, with a publicly disclosed production cost of one hundred and fifty million dollars.

As an ally of DreamWorks and the former distributor of DreamWorks Animation Studio, Ronan had also received a joint invitation from Spielberg and Jeffrey Katzenberg.

“Welcome, Ronan.”

In the foyer of the Kodak Theatre, Jeffrey Katzenberg was the first to step forward and embrace Ronan. “DreamWorks Animation Studio wouldn’t be where it is today without your help.”

Ronan replied modestly, “You’re too kind, Jeffrey. It’s really the strength of DreamWorks Animation Studio that made this possible.”

Jeffrey Katzenberg laughed, his smile particularly bright. It seemed that after returning to DreamWorks and reaching a tacit balance of power with Spielberg, this animator, who had harbored resentment since leaving Disney Animation Studio, had gradually found peace.

Spielberg then came over to shake Ronan’s hand. “Ronan, it’s an honor for DreamWorks to have you here.”

Ronan returned the courtesy. “Steven, we’re partners and allies on the same front. Of course I’d come to show my support.”

In the early years, Spielberg hadn’t thought highly of Ronan, but his opinion had improved over the past couple of years. Though they couldn’t be called friends, they had never been enemies.

“The first draft of the Lincoln script—I’ve read it,” Spielberg mentioned their collaboration. “I think we could push it back a year or two, until the civil rights movement…”

Ronan understood his meaning and knew that for a film like this to be profitable, it would have to take the awards route. He nodded immediately. “That works.”

After a moment’s thought, he added, “Steven, we could wait until you finish Indiana Jones 4.”

Spielberg and George Lucas were about to collaborate again—Indiana Jones was making a comeback.

“Alright,” Spielberg agreed. “We can discuss the details later.”

As Ronan prepared to enter the VIP lounge, he remembered something before leaving. “Steven, Martin’s new film will be premiering soon. It’s his return to the gangster genre. If you have time, you should come to the premiere.”

Spielberg immediately replied, “I’ll definitely be there.”

The four great directors of Hollywood in the eighties shared deep connections. Some things didn’t need Ronan to say much. As long as Martin Scorsese’s film was up to standard, Spielberg would surely support him.

As soon as Ronan entered the VIP lounge, he saw the other three of the four great directors—George Lucas, Martin Scorsese, and Francis Ford Coppola—forming a small circle.

“Hey, you three,” Ronan walked straight over. “What are you discussing so animatedly?”

George Lucas was very familiar with Ronan. “Old friends meeting—of course we’re happy.”

Francis Ford Coppola said, “Ronan, the film you and Sophia worked on this year is excellent.”

Ronan replied, “If you all support her, Sophia might even get an Oscar nomination for Best Director.”

Martin Scorsese added, “Juno is outstanding. It absolutely deserves a Best Director nomination.”

George Lucas, however, asked, “Martin, how confident are you this year?”

Martin Scorsese didn’t answer but instead looked at Ronan. “This question is better answered by Ronan.”

Ronan couldn’t help but smile. “The film will be released soon. Once you’ve seen the premiere, you’ll know—The Departed is absolutely worthy of an Oscar for Best Director.”

George Lucas laughed. “Too bad I’m not an Academy member. I don’t have a vote.”

This was true. Years ago, the opening sequence of Star Wars didn’t comply with the Directors Guild’s regulations, so George Lucas had quit the Guild, automatically losing his membership in the Academy of Motion Picture Arts and Sciences. Since then, he had never returned.

Francis Ford Coppola then said, “We’ll definitely go to the premiere. Supporting Martin is the right thing to do.”

Martin Scorsese smiled at his two old friends and said directly, “This is my biggest regret.”

Ronan didn’t say more. He and George Lucas left the circle and chatted about Indiana Jones 4 for a while.

As everyone knew, Lucasfilm had two major treasures—Star Wars and Industrial Light & Magic. The Indiana Jones series could be considered Lucasfilm’s third treasure.

The influence of Dr. Indiana Jones, though not as great as Star Wars, was still legendary in film history and had even shaped an entire generation of film enthusiasts.

However, there was a complication: the copyright for the Indiana Jones series was shared between Lucasfilm and the original distributor, Paramount.

Ronan had heard a lot about Indiana Jones 4. For example, Spielberg was indeed a good godfather. Since Relativity Entertainment hadn’t cast Shia LaBeouf in Transformers, Spielberg had placed his godson in the Indiana Jones 4 crew as a supporting actor—the son of Indiana Jones.

The intention was obvious. After all, Harrison Ford was getting old, and Indiana Jones needed a successor. If the series could continue smoothly, Shia LaBeouf would become the new lead of the Indiana Jones franchise.

Unfortunately, this young actor had failed to live up to Spielberg’s expectations and was turning out to be the male version of Lindsay Lohan.

After finishing his conversation with George Lucas, Ronan met many of the main creators of The Tale of Despereaux.

As a top-tier animated production with an investment of one hundred and fifty million dollars, the voice cast was also exceptionally strong. The two main characters were voiced by Kate Winslet and Hugh Jackman.

Kate Winslet and her male companion for the evening, Leonardo DiCaprio, also came over to greet Ronan when they saw him.

Ronan looked Leonardo over and said bluntly, “Leo, it’s been a while. You’ve put on some weight.”

Leonardo rubbed his face. “Maybe I haven’t been watching my diet lately.”

Kate Winslet laughed and exposed him. “He’s doing it on purpose. He wants to be a true method actor.”

Ronan, deadpan, joked, “Wasn’t Leo already a method actor?”

Leonardo and Kate Winslet both laughed. The two of them weren’t particularly close with Ronan, but they had no conflicts of interest, so they could chat and laugh together.

Ronan noticed their interlocked hands and half-jokingly asked, “Kate, Leo, are you two together now?”

“No,” Kate Winslet denied. “Leo and I have always been good friends.”

Ronan sighed dramatically. “The biggest regret of watching Titanic was that Jack and Rose couldn’t end up together.”

Leonardo said, “Regrets in the movie are hard to make up for in real life.”

Ronan nodded. “True.” He spotted Tom Cruise and Will Smith and pointed in their direction. “I won’t disturb you two any longer.”

As he walked away, Ronan turned his head for another look. Leonardo had grown wider, and Kate Winslet was becoming more full-figured. These two really should end up together. Wasn’t the most romantic thing in the world being able to say, “You got fat, and so did I”?

“When did you get here?” Tom Cruise asked Ronan.

“A while ago,” Ronan replied casually. “I was chatting with George Lucas and Leonardo.”

Will Smith said, “Ronan, you should come to my wild party.”

Tom Cruise tilted his head and looked at Will Smith. “You really aren’t afraid at all, are you?”

“Afraid of what?” Will Smith argued. “All the female guests I invited have the latest check-up certificates.”

He lowered his voice. “You should think about it. Given the current climate in the industry, those people still want to do business and push their resources. They have to make their clients feel at ease. This is actually the safest time.”

Tom Cruise was defeated by Will Smith’s twisted logic. “You’re something else. I can’t help but admire you.”

Will Smith then turned to Ronan. “You aren’t scared, are you?”

“Not scared, no,” Ronan said calmly. “But my body is my own. I can’t take risks in this area. One mistake and it’s all over.”

Tom Cruise was surprised. “Your thinking seems to have changed.”

Ronan patted Will Smith on the shoulder. “At St. Mary’s Hospital, one of my best friends was so scared he collapsed on the sofa. I was right there. You think I wouldn’t be affected?”

Will Smith quickly denied it. “I wasn’t scared!”

Ronan smiled but didn’t argue with Will Smith about this. He just said, “Anyway, my mind’s been a bit messy lately. I have a lot to think about.”

Tom Cruise immediately picked up on the key point in Ronan’s words. “I see. Ronan, are you thinking about settling down?”

Will Smith put his arm around Ronan’s shoulder. “No way! My brother! You’re going to give up an entire forest for one tree? That’s too shortsighted!”

Ronan didn’t deny it. “That’s why I need to think carefully.”

Tom Cruise added, “Someone who escaped the cage of marriage is telling you—don’t rush into it.”

Ronan smiled. “I understand.” He didn’t want to dwell on this topic any longer and suggested, “Let’s go to the main hall and enjoy the movie.”

Chapter 970: A Dud

According to DreamWorks Animation’s promotional campaign, The Tale of Despereaux was the brilliant creation of the same team behind Shrek and Madagascar, promising to pioneer an entirely new artistic form in animation.

A perfect fusion of computer CGI and clay animation!

As Jeffrey Katzenberg put it, the film boasted a charming story rich in emotion, boundless imagination and creativity, and cutting-edge computer technology.

DreamWorks had grand ambitions, aiming to turn The Tale of Despereaux into a new Shrek franchise—or, at the very least, another Madagascar.

The film introduced a world almost entirely populated by mice, mirroring human society in every way, except that its inhabitants were rodents.

The overall plot followed DreamWorks’ signature style of parodying other films, with exaggerated yet lifelike character designs.

But the Shrek series had already taken parody to its extreme, and parody was no longer a fresh element.

Moreover, DreamWorks had brought in the UK’s Aardman Animations as a partner for The Tale of Despereaux, marketing it as a computer-animated film when, in reality, it was a blend of clay and CGI—a choice that proved unpopular.

Frankly, clay-animated features were not well-received.

Ronan couldn’t understand why Jeffrey Katzenberg, with his years of experience in animation, would make such a poor decision.

If The Tale of Despereaux had been a purely CGI-animated film, it wouldn’t have looked so awkward on the big screen. Even if it had been as rough as the first Shrek, it would have been ten times better.

The only explanation was that Aardman had invested heavily in the project.

It was well-known that DreamWorks Animation’s success hinged on its strict control over production costs.

Previous DreamWorks animated features, especially non-sequels, had budgets of around sixty to seventy million dollars.

This effectively reduced investment risk and eased the difficulty of recouping funds.

But after the successive successes of the Shrek series, Katzenberg couldn’t resist the urge to challenge Pixar, the industry’s undisputed leader. He greenlit several high-budget animated films with investments around one hundred and fifty million dollars.

This was also a major reason why Ronan was willing to negotiate with DreamWorks and relinquish the distribution rights to their animated features in advance.

If DreamWorks insisted on pursuing Katzenberg’s high-investment, high-stakes strategy, the next few years would be extremely difficult for the studio.

To be fair, The Tale of Despereaux had a stronger plot than Shrek the Third, which had achieved massive success under Embassy Pictures’ distribution that summer. The film, like many animated features, was primarily inspirational with a side of humor, set in a “mouse kingdom” that felt surprisingly real.

The protagonist, of course, was a mouse—a high-society pet who lived in isolation in a grand estate, representing the pinnacle of luxury. He had once believed he was living the “good life.”

But he had no family, no real friends, and could only talk or play with toys, like a lonely old man in a fortress.

Having never ventured beyond his gilded cage, the pet mouse never yearned for the outside world. He lived in a beautiful, colorful bubble… until he was flushed into London’s sewers and thrust into a completely different world, where he finally realized how dull his previous life had been.

The story followed classic Hollywood conventions.

Unfortunately, the film’s blend of clay and CGI animation was not well-received by audiences.

On its first day in North America, The Tale of Despereaux—the film that carried so many of DreamWorks’ ambitions—flopped, earning only four point seven one million dollars. It failed to claim the top spot on the North American box office chart, losing to Saw IV, which was in its second weekend and grossed six point seven one million dollars that day.

The weekend was relatively slow, with only two films fiercely competing at the forefront of the market: The Tale of Despereaux, in its first weekend, and Saw IV, in its second.

Boosted by Saturday’s weekend crowds, The Tale of Despereaux saw a surge in ticket sales, taking in seven point four two million dollars and snatching the daily box office crown from Saw IV.

But this was merely a fleeting victory for The Tale of Despereaux.

After the first weekend of November, the film, playing in three thousand eight hundred and ninety theaters across North America, grossed only seventeen point eight one million dollars—a far cry from its one hundred and fifty million dollar budget. DreamWorks’ hopes of breaking even seemed distant.

This lackluster performance relegated The Tale of Despereaux to second place on the box office chart in its opening weekend.

Saw IV, meanwhile, earned eighteen point nine one million dollars, retaining its crown for the second weekend in a row—the first time the Saw series had achieved back-to-back North American box office victories.

Including its earnings from the previous four weekdays, the bloody horror film had grossed fifty-eight point nine nine million dollars in its first ten days in North America.

While surpassing one hundred million dollars domestically would be difficult, exceeding eighty million was still within reach.

And with another week of international screenings, the film’s global box office had now surpassed one hundred million dollars.

Based on box office alone, Saw IV had already turned a substantial profit.

The Tale of Despereaux, on the other hand, was in dire straits. DreamWorks’ top priority was to cut its losses before the situation worsened.

DreamWorks Animation’s first film after parting ways with Relativity Entertainment had only been in North American theaters for one weekend, but both the studio and industry insiders knew—The Tale of Despereaux had failed.

“Why did this happen?”

In Glendale, inside the DreamWorks office, Steven Spielberg looked at Jeffrey Katzenberg, bewildered. “Wasn’t this made following the Shrek model? With a higher budget and better production, why did it fail?”

Katzenberg remained silent. The failure of The Tale of Despereaux had hit him hard. It was the first time DreamWorks Animation had attempted a top-tier production with a one hundred and fifty million dollar budget—and it had ended in failure.

Spielberg sighed softly, saying nothing more. He could see the self-reproach in Katzenberg’s eyes.

After a long pause, Katzenberg finally spoke. “Steven, the failure of The Tale of Despereaux is my responsibility. I made the wrong call. I shouldn’t have tried to save seventy million dollars by bringing in Aardman and using their clay animation technology.”

Hearing this, Spielberg still didn’t interrupt. After all, he had agreed to the partnership with Aardman.

The initial reasoning was that collaborating with Aardman would reduce risk and combine the strengths of both studios.

Katzenberg continued, “I only considered reducing investment risk and ignored market research. The results after The Tale of Despereaux’s release clearly show that audiences strongly dislike clay-animated films…”

Spielberg nodded slightly. “Clay animation isn’t suited for big-budget animated films. What about the remaining contracts with Aardman?”

Katzenberg was decisive. “I’ve already halted all collaborations with Aardman. DreamWorks Animation will no longer work with them, and all future animated projects will completely abandon clay animation technology.”

“You’re the expert in animation,” Spielberg said sincerely. “Jeffrey, I’ll leave this to you.”

Katzenberg replied, “Don’t worry, Steven. I won’t allow DreamWorks Animation to suffer such a failure again.”

Spielberg sighed softly. “I still believe in DreamWorks Animation’s strength.”

“For some reason, I feel uneasy,” Katzenberg suddenly said. “When DreamWorks Animation was working with Relativity Entertainment, everything went smoothly—Shrek, Shark Tale, Madagascar—they were all huge successes. But now, our first film after parting ways has failed.”

At this, Spielberg’s expression shifted slightly, and he couldn’t help but overthink: Was Katzenberg blaming DreamWorks’ marketing and distribution capabilities?

Katzenberg noticed the change in Spielberg’s demeanor and quickly realized the misunderstanding. He hurried to explain, “Steven, I didn’t mean it that way.”

The power balance between DreamWorks’ two leaders was fragile, and Katzenberg didn’t want to disrupt it. “I was just wondering—did Ronan Anderson end the partnership early because he saw risks in the upcoming projects that I didn’t?”

Spielberg considered carefully. “With my forty years in the industry, no one—not investors, directors, or producers—can accurately predict the prospects of most film projects. Maybe DreamWorks Animation’s projects do carry risks, but which film doesn’t?”

Katzenberg’s confidence had been built on one successful animated feature after another, with many iconic works and legendary films.

These words quickly dispelled Katzenberg’s doubts. Since DreamWorks Animation’s plans were set, they would be executed resolutely, with only minor adjustments.

Neither Spielberg nor Katzenberg believed there was a fundamental issue with DreamWorks Animation’s strategy. The failure of The Tale of Despereaux was just an isolated incident.

Chapter 971: The Inevitable Shift

The failure of The Tale of Despereaux at DreamWorks Animation served as a wake-up call for Ronan. Relativity Entertainment now had three animation studios under its umbrella, and their future direction could not afford to stray like DreamWorks’ collaboration with Aardman Animations had.

Ronan specifically convened a meeting with the senior executives of Princess Animation Studio, Pixar Animation Studio, and Shai Entertainment Animation Studio to further clarify Relativity’s future direction in animation production.

That direction was computer animation!

At Relativity, techniques like clay animation and hand-drawn animation were considered heretical. From the very beginning of establishing the animation division, Relativity had never engaged in hand-drawn or clay animation, and it never would.

Pixar, of course, needed no introduction—it was the pioneer and driving force behind computer animation. The world’s first computer-animated film, Toy Story, was created by Pixar, and the studio would never abandon its expertise and advantages to pursue other avenues.

Shai Entertainment Animation Studio also posed no issues. Originally stemming from Fox Animation, it had been founded with computer animation as its core focus, leaving little room for other techniques.

Princess Animation Studio, however, was different. Comprising a team that carried the spirit of Disney animation, many of its members still longed for the glory days of hand-drawn animation.

Ronan allowed nostalgia, but he would never permit a hand-drawn animation project to emerge.

In recent years, criticism of computer animation and nostalgia for the so-called golden age of hand-drawn animation had grown louder. But this was no different from the backlash against sound replacing silent films or color overtaking black-and-white. The birth of new film technology always came with the decline of the old and skepticism toward the new.

Did anyone remember how Charlie Chaplin had criticized and condemned sound films?

Computer animation was facing the same scrutiny.

“Hand-drawn animation is created by artists using brushes, their own hands, stroke by stroke. The characters are rich and full of life, imbued with the creator’s passion and artistic vitality. But computer animation?”

“Using cold, lifeless computers and programmed software, the characters designed are rigid, their every movement as stiff as puppets. Where is the artistry in that?”

“Art originates from life, and the human hand is the best vessel for it—not cold, lifeless machines.”

Such voices were numerous, often coming from hand-drawn animators who had lost their jobs to computer animation. They blamed the technology for their unemployment rather than adapting to the new era, clinging to the past instead of embracing the future.

In fact, many in Relativity’s three animation studios had once been hand-drawn animators. Yet they now thrived in computer animation, simply because they had actively adapted to the changing times.

Could the world adapt to an individual, or must the individual adapt to the world?

Since the 1930s and 1940s, hand-drawn animation had been a staple in Hollywood. No one could deny that countless brilliant hand-drawn animators had poured their hearts into their work, bringing joy to audiences with classics like The Lion King.

Hand-drawn animators created with their minds and hands, using brushes as their tools. Computer programmers did the same, using computers as theirs.

At their core, both brushes and computers were tools—human inventions meant to carry the wings of thought. Both held irreplaceable significance in human life. So why could one be a vessel for art while the other, representing advanced technology, was dismissed as a cold machine?

Some might argue that hand-drawn animators infused their creations with passion, giving them life.

But who saw the idealists who, since the 1970s, had dedicated their youth and enthusiasm to computer animation? Were they not creating with heart? Were their works not outstanding? Were their characters not rich and full of life? Were they merely soulless, rigid figures?

Undeniably, hand-drawn animators had made indelible contributions to animation. But technological progress was the tide of history. Advanced technology replacing the outdated was an inevitable law of human development. Those who resisted were swept into the dustbin of history.

Today, computer technology had permeated every aspect of human life. For the film industry, it was like giving wings to imagination. Scenes that once existed only in the minds of directors, screenwriters, and producers could now be brought to life through advanced computer technology.

In many ways, those who hid in their shells, mocking new film technology, never stopped to consider why change happened.

Every era faced new things—some were evolving ideas, others were advanced technologies. The conservative refused to absorb what was useful, instead obstructing progress. Yet history had proven time and again that those who stood still would be left behind.

In truth, hand-drawn animation was being phased out by Hollywood’s mainstream.

That same week, Disney—amid its internal power struggles—surprisingly reached a consensus on one critical matter. Walt Disney decided to completely dismantle its hand-drawn animation division, shifting all focus to computer animation.

The first giant of hand-drawn animation was abandoning the craft entirely. Even though Disney Animation Studio had produced few works in recent years, the decision was still seismic.

This marked the retreat of hand-drawn animation from the mainstream film industry.

The trend of industry development was unstoppable.

Ronan immediately contacted Chris Buck, Rich Moore, Byron Howard, and others at Princess Animation Studio.

Disney’s dismantling of its hand-drawn division would inevitably lead to mass layoffs. These were talented individuals.

If any were willing to transition into computer animation, Princess Animation Studio could recruit a portion of them.

Of course, those living in the glory of the past, unwilling to accept the new, no matter their past achievements, Ronan wanted none of them.

The future belonged to computer animation.

Relativity had no time to waste on outdated people or technologies.

For Hollywood’s film industry, the digital age had truly arrived.

In recent years, including Relativity, major Hollywood studios had been pushing for one thing: upgrading all major theater chains across America from old film projectors to new digital ones.

Theater chains were not particularly enthusiastic. Companies like Imperial Entertainment and AMC, with their vast chains, faced astronomical costs in replacing equipment.

It was well-known that digital technology could significantly reduce costs across the board.

Take distribution alone—each copy’s cost could be reduced by over sixty percent in the short term, and up to ninety percent in the long run.

An average film print, from pressing to storage, transportation to insurance, cost around fifteen hundred dollars.

A digital copy? Less than five hundred.

In the future, with specialized distribution companies and theater networks, copies could be transmitted directly over the internet.

This had become the new norm in the film industry, drastically cutting distribution costs.

All Hollywood studios shared a common interest in this.

Thus, major studios joined forces, bringing together theater chains, producers, distributors, Sony Electronics, Canon, Dolby, and other equipment providers to discuss and promote a new technological upgrade, maximizing benefits for all involved.

This was beneficial for the entire industry.

But convincing theater chains to upgrade on a large scale was no easy task.

Ronan was pushing for it, though not with excessive resources. He knew that what truly spurred theater chains into action was the release of Avatar.

Avatar brought more than just high box office and commercial success—it drove technological advancement across the entire film industry.

After Avatar, 3D became widespread. Despite its flaws, the rapid construction of 3D theaters accelerated the adoption of digital equipment in cinemas.

For the film industry as a whole, Avatar—criticized by many as vulgar and overly commercial—deserved a place in film history more than the art films they revered.

Because Avatar had propelled the entire film industry and its supporting sectors forward by leaps and bounds.

As for 3D technology, since it was in vogue, Relativity would not miss the opportunity. Beyond Alice in Wonderland, The Avengers was confirmed to be shot and produced in IMAX 3D.

There was even a possibility of a 3D version of Saw.

In November, Relativity had two more films set for release: Pixar’s The Incredibles and the sequel to the blockbuster Night at the Museum 2.

Both were perfect for the holiday movie season.

Chapter 972: The Incredibles

Since joining Relativity Entertainment, Pixar had maintained a significant degree of independence, with Ronan providing strong support for several major animated features. The only project he had restricted was WALL-E.

Strictly speaking, The Incredibles was completed during Pixar’s collaboration with Walt Disney. Due to Disney’s relentless exploitation, the project was delayed and ultimately fell into the hands of Relativity Entertainment.

This marked the first time a Pixar animated feature would be distributed through Relativity’s marketing channels.

Many companies in Hollywood were watching closely, hoping Relativity would ruin Pixar.

Business acquisitions and mergers had a long history of failure, and many hoped Relativity’s purchase of Pixar would be a lose-lose deal.

But Ronan would never allow that to happen. Embassy Pictures, under Relativity, had been building hype for The Incredibles since the first half of 2006. By November, a barrage of promotional campaigns had captured public attention.

Moreover, Pixar had already established itself as a brand, carrying its own prestige.

Unlike the mysterious veil that had shrouded Pixar during its Disney era, Ronan had actively encouraged the studio to invite fans and journalists into Pixar Industrial Park, uncovering the so-called secrets of Pixar and enhancing the brand’s appeal.

What kind of place was Pixar? What kind of people created these unforgettable animated characters? How did they work and live? What steps were involved from a blank page to the final animated feature on the big screen? What interesting anecdotes and insider stories existed within Pixar?

These were questions that countless audiences and media outlets were eager to explore.

After numerous visits to Pixar Industrial Park, media and online platforms were filled with descriptions of the studio.

“This is ‘Monsters, Inc.,’” “This is the treasure-filled ‘Under the Sea,’” “This is the ‘Toy’ paradise,” “This is the ‘Unknown’ brimming with creativity,” “This is the magical animation kingdom: Pixar!”

Such statements flooded media reports.

Gradually, another phrase took root in people’s minds: “If it’s from Pixar, it’s a masterpiece!”

As John Lasseter once said in an interview, Luxo Jr. was Pixar’s symbol and their first official animated work.

This character embodied Pixar’s essence: cute, playful, clever, lively, technologically advanced, and artistically stylish.

On the second weekend of November, Embassy Pictures, under Relativity Entertainment, held a grand premiere for The Incredibles at the Nokia Theatre.

Ronan also attended the premiere.

Compared to last week’s premiere of The Tale of Despereaux, the scale of The Incredibles’ premiere was not particularly large, with guests primarily consisting of Relativity and Pixar personnel, as well as the film’s main creative team.

Of course, Pixar’s founder, Steve Jobs, was also in attendance.

Before entering the Nokia Theatre, Ronan had a brief conversation with Brad Bird, the writer and director of The Incredibles.

Bird, who would later become one of Pixar’s “Five Tigers,” was a latecomer to the studio, joining only in 1999, unlike longtime Pixar veterans like John Lasseter and Andrew Stanton.

When Brad Bird, the director of the traditional animated film The Iron Giant—which had won both the Annie Award for Best Director and Best Screenplay—decided to join Pixar, the most excited people were John Lasseter and Steve Jobs.

Lasseter and Bird were old friends from college.

Jobs even described Bird’s departure from Warner Bros. to join Pixar as “defecting to freedom” and publicly welcomed him home.

The Incredibles was Brad Bird’s first project after joining Pixar.

He was a genius in the traditional sense.

Brad Bird had been a super animation fan since childhood. At eleven, he started drawing hand-drawn animations, and by thirteen, he could complete works independently. His talent had caught Disney’s attention early on, and at a young age, he became an apprentice to Disney’s legendary animation master Milt Kahl.

He worked at Disney for many years, overseeing several popular TV cartoons, including Family Guy and The Simpsons.

In truth, Brad Bird’s decision to join Pixar was influenced by his college friend John Lasseter.

This was destined to be a powerful collaboration.

Ronan had two strong impressions of Brad Bird: first, Pixar’s The Incredibles series, and second, his role in reviving the nearly collapsed Mission: Impossible franchise.

If Ronan remembered correctly, Mission: Impossible 4—the one where Tom Cruise climbs the Burj Khalifa—was directed by Brad Bird.

This showed that Brad Bird was equally skilled in directing live-action films.

Ronan distinctly remembered two scenes from Mission: Impossible 4: Tom Cruise climbing the Burj Khalifa and the missile at the end of the film flying straight toward Pixar headquarters…

Entering the Nokia Theatre, Ronan saw Steve Jobs.

“Long time no see, Steve,” Ronan said, shaking his hand lightly. “You look much better.”

Steve Jobs adjusted his round glasses. “I’ve been doing alright lately.” He then asked Ronan, “No issues with this film, right?”

Ronan replied directly, “Rest assured, Pixar will only grow stronger under Relativity, not be destroyed.”

This was the culmination of over twenty years of Jobs’ efforts. Even though he had sold it to Relativity, he couldn’t just let it go. He added, “I’ve never worried about production.”

Ronan smiled. “Marketing and distribution won’t be a problem.”

Jobs nodded slightly and asked, “Any new moves from Netflix recently?”

“Stable development and increasing market share are the priorities,” Ronan lowered his voice slightly. “Netflix is growing too fast. We need to stabilize to avoid a shaky foundation.”

Steve Jobs agreed. “I’m concerned about that too. It’s incredible—Netflix went public not long ago, and its market value has already reached seventy billion dollars. At this rate, it won’t take long to surpass one hundred billion.”

Ronan said, “By 2010, reaching a market value of one hundred billion is our goal.”

Steve Jobs then asked, “How are the negotiations with AT&T and Comcast going?”

As the third-largest shareholder and a board member, Ronan saw no need to hide anything. “After all this back-and-forth, everything is basically settled. Netflix will cross-hold shares with both companies. AT&T and Comcast will fully support and promote Netflix’s development in technology and platform.”

“Shares?” Steve Jobs probed.

Ronan knew what Jobs was concerned about. “Relativity still holds an absolute controlling stake of seventy percent.”

At the same time, Relativity would also become a shareholder in AT&T and Comcast.

This cross-holding was a common business model in North America.

As they walked toward the main hall of the theater, Ronan asked, “Haven’t been to India lately?”

Jobs had a deep affection for India, beyond what most people could imagine. “Work has been busy lately. After this, I’ll go to India again.”

Ronan had nothing to say about this. In his personal opinion, every time Jobs went to India, he wasted some of his “money-making ability.”

If Jobs stayed in India for half a year, the chances of him suddenly dying would be very high.

Of course, it was also possible that some Indian guru might suddenly have a burst of spiritual energy and cure Jobs.

Compared to India and Jobs’ health, Ronan was more concerned about another matter. “Hasn’t the iPhone 1 already undergone all the technical adjustments? When will it officially launch?”

At last month’s Apple developer conference, Steve Jobs had announced the existence of the iPhone 1, revealing prototypes and some data, but the first-generation iPhone had not yet gone on sale.

Steve Jobs explained simply, “Apple still needs to make some business arrangements. It won’t launch this year. My plan is to officially release the first-generation iPhone on January 9th next year. The initial models will be the 4GB version for $499 and the 8GB version for $599.”

Ronan nodded slightly. “Steve, I’ve been waiting for this day for a long time.”

Steve Jobs understood the implication. Through years of continuous investment, Ronan had become one of Apple’s largest individual shareholders. Apple’s performance and valuation were closely tied to Ronan’s interests.

If the first-generation iPhone succeeded, Apple’s stock price would soar, and Ronan’s wealth would surge again after Netflix.

Even becoming the world’s richest person on the Forbes list would be effortless.

Ronan was well aware that his investment in Apple was about to pay off, and future returns would only grow richer. After all, Apple had once been the world’s most valuable company.

Some even said that if Steve Jobs hadn’t died, Apple might have been the first company in the world to reach a trillion-dollar valuation.

This was impossible to verify. After all, Jobs’ pancreatic cancer was being managed with his “money-making ability,” and Indian gurus occasionally interfered, undermining that ability. If Jobs could live past 2010, that would be impressive.

With Steve Jobs’ confidence and stubbornness, even if God himself intervened, he wouldn’t be pulled away from the Indian gurus.

Ronan didn’t say more to Steve Jobs. As one of the hosts of this premiere, he accompanied him into the main hall to watch The Incredibles.

Now, superhero films were gaining momentum, and the market for this genre was heating up. Brad Bird had undoubtedly captured the dynamics of the film market perfectly.

Chapter 973: Balancing Market and Art

Pixar’s animated features had always leaned toward adult audiences, with a higher age demographic rather than elementary school children.

Ronan knew this all too well. The most typical example was the reception of Pixar’s films on the other side of the Pacific—there was no worst, only worse.

Not a single Pixar animated film had performed well in that market.

Even the renowned Toy Story, Finding Nemo, and WALL-E had all suffered from being too sophisticated for the audience, resulting in a niche appeal.

Ronan never expected Pixar’s works to explode in popularity under Relativity Entertainment’s distribution on the other side of the Pacific.

That was clearly impossible.

The stark differences between the two animation markets made it so.

In the film market on the other side of the Pacific, animated films were genuinely seen as products for young children. Adults rarely went to theaters to watch animated features.

Yet Pixar’s films had never been made for young children. Even slightly younger audiences struggled to understand them.

The adult-oriented themes and content were the primary reasons why Pixar’s films faced a cultural disconnect in that market.

John Lasseter had told Ronan more than once that Pixar wanted to bring joy to more audiences, not just children.

In contrast, Illumination Entertainment and DreamWorks Animation had succeeded with their low-age, cute, and family-friendly approach, which resonated far better with audiences on the other side of the Pacific.

Ronan vaguely remembered that after 2010, not a single Pixar film had grossed over one hundred million yuan in that market.

This seemed unbelievable for a studio that dominated the global film industry.

But that was the reality of market differences.

The people at Pixar—led by John Lasseter, Andrew Stanton, Brad Bird, Peter Docter, and Lee Unkrich—were not rigid thinkers or pure artistic idealists. They deeply understood the balance between market demands and artistic vision.

The Incredibles was a prime example of this balance.

With Spider-Man and X-Men being massive hits and Batman: The Dark Knight achieving great success, Brad Bird and Pixar keenly recognized the vast potential of the superhero genre, leading to the creation of The Incredibles.

But this was not a simple animation of a superhero story.

If one had to describe The Incredibles in a single sentence, it might be: “A midlife crisis wrapped in animation.”

Hollywood’s commercial film production operated much like a kaleidoscope—just a few pieces of paper, slightly shifted, could create an endless array of dazzling patterns.

Superhero films had been one of Hollywood’s hottest genres in recent years. The Incredibles appeared dazzling and grand at first glance, but upon closer reflection, it was just another variation of the superhero comic book formula. The same old elements were there: “superpowered heroes,” “conspiracies,” “villains,” “heroes in distress,” and “good triumphing over evil.”

The Incredibles simply offered a fresh take on superheroes, and the story felt brand new.

Did you think superheroes had no worries? In reality, they had more troubles than ordinary people!

Anyone who had seen the film would agree that despite having three children and plenty of humor, The Incredibles was not a children’s animated film.

This fresh story, combined with Pixar’s technical prowess and brand appeal, naturally led to success.

Like all of Pixar’s previous animated features, The Incredibles received overwhelming acclaim.

After the premiere, Cinemascore revealed that audiences gave the film an average grade of “A,” while Metacritic, aggregating reviews from forty-two media outlets, awarded it an average score of 90.

Even Embassy Pictures, which had rarely received positive reviews on Rotten Tomatoes, saw an unusually favorable response for The Incredibles. Out of over sixty critic reviews collected by Rotten Tomatoes, an impressive 97% were positive.

In comparison, IMDb’s rating was slightly lower. On its first day of release, The Incredibles scored an 8.5.

However, such acclaim was more than enough to ensure The Incredibles had strong market competitiveness.

Even when facing another major release that same weekend—Sony Columbia Pictures’ latest James Bond film, Casino Royale—The Incredibles held its own.

This was the newest installment in the James Bond series since Pierce Brosnan’s departure, with Daniel Craig taking over as the new Bond.

The reception of Casino Royale in North America was lukewarm at best. Many James Bond fans were still enamored with Pierce Brosnan’s charm and struggled to accept the grittier version of the character.

In many online reviews, Daniel Craig was even dubbed “the most uncool Bond in history.”

The drastic shift in the James Bond series’ style was clearly influenced by The Bourne Identity, but unlike The Bourne Identity, the Bond franchise had a long history, and such a sudden change was bound to cause growing pains.

The Incredibles and Casino Royale clashed head-on, but their audiences did not overlap much, so the competition was not particularly fierce.

Their production budgets also differed greatly. Casino Royale had a massive budget of one hundred and fifty million dollars, while The Incredibles cost only ninety million.

When Ronan first saw the final production costs, he was skeptical—did Pixar’s team actually know how to save money?

But the numbers were right in front of him, leaving him no choice but to believe it.

Compared to DreamWorks Animation’s The Tale of Despereaux, Pixar’s The Incredibles was a far better value.

With Relativity Entertainment’s full marketing support, The Incredibles was like a tiger with wings.

The Incredibles opened in 4,192 theaters across North America, nearly 500 more than Casino Royale, thanks to its subject matter and rating.

It was well known that Sony Columbia Pictures’ distribution capabilities were relatively weak among Hollywood’s Big Six.

In the face of Relativity Entertainment’s recent string of successful films, Sony Columbia had no advantage.

The facts proved that the theaters’ preference for animated features and PG-rated films was the right choice.

On its first day in North America, The Incredibles grossed twenty-three million and six hundred sixty thousand dollars, easily surpassing Casino Royale’s fourteen million and seven hundred forty thousand, claiming the Friday box office crown.

The latter’s first-day performance was lackluster compared to its massive one hundred and fifty million dollar budget.

The change in James Bond’s style was painful but perhaps necessary in the long run. Incorporating elements from The Bourne Identity might not be a bad thing.

Daniel Craig brought a rugged charm to James Bond, quite different from Pierce Brosnan’s suave demeanor.

Henry Cavill, the British actor under a long-term contract with Shai Entertainment, had won the audition for the new James Bond, defeating all competitors. By conventional rules, he should have been the next Bond.

Just as he had inexplicably lost the Superman role, Henry Cavill had been plagued by bad luck before joining Shai Entertainment.

He was deemed too young, and the production ultimately chose Daniel Craig, whose weathered appearance and demeanor better suited the role.

Youth was often the enemy of male actors—many roles became more desirable with age.

However, Daniel Craig’s ruggedness did not help Casino Royale win over more North American audiences. On its second day, the film showed no signs of breaking out, earning only fifteen million and four hundred ten thousand dollars on Saturday.

This result kept Casino Royale in second place on the North American daily box office chart.

The Incredibles remained at the top.

The animated feature benefited significantly from the weekend effect, with Saturday’s box office rising nearly thirty percent from Friday, bringing in thirty million and seven hundred fifty thousand dollars.

Though the weekend was not yet over, Pixar and Embassy Pictures could already declare The Incredibles a success.

Media outlets were full of praise.

The Los Angeles Times called it an exhilarating visual experience. Entertainment Weekly raved that the film was beautifully dazzling, fun, and profound. The Washington Post praised The Incredibles for its rare cinematic quality, blending modernity and classicism, effortlessly becoming the best and brightest family film of the year.

Premiere magazine even placed The Incredibles alongside Iron Man: “2006 gave birth to two true superhero blockbusters—one was Iron Man, and the other was not Superman Returns, but Pixar’s The Incredibles.”

This media acclaim further drew audiences to theaters to see The Incredibles.

By the end of the opening weekend, The Incredibles continued Pixar’s strong tradition, grossing seventy-eight million and nine hundred ten thousand dollars in 4,192 North American theaters, easily claiming the top spot on the box office chart.

Casino Royale came in second with forty million and eight hundred thirty thousand dollars, nearly forty million less than the leader.

Saw IV, in its third week, dropped to third place. The horror film had burned through much of its momentum in the first two weekends, and its box office took a steep dive, earning only six million and four hundred forty thousand dollars this weekend.

However, Saw IV had already grossed over seventy million dollars in North America—a true case of achieving much with little.

Chapter 974: Advancing into the East

The production budget for The Incredibles was only ninety million dollars, yet its North American opening weekend grossed seventy-eight million, nine hundred and ten thousand dollars. The film’s undeniable success had instantly brightened the prospects of Pixar under Relativity Entertainment.

Pixar remained the undisputed leader in the industry.

Due to scheduling conflicts and Embassy Pictures’ need to develop a more detailed promotional plan, Cars would not be released until next year. This meant that Relativity Entertainment’s only animated feature from Pixar this year was The Incredibles.

A strong start was undoubtedly a guarantee of success.

As a wholly-owned subsidiary of Relativity Entertainment, Pixar no longer needed to concern itself with messy marketing channels. All its energy could now be focused on animation production and the design and development of related animation software and hardware.

Computer animation software and hardware development was also a major business for Pixar.

This month, Pixar completed a deal with DreamWorks Animation involving animation development software and hardware. DreamWorks would pay Pixar forty-nine million, five hundred thousand dollars for the transaction.

Few animation studios in Hollywood had the capacity for self-development. Pixar had been engaged in this field since its days under Lucasfilm, accumulating nearly thirty years of technological expertise.

From a commercial standpoint, purchasing ready-made products was often far more cost-effective than investing money and time in independent research and development.

Thus, many companies had transitioned from “trade-driven technology” to “technology-driven trade.”

Most of the equipment purchased from Pixar would be allocated to the newly established Oriental DreamWorks.

More and more Hollywood companies were extending their reach across the Pacific, drawn by the immense market advantages of the population dividend on the other side.

It wasn’t just film production and distribution companies; even Hollywood talent agencies were itching to get involved.

At a charity gala in mid-November, Ronan encountered Brian Lord, co-founder of CAA and a long-time close partner of Relativity Entertainment.

After sharing a drink, Brian Lord stood in the lounge area of the banquet hall and asked Ronan, “I hear Relativity Entertainment’s operations in the East are going very smoothly?”

Ronan handed his glass to Connie behind him and replied, “I wouldn’t say very smoothly, but since the subsidiary was established in 2000, we have made some progress.”

Brian Lord, having worked with Ronan for many years, didn’t beat around the bush. “CAA is preparing to enter the market on the other side of the Pacific.”

“Congratulations,” Ronan said sincerely. “The market over there is vast. With CAA’s reputation and the Hollywood brand, you’ll attract a large number of local stars as clients.”

Brian Lord was confident. “We’ve already signed Li Zao. She’s the most representative international star there. Through her connections, we’ve also reached out to many other stars, and many are interested in becoming CAA clients.”

Ronan knew that, unlike film production companies which had a cultural and ideological output function, talent agencies faced far fewer restrictions on the other side of the Pacific.

Relativity Entertainment and Embassy Pictures’ Eastern subsidiaries had been established for years, but their actual business operations were minimal. Most of their work involved maintaining relationship networks.

Upon reflection, it wasn’t hard to see why. Whether it was production or distribution companies, there was very little they could actually do.

Releasing films was impossible, applying for film projects was impossible, and promoting beyond the one-month pre-release period was equally impossible.

It was no exaggeration to say that even Hollywood’s top giants had to lie low over there—dragons had to coil, and tigers had to crouch.

Even China Film Group’s delays in paying Hollywood’s box office shares were not uncommon. Given the special market relationship between the two sides, recovering these funds was extremely difficult.

Fortunately, Relativity Entertainment had done a good job in recent years and had not yet encountered any issues with China Film Group delaying box office shares.

Relativity Entertainment had even joined forces with China Film Group and law enforcement to crack down on piracy, though the results were, at best, better than nothing.

Brian Lord then said, “Relativity Entertainment was involved in that market before CAA. Ronan, we’ve been partners for many years, and you’re known in Hollywood for your understanding of the other side of the Pacific. Do you have any advice for CAA’s entry there?”

His words were sincere. After all, the two sides had years of cooperation and numerous intertwined interests.

Ronan thought carefully for a moment before simply saying, “Hmm… Brian, these are just some personal thoughts of mine. They may not be correct, but feel free to listen.”

Brian Lord didn’t think so. He felt Ronan’s advice was extremely valuable and quickly said, “Ronan, please speak freely.”

Ronan organized his thoughts and said, “The market on the other side of the Pacific is very unique and completely different from the Western market. When CAA goes there, it’s best to find a strong local company or individual to partner with. Manage the words and online platforms of all CAA personnel. Do not casually participate in political or social events. The tolerance for celebrities there is lower than in North America. Don’t easily sign people with problematic stances, or there will be endless troubles later. Also, interpersonal relationships must be handled well. It’s best to find someone from there to serve as the head of the Eastern subsidiary…”

These suggestions were very sincere. Brian Lord nodded repeatedly and said, “Thank you! Thank you very much, Ronan.”

“You’re too polite,” Ronan said. In truth, any Eastern PR expert could summarize these points. He was just doing CAA a favor. “Relativity Entertainment and CAA are partners. We should support each other.”

Brian Lord said, “Yes. If Relativity Entertainment needs anything from CAA, just say the word.”

Ronan didn’t stand on ceremony. “Shai Entertainment still needs CAA’s full cooperation in TV series production.”

Brian Lord immediately adopted the appropriate attitude. “CAA’s actors, directors, and all behind-the-scenes personnel resources will prioritize Shai Entertainment’s projects. On this point, Ronan, you can rest assured. CAA has always been Relativity Entertainment’s most reliable strategic partner.”

Ronan signaled for two glasses of champagne and toasted with Brian Lord. The cooperation between Relativity Entertainment and CAA would continue.

This cooperation was a win-win. CAA received the corresponding bundled service fees, while Relativity Entertainment saved a lot of time and energy, which could be invested in developing new TV series or film projects.

Ninety-five percent of the bundled services CAA provided to Relativity Entertainment were concentrated on Netflix’s exclusive series.

Just as Brian Lord left, Ari Emanuel, the famous agent from William Morris, approached.

“Hey, Ronan.” Ari Emanuel, dressed in his usual white coat, looked more like a star than an agent despite his age. He naturally asked, “Here alone tonight?”

Ronan casually replied, “I’m a standard bachelor.”

Ari Emanuel asked, “Want someone to keep you company for a drink?” His eyes shifted elsewhere. “Aren’t you quite familiar with Charlize?”

Ronan responded, “I just greeted Charlize.”

Recently, Charlize Theron had switched to William Morris, with Ari Emanuel as her agent.

This William Morris agent also represented big-name stars like Matt Damon and Denzel Washington.

Ari Emanuel said, “Charlize admires you greatly. She’s mentioned you to me several times.”

Ronan thought he was here to network for business and politely said, “Hawking once said that even in infinite parallel universes, you have no chance of dating Charlize Theron.”

“Charlize isn’t that hard to get,” Ari Emanuel said, seeing that Ronan was just being polite. He then changed the subject. “I hear Relativity Entertainment has been getting close to a congressman from Illinois lately?”

This kind of news was hard to keep secret, especially for those well-informed. Ronan knew Ari Emanuel was referring to Black Carbon and didn’t deny it. “Which major company or group doesn’t have a few close contacts in Washington D.C.?”

Ari Emanuel said, “My brother Ram is very fond of that congressman… Oh, Ram currently works in the Chicago city government.”

Ronan made no promises, only saying, “I heard that congressman is returning to Chicago next month for an event. You can arrange for your brother to talk to him then.”

Ari Emanuel knew this was the best outcome and didn’t press further.

Although politics and entertainment seemed unrelated, they were, in fact, intricately connected.

This was evident during U.S. elections when stars openly “cheered” for their preferred candidates. The “mainstream values” conveyed in blockbuster films often represented the “correct” perspectives they wished to promote.

After ending his brief conversation with Ari Emanuel, Ronan checked the time and was about to have Connie notify David to bring the car to the hotel entrance so he could leave. Chris from Sony Columbia Pictures quickly approached him.

Chris had known Ronan for many years and gave him a hug. “Ronan, you’ve been in the spotlight lately.”

Ronan smiled. “I haven’t been in any spotlight.”

Chris pulled Ronan to a resting table and sat down. “Relativity Entertainment’s films keep selling out. Isn’t that enough to be in the spotlight?”

Ronan shrugged slightly. “That’s the success of the entire company’s collective effort.”

Chris added, “Even Sony Columbia Pictures’ Casino Royale became a loser to The Incredibles.”

“You came to me…” Ronan deliberately asked, “Not to complain, I hope?”

Chris straightened his face. “Of course not. I have something important to discuss with you.”

Chapter 975: Beauty and the Beast

“What do you need from me?” Ronan ordered two glasses of water, handing one to Chris. “We’ve been friends for years. Just say it.”

Chris didn’t answer directly. Instead, he asked, “Ronan, how long have we known each other?”

Though Ronan didn’t quite understand his meaning, he replied, “We met in 1998. I was looking for a distributor for The Purge, and you represented Sony Entertainment in buying the international distribution rights.”

Chris smiled. “That’s right. So, we’ve been friends for eight years now.”

Ronan raised his glass, took a small sip, and said, “Chris, we’re friends. Just say what’s on your mind.”

“I’m a little worried,” Chris said, lifting his own glass before drinking. “Jeffrey Katzenberg’s DreamWorks Animation Studio… their first animated feature after leaving Relativity Entertainment flopped so badly…”

Ronan shook his head. “You’re overthinking it. DreamWorks reclaimed the distribution rights for their animated features through a trade.”

Chris set down his glass, his gaze fixed on Ronan. Though Ronan’s youthful appearance hadn’t changed much over the years, Chris knew better than to underestimate the man sitting across from him.

“There’s something I’d like to ask you about, as a personal friend,” Chris said slowly.

Ronan understood. “You’re worried that because of the competition between Sony Columbia Pictures and Relativity Entertainment, I won’t just refuse to help—you think I might even sabotage you, right?”

Chris’s expression confirmed it. He gave an awkward smile and gestured with his hand. “I’m just a little worried. Only a little.”

Ronan countered, “Chris, have I ever sabotaged you before?”

“No,” Chris replied without hesitation. “You’re a good friend. Even when we had conflicts over Spider-Man with Sony Columbia Pictures, you never made things difficult for me.”

He understood the implication behind Ronan’s words and decided to be straightforward. “The new James Bond film, Casino Royale, hasn’t been doing well in North America. Sony Columbia Pictures acquired the rights from MGM long ago, and they can’t afford to let this successful franchise decline. After the first week’s box office numbers came in, I was put in charge of the next James Bond film.”

Ronan raised his glass to Chris. “Congratulations.”

“Congratulations?” Chris clinked his glass against Ronan’s, but there was no joy in his voice. “This is a heavy burden.”

Ronan said coolly, “Don’t say you don’t have any ideas.”

If Chris didn’t have any ideas, he wouldn’t have come to Ronan as a personal friend for advice. “I do have some ideas, but the challenges are greater. Director Martin Campbell was poached by Warner Bros. to direct that damned Green Lantern. Damn Warner Bros. and Kevin Tsujihara!”

Ronan had heard about this. Martin Campbell had an impressive resume, and Warner Bros. and DC Comics had specifically chosen him to direct Green Lantern, the first film in DC’s Justice League cinematic universe.

“I hadn’t even taken over yet, and the director was already gone,” Chris complained, though it seemed he was deliberately saying this to Ronan. “The change in James Bond’s style doesn’t seem to be working. A lot of people say Bond has become Bourne, not Bond anymore…”

Ronan listened without interrupting. Chris was experienced and capable; these words were just talk.

Chris picked up his glass and drank half of it in one go. “Everyone says Bond’s transformation is a failure, but I don’t think so. This new Bond still has a lot of charm. Many people are nostalgic for Pierce Brosnan’s version of Bond, but they conveniently ignore that the last two Brosnan Bond films didn’t do well at the box office or with critics! It was time for a change in Bond’s style.”

He suddenly turned to Ronan. “I’m planning to invite Paul Greengrass to direct the next Bond film. Ronan, what do you think?”

If anyone else had asked, Ronan would have just given a perfunctory response. But Chris had known him for years and was a decent friend. Their personal relationship was solid, and there was no conflict of interest.

After a moment’s thought, Ronan said, “In my personal opinion, Paul Greengrass is a better choice than Martin Campbell.”

Chris immediately replied, “I’ll go see Paul Greengrass myself tomorrow.”

Ronan smiled. “Paul isn’t the same Paul he used to be. To get him on board, you’ll need to show enough sincerity.”

The massive success of The Bourne Identity trilogy had catapulted Paul Greengrass into the ranks of Hollywood’s top directors. His status and price tag had skyrocketed, and he couldn’t be signed for a trilogy with the same ease as when he was with Shai Entertainment.

With Ronan’s advice, Chris seemed to gain confidence out of thin air. After chatting with Ronan for a while longer, he took his leave, saying he needed to prepare for his meeting with Paul Greengrass the next day.

After Chris left, Ronan departed the charity gala and headed back to Beverly Hills by car. As he thought about the potential future James Bond film directed by Paul Greengrass, he couldn’t help but feel a little excited.

When it came to friends, Ronan wouldn’t claim to be the best, but he at least made sure never to betray them. In that regard, he was a hundred times better than many in the industry.

Chris and Ronan had a good relationship, and Chris had helped him before. Ronan had never considered betraying Chris.

As for Sony Columbia Pictures, they weren’t currently part of Relativity Entertainment’s plans. Relativity Entertainment had numerous collaborations with Sony Electronics, which was one of Hollywood’s largest equipment suppliers.

For example, the film crews for Avatar and Alice in Wonderland, both Relativity Entertainment productions, used camera equipment almost entirely manufactured by Sony Electronics. The technological advantages of the Japanese had to be acknowledged.

Additionally, Sony Electronics had a long-term collaboration with James Cameron. Ronan placed great importance on James Cameron and Sony Electronics’ development and research in new technologies. The fact that the Avatar sequels had become a “within our lifetime series” couldn’t be entirely blamed on James Cameron’s procrastination; technological issues played a part as well.

Thinking about the Avatar crew currently working hard on filming in Wellington, New Zealand, Ronan pondered what methods he could use to urge James Cameron not to turn the series into something fans would only see within their lifetime.

When fans watched the first Avatar, they were young. By the time they finished the trilogy, they’d be old and gray… How tragic would that be?

What if the trilogy wasn’t even completed before James Cameron met his maker?

Ronan felt it was absolutely necessary to ensure James Cameron finished the Avatar trilogy within ten years—no, even twelve years would be pushing it.

This was an extraordinarily difficult task. Ronan felt it was even harder than Relativity Entertainment acquiring the rights to those classic animated films from Disney.

Back at Future World Estate, Ronan had Housekeeper Nikita make him a cup of tea and went straight to his study.

Earlier that day, George Clint had called him. The scriptwriting department at Shai Entertainment had completed the first draft of the live-action Beauty and the Beast screenplay and sent it to his work email.

Ronan read it carefully. The writing team had followed his instructions precisely, keeping the script mostly faithful to the classic animated feature without making major changes.

For a film like this, one of the main selling points was nostalgia and memories. Making reckless changes would be the height of foolishness.

Additionally, Relativity Entertainment had the rights to use any music and songs from the animated feature, which could easily evoke the audience’s memories.

Nikita entered the study with a cup of tea. Ronan asked casually, “Have you seen Disney’s animated film Beauty and the Beast?”

“Yes,” Nikita replied softly. “I saw it in the theater when it first came out, and then I saw it again in the theater later.”

Ronan wasn’t asking idly. A significant portion of Beauty and the Beast’s audience was female, and the opinions of women who had seen the animated feature were valuable references. “Nikita, among Hollywood’s current young actresses, who do you think would be best to play Belle?”

Nikita thought for a long time before saying, “Miss Anne Hathaway has played a Disney princess before, hasn’t she?”

Ronan shook his head. “She’s not suitable, and she probably wouldn’t want to do it anyway.”

Anne Hathaway had only recently shed her princess image. Why would she willingly backtrack and play a princess again?

“I’m not very familiar with Hollywood’s young actresses,” Nikita said, but she still offered a name. “I think Emma Watson might be good.”

Ronan smiled. “Hermione?”

The live-action Belle had indeed been played by Emma Watson, and the film was a huge success. But the current Emma Watson seemed a bit too young.

This wasn’t something that needed to be decided immediately. There were plenty of beautiful young actresses in Hollywood from the 85 and 90 generations.

However, Ronan had some reservations about Emma Watson. Hermione Granger was so iconic that Emma Watson would always be seen as Hermione, no matter what role she played.

Additionally, Emma Watson’s salary was an issue. Given the current popularity of the Harry Potter series, securing her as the female lead would likely cost tens of millions of dollars. The cost-effectiveness just wasn’t there.

As for the rumors about Emma Watson being arrogant and difficult to work with, those weren’t factors Ronan considered.

After finishing the script, Ronan sent it back to Shai Entertainment’s scriptwriting department, instructing them to refine it further to meet future filming needs.

If all went well, the project would launch next year, with a release planned for the 2008 holiday season or the 2009 summer season.

Ronan also had plans for the budget. Besides banking on nostalgia, the film’s visuals had to be stunning, like a true fairy tale world. Therefore, a significant portion of the budget would be allocated to special effects.

Shai Entertainment had already set an initial production budget of one hundred and fifty million dollars for Beauty and the Beast.

Chapter 976: The Advantage of Skin Color

In the realm of live-action fairy tale films, aside from Alice in Wonderland, which was currently in production, the only project Ronan had officially scheduled for now was Beauty and the Beast.

As funds flowed back into Shai Entertainment and staffing pressures eased, more live-action fairy tale projects would be greenlit—such as Sleeping Beauty, The Little Mermaid, Aladdin, The Lion King, and Cinderella. Each of these held tremendous potential for adaptation into live-action films.

The script adaptations would follow a similar approach to Beauty and the Beast—the original fairy tales themselves were of secondary importance. The primary focus would be on adhering to the plotlines of the animated features. Nostalgia was one of the biggest selling points of these live-action fairy tale films.

Additionally, projects like The Jungle Book also held significant potential.

As for Mulan, Ronan was relatively cautious. This caution did not stem from the film itself but from external factors. After all, it was no easy feat for a film to achieve strong box office performance in North America while also gaining broad acceptance among audiences on the other side of the Pacific. If not handled carefully, it could end up pleasing no one, tarnishing the company’s reputation, and becoming a target for criticism.

Ronan was well aware that outstanding films had no borders, but audiences did. Therefore, certain aspects required caution.

For example, he would never allow Marvel Entertainment to produce so-called Eastern superhero films. That was a classic case of taking on a thankless task.

The Marvel Cinematic Universe would not even mention the other side of the Pacific to avoid the wrath of The Big Scissors. Deliberately trying to cater to that market was not wise. Based on past experience, Ronan knew that completely ignoring the existence of the other side of the Pacific in Hollywood films was actually the safest approach.

Just like the strategy adopted by Relativity Entertainment—conducting business as usual while maintaining a certain distance and remaining silent.

The Incredibles had also entered the Eastern film market, much like other animated films from Pixar, receiving widespread acclaim but failing to draw crowds. The box office performance was mediocre, with little to show for it.

Pixar’s works had always struggled to find their footing on the other side of the Pacific. Even great films found it difficult to conquer the world.

Pixar’s animated features had almost universally flopped in Eastern theaters. However, in Hollywood’s home turf of North America, Pixar’s animated feature still maintained sufficient momentum. Beyond box office earnings, it had begun generating steady income for Relativity through offline channels.

Once a Hollywood animated film became a box office hit, the profits from merchandise were often astonishingly high.

Less than a week after its release, The Incredibles had already brought in a staggering thirty-nine million eight hundred thousand dollars in sales through offline channels for Relativity. And this was before the various copyright licensing negotiations had even begun.

Selling the licensing rights for a hot animated film for hundreds of millions of dollars was not uncommon.

As Thanksgiving approached, the North American film market heated up once again, with more and more films crowding the release schedule. In the new weekend alone, several films were released in over two thousand theaters, including highly anticipated works such as Paramount’s Charlotte’s Web, 20th Century Fox’s Borat, and Disney’s Touchstone Pictures’ Déjà Vu, starring Best Actor Oscar winner Denzel Washington.

The latter’s intentions to secure a share of the Thanksgiving box office were particularly obvious. To some extent, these films were rushing to release before the next weekend—the weekend before Thanksgiving—when the highly anticipated sequel Night at the Museum 2 was set to hit theaters.

No one wanted to go head-to-head with the sequel to a blockbuster film, especially one that had already achieved massive success with its first installment. Each of these films hoped to emerge as the ultimate winner, but none had the strength to overshadow the others.

Instead, The Incredibles, entering its second weekend, relied on the ultra-stable performance typical of animated films to snatch the crown from the newly released films, retaining its position as the North American box office champion for the weekend.

Compared to its opening weekend, The Incredibles saw a decline of less than thirty percent in its second weekend, grossing fifty-four million one hundred seventy thousand dollars over three days!

This ultra-stable performance also propelled the film’s North American box office to surpass one hundred fifty million dollars, reaching a total of one hundred fifty-two million seven hundred eighty thousand dollars.

Among the newly released films, the highest-grossing was 20th Century Fox’s Borat, which only managed twenty-six million one hundred ten thousand dollars in its opening weekend, leaving it far behind The Incredibles.

As the year drew to a close, the data from the North American film market confirmed that this was a lackluster year for movies. Few commercial films had achieved significant success, and the annual box office champion had long been predetermined to be Pirates of the Caribbean 3: At World’s End.

Apart from Relativity, which maintained a steady output and quality, the other major and mid-sized Hollywood studios seemed to lack standout works this year. Warner Bros. had been highly anticipated, but the flop of Superman Returns forced them to reschedule several films, shifting their focus more toward the future.

Meanwhile, the North American awards season had begun, and many films vying for this year’s Oscars had ramped up their promotional efforts.

This year, Relativity had three films contending for Oscars: Martin Scorsese’s The Departed, Sofia Coppola’s Juno, and Pixar’s The Incredibles.

The latter had the clearest target and the highest chance of winning. In years when Pixar released an animated feature, the Best Animated Feature award was typically a foregone conclusion, with DreamWorks Animation playing second fiddle.

Given Juno’s subject matter and Relativity’s resource investment, it was destined to be a supporting player. It might secure a few nominations, but the chances of winning an Oscar statuette were slim.

The Departed was not set to release in North America until December, making it Relativity’s top priority this awards season. The primary goal was Best Picture, followed by Best Actor for Tom Cruise and Best Director for Martin Scorsese.

Compared to his previous Oscar bid with The Aviator, Martin Scorsese, having returned to the gangster genre, was far more confident this time. Moreover, his previous loss had only added to his credentials.

Ronan had specifically taken the time to discuss the awards season strategy with Martin Scorsese. Compared to last time, Scorsese’s mindset was much more stable, less anxious.

Even if he failed this time, it wouldn’t be the end of the world for Martin Scorsese. Clint Eastwood was still directing films at his age, and Scorsese could do the same.

Ronan’s key advice was for Scorsese not to be too high-profile. There was no need for that. As long as The Departed was released normally, the world would know that Martin Scorsese was making another run for Best Director and Best Picture. There was no need to state it outright.

Being too high-profile could make it seem forced, potentially alienating some neutral parties and becoming a liability.

In reality, as long as they followed the standard awards campaign playbook, Ronan believed Scorsese’s chances of winning were limitless. Unconventional strategies were not suited for Scorsese or his films.

As for Tom Cruise’s Best Actor prospects, Ronan had also discussed this with him. Perhaps due to the fallout with his former agent, Pat Kingsley, a few years back, Tom Cruise’s attitude was now very relaxed: “Of course, I’d be happy to win the Best Actor statuette, but if I don’t, it’s no big deal. I’ve come to realize that, for me now, the Best Actor award is just the icing on the cake. It won’t affect my standing in Hollywood.”

Ronan agreed with Tom Cruise: “The Oscar is more about honor for you; the rest is optional. But Embassy Pictures will actively handle PR for you. As long as there’s a chance, we’ll strive to bring that statuette home.”

Tom Cruise said, “I’ve prepared five million dollars. Have Embassy Pictures stay in touch with my team.”

Ronan nodded slightly: “No problem.”

“What are Martin’s chances of winning?” Tom Cruise asked curiously.

Ronan replied directly: “No matter who the competition is, Martin has the highest chance of winning.”

This had nothing to do with The Departed but was due to the capital Martin Scorsese had accumulated over the years.

Tom Cruise reminded him: “Clint Eastwood is back this year. His new film is coming out in December. You need to be careful.”

“I know,” Ronan said, having a general understanding. “The old cowboy used the footage from one film to make two movies. That’s quite impressive. But he just won Best Director a couple of years ago. It’s impossible for him to win again so soon.”

In terms of committee voting, it was rare for votes to go to someone who had just won recently.

Moreover, while Flags of Our Fathers and Letters from Iwo Jima were good, they weren’t among Clint Eastwood’s best works.

Afterward, the two discussed the potential competitors for Best Actor.

Actually, the overall competition for Best Actor this year wasn’t particularly strong, but Ronan vaguely remembered that a Black actor had won the Oscar that year.

Compared to the inherent advantage of being Black, Tom Cruise didn’t seem to have much of an edge.

Ronan didn’t dwell on it. Such matters could only be addressed when the time came. Since the turn of the century, the Oscars had produced many Black Best Actors. Perhaps the judges were due to balance things out.

After all, the nomination standards hadn’t yet reached the point of being measured by skin color.

It wouldn’t take long for the standards of Hollywood and the entire Western world to undergo significant changes, with more arbitrary criteria heavily influencing the awards.

Chapter 977: Who’s Worse Than Who

Before Thanksgiving, Ronan watched the film that had once won the Best Actor Oscar and learned who Tom Cruise’s biggest potential competitor was.

Forest Whitaker, a black actor with an extremely rich resume.

The Last King of Scotland, distributed by Fox Searchlight, chose to begin its limited release in North America a week before Thanksgiving to qualify for all the precursor awards of the awards season.

In some ways, this was also a sign of lack of confidence.

Those films that were strong contenders for awards often entered December, or even mid-December, before they started screening, completely ignoring the precursor awards in December, including various film critics’ awards, aiming directly at the true barometer—the major Hollywood Guild awards.

Ronan specifically watched some clips of The Last King of Scotland obtained by the PR team. In terms of acting alone, Forest Whitaker was not better than Tom Cruise in The Departed, and was not much better than Leonardo DiCaprio in Blood Diamond.

At a certain level, acting was a very subjective matter.

The Last King of Scotland told the story of Uganda’s former ruling general, Amin, another standard African black-themed film.

Compared to North American black-themed films, Relativity Entertainment had rich experience in dealing with African black-themed films during the awards season. They had once elevated Will Smith to the Best Actor Oscar in the competition of African black-themed films.

In fact, no matter what measures were taken, as long as one point was grasped, it was enough—American blacks had never considered African blacks to be the same group as them.

This seemingly subtle psychology could influence many people’s choices.

Since The Departed was aiming for the Oscars, Ronan didn’t mind winning a few more awards. An additional Best Actor Oscar might bring in a few more million dollars in revenue.

He also specifically looked at Tom Cruise’s other potential competitors. The most likely to be nominated were Brad Pitt, who starred in Babel, and Leonardo DiCaprio, who starred in Blood Diamond.

The former, without saying much, was even less favored by the Academy voters than Tom Cruise and Leonardo. The latter’s Oscar journey as a bridesmaid had just begun.

The biggest competitor was actually Forest Whitaker.

Nowadays, to win an Oscar, while elevating oneself, one also had to find ways to drag down the competitors.

The latter’s role was becoming more and more prominent.

Moreover, The Last King of Scotland was a work of 20th Century Fox. Why wouldn’t Relativity Entertainment be happy to do so?

The weekend before Thanksgiving, Embassy Pictures held a grand premiere for Night at the Museum 2 at the Natural History Museum in Washington D.C.

This was a truly family-friendly movie suitable for Thanksgiving, with the success of the first film and the return of stars like Ben Stiller and Robin Williams, attracting a large number of fans.

The sequel to a blockbuster movie, as long as it was well-operated, would never lack an audience.

And the audience would be significantly larger than the first film.

Of course, not only the audience increased, but also the production budget. Compared to the first film’s production budget of seventy-five million dollars, the second film soared to one hundred and twenty million dollars.

This was still due to the fact that Ben Stiller, Robin Williams, and other main creators had all signed long-term contracts. Otherwise, the production budget for the second film might have gone straight to one hundred and fifty million dollars.

Ronan also came to Washington D.C. but did not attend the premiere. Instead, he accepted an invitation from his classmate Black Carbon and participated in several gatherings, further expanding his network of connections in Washington.

Black Carbon had already started preparing for the next election. His biggest competitor within the Democratic Party might be Linton’s wife.

Would the next president be a black man or a woman?

Someone had once said that the U.S. elections in the new century had become a competition of who was worse.

Comparing who was worse than who, the worse one would be out…

Additionally, Ronan met the New York real estate developer with the surname Tang. It was better not to mention his ways.

Relativity Entertainment also had dealings with him, seeking mutual benefits, which was the usual practice of large companies.

The daughter following behind the man with the surname Tang was quite distinctive.

She was a well-known socialite in New York, but Ronan had no interest in her. Those who were interested in her had basically all died at the hands of the divine beast.

For safety’s sake, Ronan had not even spoken a word to her.

Night at the Museum 2 also successfully landed in North American theaters. This comedy-adventure film, filled with family fun and suitable for children as young as five and the entire family, was perfectly suited for the Thanksgiving family entertainment range.

This type of film was often the most popular in the market around Thanksgiving.

In its first weekend in North America, Night at the Museum 2 grossed seventy million and fifty thousand dollars at the box office, replacing The Incredibles as the North American box office champion and also declaring the success of the sequel.

In just five days, the film’s North American box office exceeded one hundred million dollars.

With Thanksgiving approaching and the audience base established by the first film, Night at the Museum 2 also premiered in many overseas markets simultaneously, with nearly one hundred million dollars in its first overseas weekend.

Based on the data analysis from primary markets, Embassy Pictures estimated that the final North American box office for Night at the Museum 2 would reach two hundred and fifty million dollars, and the global total box office would reach five hundred million dollars, which was not very difficult.

The Incredibles also began its second week of screenings overseas, with overseas box office accumulating to two hundred and twelve million and six hundred and eighty thousand dollars, easily exceeding four hundred million dollars globally.

Pixar’s animated features were still a force sweeping the global film market.

Of course, except for the market on the other side of the Pacific.

After Night at the Museum 2, only two films under Relativity Entertainment remained unreleased this year. One was The Departed, directed by Martin Scorsese for the awards season, and the other was the comedy film The Hangover, released before Christmas.

The latter had already completed filming and production. Due to scheduling reasons, it was delayed until the holiday movie season and finally confirmed for release before Christmas.

As a typical “shit, piss, fart” comedy, it was impossible to expect such a film to gain explosive fame. Relativity Entertainment’s only goal was profitability.

After Ronan returned to Los Angeles, Bradley Cooper came to see him specifically.

Bradley Cooper had a long-term contract with Shai Entertainment. Apart from the sequel to The Hangover, he did not want to star in other “shit, piss, fart” comedies and hoped Ronan would understand. He also hoped to gain other types of roles and opportunities from Shai Entertainment.

Ronan said he would consider it.

This was not surprising. For stars and directors, the tone of “shit, piss, fart” comedies was undoubtedly low. Stars or directors who came from this genre hoped to transform, and established stars or directors would not easily step into it…

People like James Franco were rare.

Originally, Ronan had an idea about Bradley Cooper, but Warner Bros. had not responded, and Bradley Cooper himself needed further honing.

Currently, Bradley Cooper was just a pure “shit, piss, fart” comedy star.

The day before Thanksgiving, Charles Roven from Warner Bros. suddenly came to visit.

“You have time to come over?” Ronan received Charles Roven in the reception room. “I heard you’ve been very busy lately.”

Charles Roven smiled and said, “I want to talk to you about The Dark Knight.”

Ronan’s heart stirred. Could there be an unexpected situation? But his face remained calm as he asked, “We’re old friends. Just say what you need to say.”

Charles Roven said, “Do you remember the proposal I made about the Batman film series?”

“Of course, I remember very clearly.” Ronan specifically reminded him, “I proposed conditions at the time, but Warner Bros. never responded.”

Charles Roven showed no embarrassment on his face. Instead, he said, “Which films’ copyrights do you want Warner Bros. to exchange? There needs to be an explanation, right? Otherwise, Warner Bros. can’t evaluate.”

Ronan did not take his words but asked, “Charles, we’re both insiders. There’s no need to beat around the bush. I just want to ask, did Warner Bros. hold an internal screening for The Dark Knight, and then…”

He did not finish the sentence, but the other party would surely understand.

Charles Roven’s expression changed slightly but quickly returned to normal. The film’s director was completely biased towards Relativity Entertainment. Warner Bros. had taken action, which was impossible to hide from Ronan.

Indeed, Warner Bros. had held internal screenings for The Dark Knight, more than once, and the results were explosive.

So, Kevin Tsujihara picked up the deal that had been set aside.

“That’s true.” Charles Roven could only respond.

Ronan said, “I think there’s no need to talk at this stage.”

Charles Roven hurriedly said, “Ronan…”

Ronan raised his hand to interrupt him, “Charles, the chips are different now than they were a year ago. The chips now and next year are also different.”

Charles Roven understood Ronan’s meaning, his face expressionless, not knowing what to say.

Ronan directly said, “Wait until The Dark Knight is released next year, and then we can talk about the investment and copyright matters of The Dark Knight Rises. Relativity Entertainment is not in a hurry and has enough patience to wait another half a year.”

“I will convey your words to Kevin.” Charles Roven was very clear that with Relativity Entertainment’s strength, Warner Bros. could not force Ronan to give up the Batman series. “I hope this won’t affect the cooperation between Relativity Entertainment and Warner Bros.”

Ronan smiled and said, “I hope so too.”

There were only six months left until the release of The Dark Knight. Ronan could not give up investing in The Dark Knight Rises at this time under the conditions of a year ago. Warner Bros. thought that The Dark Knight might explode after the screening and wanted to maximize profits, which was not impossible. Increasing the bargaining chips was the way to go.

Half a year’s time, Relativity Entertainment could wait. It was unknown whether Warner Bros. would continue to wait.

Chapter 978: The Role of Heartbreak in Career Success

Thanksgiving, a traditional North American holiday, meant that Relativity Entertainment was also on break. Non-essential staff like Ronan didn’t have to go into the office.

Late November in Los Angeles wasn’t cold. The sun still shone brightly, and Ronan sat alone in the garden, basking in the warmth while listening to Taylor Swift’s latest self-titled album. The cozy atmosphere nearly lulled him to sleep.

Relativity Entertainment had recently established a music distribution division and signed three singers.

The division wasn’t large, but it was highly professional. Leveraging Embassy Pictures’ global film distribution channels, it could release records and digital songs in most major markets worldwide.

Ronan hadn’t objected. Music was an essential part of the entertainment distribution business, and Embassy Pictures’ distribution channels were already in place. Moreover, the profit margins for records and digital songs were astonishingly high.

Since he was unfamiliar with this area, he hadn’t actively pursued it before. When Robert Iger proposed the plan, Ronan naturally didn’t oppose it.

Besides, the three singers signed by Relativity Entertainment’s record division were the kind who could single-handedly sustain a major record company.

Among them, the only one who had released an album so far was Taylor Swift. Her self-titled album hit the market in October, benefiting from the super-hot streaming of Hannah Montana on Netflix Streaming Media in September. Taylor Swift had attracted a massive following of teenage fans, making her the hottest youth idol of the moment.

Countless teenagers had grown up listening to Taylor Swift’s voice, after all, she was the voice actress behind that famous pink pig.

From the very start, Taylor Swift’s star career had an almost cheat-like beginning.

As always, Taylor Swift initially pursued a country style, but to become a top diva, she would inevitably have to transition to mainstream success.

Unlike most stars, Taylor Swift had a knack for generating news. Perhaps she didn’t realize it yet, but when the media caught on to the connection between her boyfriends and her songwriting, it would create a sensational effect.

Ronan had heard from Scott that Andrea, Taylor’s mother, was quite troubled by Taylor Swift’s frequent changes in boyfriends.

In the United States, it wasn’t unusual for high schoolers to date and change partners, but doing so every semester would worry any parent.

Following Ronan’s instructions, Relativity Entertainment had set up a dedicated service team for Taylor Swift, providing comprehensive support to shape this young pop star.

No one understood better than Ronan the immense future value Taylor Swift held.

A single hit singer could sustain an entire company, and Taylor Swift was a prime example.

Now, with the far more powerful Relativity Entertainment behind her, Taylor Swift’s future might be even brighter.

Like Taylor Swift, another female singer signed by Relativity Entertainment also came from a Shai Entertainment film project.

As many knew, Taylor Swift’s earliest collaboration with Shai Entertainment began with the voice acting for Peppa Pig.

This voice acting role alone had earned Taylor Swift millions of dollars.

The other female singer hailed from the UK and had recently starred in a Shai Entertainment film called Hairspray.

Yes, this was Adele Adkins.

According to Hairspray producer John Woster’s observations on set, Adele’s singing talent and ability far surpassed her acting skills. Pursuing an acting career would be a waste of her talent.

Thus, Adele naturally caught the attention of the record division.

When the British singer and actress heard she had the chance to release records, she paid no heed to her family’s strong objections and resolutely declared that after finishing Hairspray, she would abandon her acting career to fully commit to singing.

Adele was also a singer-songwriter, and she had even prepared her first single.

The single was called Love’s Trail, and Ronan had listened to the initial recording. Adele’s talent was undeniable.

Moreover, the song Adele wrote shared a similar creative process with Taylor Swift’s songs—both were inspired by former boyfriends.

According to the information Ronan had gathered, Love’s Trail was inspired by Adele Adkins’ six-month relationship. She had witnessed her boyfriend flirting with another woman in a bar and, in a fit of anger, punched him.

After being kicked out of the bar, Adele walked alone on the sidewalk, contemplating her true aspirations. Suddenly inspired, she recorded the song’s concept on her phone, thus creating the track.

It seemed that behind every successful female singer-songwriter lay a dozen ex-boyfriends as stepping stones.

Without the stimulation of past relationships, no songs would be written.

The men written into these songs probably didn’t feel too great about it. If the songs became widely popular, they might even end up as enemies with their ex-girlfriends.

The female singers wouldn’t care. Did you think they were in love? How naive!

If Adele could also rise to fame, it would be another case of heartbreak leading to success.

Clearly, heartbreak played a significant role in career success!

Truly, art came from life!

The “divorce wave” and similar trends—weren’t they all examples of success stemming from heartbreak? Real life provided ready examples!

One day, if someone asked Ronan for the secret to success, he would solemnly tell them—Young ones, want to succeed? First, find a woman and break up with her!

The third singer came from a discovery on Netflix Video.

Previously, a Canadian teenager had uploaded videos of himself covering songs on Netflix Video, gaining a large following and becoming a minor celebrity on the platform.

Just as Ed Stafford had been recommended to Relativity Entertainment, Netflix Video had also recommended this Canadian teenager.

Ronan personally watched a ten-second clip of the Canadian teen’s cover and immediately had someone contact the boy and his family.

Because Ronan was certain—this Canadian teenager was Justin Bieber.

Now, Justin Bieber and his parents had come to Los Angeles and officially signed with Relativity Entertainment’s record division. They were beginning professional preparations for future record releases, such as dance and vocal training.

Justin Bieber wasn’t even thirteen yet and was going through puberty, so there was no rush to release an album.

At the same time, Ronan had Embassy Pictures arrange for special tutors to teach him academic subjects. Even if he continued to be a little troublemaker, he should at least be an educated one.

Thinking of Justin Bieber, Ronan also recalled his on-again, off-again relationship with Selena Gomez, which was connected to memories of Taylor Swift. Selena Gomez seemed to be a core member of Taylor Swift’s massive squad of girlfriends and was a typical Disney child star, likely still working on the Disney Channel.

Ronan had also sent people to scout talent from the Disney Channel.

Since they now had a record division, they needed to achieve some results. The more high-quality resources, the better.

Unfortunately, compared to the film and television industry, Ronan knew very little about the North American pop music scene, especially post-2000. He wasn’t completely in the dark, but he wasn’t far from it.

He remembered Taylor Swift, Adele, and Justin Bieber because they were too famous.

Oh, and Lady Gaga and Beyoncé.

The former was more famous for her outfits than her music.

The latter stuck in Ronan’s memory mostly because of Will Smith.

Ronan recalled that at certain parties, Will Smith had once hooked up with all three members of Destiny’s Child at once—talk about “three people walking together, one of them must be my teacher.”

He turned off the faintly playing music, grabbed his phone, and recorded everything. Later, he would pass it to Connie, who would forward it to Embassy Pictures for them to follow up.

If the record business went well, Ronan was also considering establishing a separate record company.

The future belonged to digital records, and Netflix was an excellent service platform.

Ronan made a note of this and planned to discuss it with Robert Iger later.

With Embassy Pictures’ global marketing channels, building a record distribution network wouldn’t be difficult. Besides, in a few years, physical records would be all but obsolete.

Singers and record companies’ real profits would come almost entirely from digital business.

For some reason, Ronan suddenly thought of Michael Jackson. The King of Pop held the copyrights to half or all of Elvis Presley’s, the Beatles’, and his own records.

In the digital payment era, what kind of fortune was that? How many people would be envious?

And yet, their owner had no ability to protect them…

Ronan quickly shook his head, stopping himself from thinking further. Compared to some large corporations, he considered himself to have principles and boundaries.

Even if he established a record company, it would be more about looking to the future rather than dwelling on the past.

As for Michael Jackson, Relativity Entertainment had no connection with him before, and there wouldn’t be any in the future.

Ronan noted these matters, checked his phone for the time, calculated the time difference, and dialed a number.

The phone rang, and someone picked up after a short while. It sounded a bit chaotic on the other end.

“Hey, Ronan.” Jessica Felton’s voice came through the receiver. “What’s up? You have time to call me?”

Ronan casually replied, “It’s Thanksgiving. Just calling to check in.” He then asked, “How’s everything on your end? Is the crew holding up okay?”

Jessica Felton’s voice was calm. “The crew has the day off. They held a little celebration. I’m doing fine, about to leave the party. With me around, they can’t really let loose.”

Ronan chuckled. “That means the crew is a little afraid of you.”

Jessica Felton laughed too. “They’re not afraid of me—they’re afraid of the power I hold.”

Ronan asked, “What are you up to after this?”

“What else?” Jessica Felton said naturally. “Reading reports, compiling data, preparing for the next phase of work.”

“Make sure to rest,” Ronan said with concern. “Don’t overwork yourself.”

Jessica Felton replied, “I will.”

Ronan thought about his schedule. “Before Christmas, I might make a trip to Rio.”

Chapter 979: Record Company

Rio de Janeiro, Sheraton Grand Hotel.

After reviewing the latest road inspection report and comparing it with the one provided by Rio’s city hall, Jessica Felton could only sigh at the unreliability of Brazilian government agencies.

Fortunately, she didn’t trust the Brazilians much and had hired a professional company to conduct an advance survey. Otherwise, road closures during filming could have caused major problems.

If the timing and location of the road closures were wrong, it could paralyze half of Rio’s traffic.

While the traffic jams in Rio might not directly affect the crew, Jessica, as the producer, saw things from a higher and more long-term perspective.

If the first two road closures for filming caused serious traffic problems in half of Rio, the city hall would surely have doubts later, and cooperation would inevitably become problematic. They might even refuse to give the crew such extensive filming freedom.

Therefore, Jessica had prepared for difficulties in advance.

Problems must be solved before they become major issues; otherwise, it would be too late.

Jessica put away the two reports, took a shower in the bathroom, and, like all women, sat in front of the vanity mirror to care for her skin.

Although she was naturally blessed with good skin from her multiracial heritage, she knew the importance of skincare for women.

No force could resist time, but skincare could slow its effects on the skin.

After applying a face mask and changing into a fresh set of loungewear, Jessica pushed open the door to the suite’s balcony and sat under the starry sky, looking at the brightly lit white sandy beach in the distance.

Today was Thanksgiving. She should have been with her family, but work had brought her to a strange city, alone, facing the sea.

Jessica suddenly felt the urge to walk on the beach, even if it was just to see people.

But reason told her that going to the beach alone at night was a foolish idea. The young men playing soccer on the beach could pull out guns from under the sand at any moment, robbing foreigners of their money and making beautiful women pay a heavier price.

After all, this was the City of God, a place where even God couldn’t offer protection.

Jessica thought of the bodyguards Ronan had specifically assigned to the crew. The large security team was even more extravagant than during the filming of Pirates of the Caribbean.

But she also knew that in this city, no security measures were excessive.

A few days ago, while working outdoors with the crew, Jessica had witnessed seven or eight shirtless boys, around ten years old, casually walking down the street. When they encountered a couple who were clearly foreign tourists, they suddenly pulled out knives and robbed them of all their valuables.

These people didn’t dare to provoke the crew, which had many security personnel and police escorts, but it was a true reflection of Rio’s chaos.

At the time, Jessica had wondered, didn’t those boys fear injuring themselves with such long knives hidden in their pants?

Sitting on the balcony, watching the bustling beach, Jessica forced herself to look away.

“Today is Thanksgiving,” Jessica muttered to herself. “I’m just not used to this unfamiliar city.”

Compared to Rio de Janeiro, she preferred Los Angeles, even though it was just as chaotic.

Jessica returned to her room and forced herself to focus on work, reviewing the financial report her assistant had just submitted.

Data that she could usually see through at a glance now seemed blurred, her mind a bit chaotic.

Jessica put down the financial report and gently pinched her smooth forehead. Her wheat-colored skin showed almost no signs of wrinkles.

She was a smart, rational, and independent woman. She quickly realized the crux of the problem: “Today is Thanksgiving. I need to rest. I need to find someone… to talk to.”

Understanding this, Jessica immediately picked up her phone and called her family. After hanging up, she looked at a number in her contacts and instinctively dialed it.

As usual, Jessica didn’t say much. She had a serious discussion with Ronan, who was in Los Angeles, about work matters, especially the road closures in Rio de Janeiro.

The call lasted less than three minutes before she hung up, turned off her phone, and went straight to bed.

As a professional woman under immense pressure, insomnia and frequent dreams were the norm. But Jessica slept exceptionally well that night, waking up the next morning at dawn.

Jessica didn’t ponder why. She never considered such matters. After breakfast, she led a team of producers to Rio’s city hall to discuss the road closures for filming.

Los Angeles, Beverly Hills.

After the Thanksgiving holiday, Ronan and Robert Iger met to discuss the newly established music distribution department.

“Because of Taylor Swift, we specifically established a music distribution department.”

This was their discussion. Robert spoke very directly: “Initially, we set up this department because Taylor Swift showed musical talent far beyond her peers, and also to accommodate Scott Swift.”

The latter point carried significant weight in Robert’s eyes. After all, Scott was the head of the Pacific Investment Foundation, which was responsible for raising funds for Relativity Entertainment.

Ronan said, “Taylor Swift’s debut self-titled album has proven that we didn’t make a mistake with this step.”

Robert said, “It was just a temporary measure at the time. Later, two more singers joined, and today you’ve proposed a few more candidates. This makes me think we should advance the plan to separate the record department.”

Ronan asked curiously, “What specific plan?”

The establishment of the record department was something he hadn’t been involved in at all. It was entirely planned and implemented by Robert.

Robert explained in detail: “We’ll make the record department an independent subsidiary. We can rely on Embassy Pictures’ marketing channels to build a record distribution network, just like PolyGram used record channels to build a film distribution network back in the day. Moreover, digital distribution is becoming increasingly important in record distribution, which is also an opportunity for the new company.”

Ronan nodded slightly: “I also agree with establishing a separate record company, but…”

Robert understood Ronan’s concerns. He took a stack of documents from his desk and handed them to Ronan, saying, “We’ll directly acquire a record company. Professional matters should be handled by professional companies.”

This was also a principle Ronan advocated, so he carefully reviewed the documents.

Robert continued: “Big Machine Records, a small record company based in Burbank, founded in 2005 by Scott Borchetta. Before founding Big Machine Records, Scott Borchetta worked at Universal Records for many years, leading a team of 13 people who collectively resigned to start their own business. They have extremely rich experience in the record industry.”

Ronan hadn’t heard of Scott Borchetta, but he knew of Big Machine Records because it was once Taylor Swift’s record company, which had propelled and created the country music queen, Taylor Swift.

It seemed that Taylor Swift later transitioned to mainstream success and switched to another record company. Ronan didn’t know which one she had switched to.

But from Taylor Swift’s early experiences, Big Machine’s cultivation of her was undoubtedly extremely successful.

“This company isn’t big?” Ronan asked.

Robert said, “Currently, it has fewer than thirty employees, but it has its own recording studio and a professional distribution and promotion team. Additionally, it has one signed singer.” He remembered something: “Oh, I heard Scott mention that during Taylor Swift’s studies in Nashville, Scott Borchetta and Big Machine had contacted her, but she firmly rejected them.”

Ronan couldn’t help but be curious: “Who is Big Machine’s signed singer?”

“A female singer named Katherine Elizabeth Hudson, who once served as a lead dancer and backup singer for Britney Spears.” Since Robert proposed acquiring Big Machine Records, he had surely done detailed research: “Big Machine is preparing her first album, planned for release next year. Scott Borchetta also gave this female singer a new stage name, Katy Perry.”

This name first gave Ronan a strange sense of familiarity, followed by images of Furong and the three fat men.

It was a movie where Furong fired at the three fat men from inside a tank, and the three fat men exploded with a high-pitched female voice singing “oh” “oh” along with a helicopter.

Yes, the song that appeared several times in The Interview was sung by Katy Perry. Ronan couldn’t remember the exact name, but it seemed to be related to Independence Day or something similar.

It seemed that Big Machine Records, having missed Taylor Swift, hadn’t been idle and found another promising female singer.

With the company’s owner and operational manager present, a decision could be made on the spot.

After reviewing the documents, Ronan directly said, “Bob, proceed as you said. Acquire Big Machine Records and establish a separate record company.”

Robert said, “It will take about a month.”

Ronan nodded: “You handle it.”

With Relativity Entertainment’s strength, acquiring a small company like Big Machine was quite simple.

Relativity Entertainment had previously focused all its resources on developing its film and television business, which had led to its current situation. Now, it could also allocate some resources to explore new ventures.

According to Robert, the most important aspect of this deal was the people—Scott Borchetta and his team were highly capable.

Ronan also had an idea: after the record company was established, they could recruit singers worldwide. Perhaps they would encounter someone he remembered.

Many past stars might have been seen or heard of by him, but it was hard to recall their names or songs.

Additionally, Ronan received a call from the other side of the Pacific. A team from a national television station in the East had come to Los Angeles and was preparing to contact Relativity Entertainment, hoping to reach a cooperation in certain areas.

Chapter 980: Free Licensing

In just five days, Robert Iger had finalized the deal with Big Machine Records. Relativity Entertainment fully acquired Big Machine for six million dollars, with Scott Borchetta and his entire team retained.

The true value of the company lay in Scott Borchetta’s team. As for Katy Perry, she was just one of many aspiring singers who hadn’t even released an album yet.

With the acquisition settled, the record division merged with Big Machine Records. Robert Iger planned to establish a separate subsidiary, keeping the record company’s operations in Burbank rather than moving them to Relativity Tower.

Ronan also took the time to visit Big Machine Records. In the coming digital age, a popular singer’s paid downloads would continuously break records. Currently, Big Machine Records had four signed artists under its banner: Taylor Swift, Katy Perry, Adele, and Justin Bieber. The future looked promising.

Meanwhile, Relativity Entertainment had also tracked down Selene Gomez. This young actress, currently starring in Disney’s fantasy comedy Young Magician, was a rising star on the Disney Channel. Relativity promptly forwarded her details to Big Machine Records for potential recruitment.

Additionally, Adele had strongly recommended her classmate, Jessica Cornish, who had co-starred in Hairspray. This British actress’s singing talent surpassed her acting skills. After filming Hairspray, Jessica Cornish had even adopted a new stage name—Jessie J.

Professional matters were best left to professionals. Whether to sign her or not was entirely up to Scott Borchetta, the head of Big Machine Records. Ronan didn’t interfere.

Scott Borchetta wasn’t optimistic about Jessica Cornish’s future. Based on his years of industry experience, he doubted she would ever reach even second-tier status, let alone the top.

Ronan didn’t dwell on it. If he hadn’t even heard of her, she probably wasn’t destined for great fame.

Another piece of bad news arrived: Connie’s assistant team had scoured the North American music and entertainment industries but found no trace of a female singer named Gaga. Ronan could only shrug. “Gaga” was undoubtedly a stage name, and even her fans probably didn’t know her real name. Some things were best left to fate.

At Relativity Tower, in Shai Entertainment’s post-production studio, Ronan met Taylor Swift, who had just finished recording the voice-over for the new season of Peppa Pig. Compared to their last meeting, Taylor still sported her signature curly hair, but her meticulous styling announced to the world that she was now a bona fide star.

“Hello, Uncle Anderson,” Taylor greeted Ronan politely as always. “It’s been a while.”

Ronan nodded slightly. “Taylor, you seem to have grown taller.”

Taylor scratched her curly hair. “Just a little.”

Ronan reminded her, “You need to watch your posture.”

Perhaps due to her height and slender frame, Taylor tended to hunch, which affected her posture.

Taylor was aware of the issue and quickly straightened her back, lifting her chest. “I’ve started correcting it.”

Ronan didn’t press further. “How does it feel to be a star? Is the pressure overwhelming?”

Taylor’s eyes lit up instantly. “Can I say being a star feels amazing?”

Ronan smiled. “As long as you enjoy it.”

Many stars complained about endless airport transfers, hotel stays, and non-stop publicity, lamenting their lack of privacy. Yet countless others dreamed of being in their shoes. These complaining stars would panic if the publicity and attention suddenly vanished.

Ronan spotted Chris Renaud and George Clint and prepared to leave. Just then, Taylor lowered her voice and asked, “Now that I’m under Big Machine Records, I don’t feel like part of Relativity Entertainment anymore…”

“You will always be part of Relativity Entertainment,” Ronan reassured her. “Taylor, focus on your singing, your performances, and even your love life. The future is yours.”

Taylor was slightly confused but sensed Ronan’s encouragement. “I will,” she promised.

Ronan thought of Scott and added, “If you ever face a problem you can’t solve, call me directly. You have my number?”

Taylor tapped her forehead. “I remember it well.”

Ronan joined Chris Renaud and George Clint, heading toward the nearby reception room.

“Are they here?” Ronan asked as they walked.

George Clint replied, “They’ve arrived. This time, it’s a representative from the National Television Network, introduced by China Film Group.”

Chris Renaud, unfamiliar with the other side of the Pacific, asked, “Hasn’t Peppa Pig already entered that market?”

George Clint explained, “Only the first season was licensed by a local station, with limited reach. The three-year license has expired.”

Ronan strode toward the reception room. His personal involvement signaled two things: the vast potential of the market across the Pacific, where even piracy couldn’t deter Relativity’s profits, and the personal connection—China Film Group’s leader had called him directly, and the visitor was a friend of his.

The people there valued personal connections, and Ronan, ever pragmatic in market expansion, didn’t mind getting personally involved.

Ronan pushed open the reception room door. Danny Donald, the senior vice president of Embassy Pictures’ overseas operations and a Chinese-American, immediately approached with a bespectacled middle-aged man.

Danny Donald made the introductions: “Mr. Liu, this is Mr. Ronan Anderson. Ronan, this is Steve Liu, the deputy director of the Eastern National Television Station.”

Ronan shook his hand warmly. “Mr. Liu, it’s a pleasure to meet you.”

Mr. Liu was courteous, with the demeanor of a scholar. “The pleasure is mine, Mr. Anderson.”

Ronan then shook hands with each of Steve Liu’s entourage. After brief pleasantries, they got down to business.

Steve Liu began, “This visit is part of an exchange program between our station and Hollywood. I led a team to tour Relativity Entertainment, including the post-production studios and on-set filming. The experience was deeply impressive and enlightening.”

Ronan responded with polite enthusiasm, “We can certainly deepen our cooperation and exchange more. All of Relativity’s productions and projects are open to you. If you’re interested, you’re welcome to visit, inspect, and exchange ideas anytime.”

He deliberately added, “Although Mr. Han and I haven’t met often, we’ve maintained contact. I hope this friendship can serve as a bridge for our communication and cooperation.”

When it came to diplomatic pleasantries, Ronan was a master, and his genuine respect set him apart from other Hollywood figures. This small detail could significantly impact the success of collaborations across the Pacific.

Steve Liu exchanged a glance with his assistant, his already good mood improving further. He had heard that Relativity Entertainment valued its Eastern partners and respected Asian film and television professionals. Ronan Anderson’s reputation was excellent, and now, after meeting him, the rumors proved true.

“Mr. Han asked me to convey his regards,” Steve Liu said with a smile. “He looks forward to seeing you again in the East.”

Ronan replied courteously, “I will certainly visit the East again when the time is right.”

Given his current status, a personal visit wouldn’t be convenient. A formal business trip might even cause a sensation, possibly drawing attention from the highest levels of government.

Steve Liu then said, “Relativity’s works have had a tremendous impact in the East and are very popular with audiences. Besides this visit for inspection and learning, I have another task—I hope to introduce your company’s works to our market.”

Ronan feigned ignorance of their intentions and asked directly, “Which of our works are you interested in?”

“I oversee children’s animation at our station,” Steve Liu explained. “We would like to license your children’s animated series, Peppa Pig.”

Without hesitation, Ronan replied, “In principle, I agree.”

Compared to the Western market, Peppa Pig had limited exposure in the East, far from achieving explosive popularity. It was nowhere near the level of the viral “What is Peppa?” phenomenon.

This required a stronger push in marketing and distribution. Currently, there was no better platform than a national television network.

Steve Liu understood there was more to Ronan’s words, but as a national television representative, they faced many restrictions.

“This collaboration will be a testament to our friendship,” Steve Liu said, his scholarly demeanor belying his shrewdness. “Mr. Anderson, we come with the utmost sincerity, but we also face practical difficulties. We are a developing country with a less advanced economy and limited funding…”

Ronan listened to the familiar rhetoric without batting an eye. The people across the Pacific were undoubtedly clever, always positioning themselves as a developing nation.

But regarding Peppa Pig, Ronan had already formulated a plan before this meeting.

Sometimes, short-term sacrifices were necessary for long-term gains.

Ronan calmly stated, “Mr. Liu, I understand your difficulties and appreciate your sincerity. Relativity values every partner, regardless of where they come from.”

Steve Liu felt a slight relief. The negotiations were proceeding more smoothly than expected.

Ronan continued, “This is our first collaboration, and Relativity is equally sincere in forging more friendships and partnerships. Here’s what we can do: Relativity will grant you a free license to broadcast the first two seasons of Peppa Pig.”

At these words, Steve Liu first felt a surge of joy, then a pang of suspicion. There was no such thing as a free lunch in this world!

Chapter 981: Not as Good as DVD Sales

Free licensing might seem foolish at first glance, with no immediate returns, but often, starting with free access is a strategy to secure higher profits later.

The National Television Network in the Eastern markets has received many free licensing rights for broadcasts, such as the Bundesliga and Serie A. What do these commercial leagues aim to achieve with free licensing?

Certainly not Eastern-Western friendship, nor diplomatic goodwill.

Once the audience and potential consumers are cultivated, licensing fees skyrocket, and there’s no shortage of buyers willing to pay.

Peppa Pig has little influence in the Eastern markets. To become a true phenomenon, it needs a powerful platform for promotion and distribution.

The unique nature of the Eastern media market means Relativity Entertainment cannot achieve this alone.

The Eastern internet is just entering its rapid growth phase, and the National Television Network remains the dominant player, with no other platform coming close.

Ronan wants Peppa Pig to achieve the same level of fame in the East as Mickey Mouse and Donald Duck, aiming for the explosive popularity it gained after 2015.

While piracy and bootlegging plague the market on the other side of the Pacific, one undeniable fact remains: the Eastern market grows more regulated each year. Many well-known businesses have secured legitimate licensing agreements with companies like Disney.

If Peppa Pig takes off in the Eastern market, piracy will inevitably surge, but legitimate products and licensing will still command a significant share of the profits.

And once the series gains traction, future broadcasting rights won’t come cheap.

Even if the National Television Network passes, others will eagerly step in.

The media market on the other side of the Pacific has long moved past the era where setting up a TV signal tower and airing Hong Kong or Taiwanese films and dramas on videotapes could attract viewers.

Market regulations are tightening, and standardization is increasing.

Steve Liu remained cautious, not overjoyed by the prospect of free licensing. The National Television Network had received many such offers before, some with extremely harsh conditions.

Some even hid traps.

“Free licensing?” Steve Liu said with a smile. “Relativity Entertainment is certainly sincere. I wonder about the terms…”

Ronan was direct. “Of course, the free licensing comes with a few conditions.”

Hearing this straightforward response, Steve Liu felt slightly more at ease. If the terms were laid out clearly, the likelihood of hidden traps was lower.

But he didn’t let his guard down. “Mr. Anderson, what are your requirements?”

Ronan knew that, given their relationship, it was best to be upfront. He didn’t beat around the bush. “First, Relativity Entertainment is offering free licensing for the first two seasons of Peppa Pig.”

Steve Liu remained composed on the surface but nodded inwardly. The policy of bringing in foreign content while promoting domestic productions was a major directive in animation. Peppa Pig had been a global sensation for the past two years, offering pure, educational entertainment for children without touching on any sensitive issues—perfect for import.

Securing free licensing for the first two seasons meant he had exceeded expectations.

Ronan continued, “Second, Peppa Pig must air during the prime animation slot on your network’s main channel…”

Steve Liu immediately understood—this referred to the Big Windmill program.

This had always been the domain of domestically produced animations, so airing an imported series might be tricky.

But compared to the benefit of free licensing, this wasn’t an insurmountable problem. After all, he was the head of the network’s animation division.

Ronan was only stating the basic conditions; the details would be negotiated later. “Third, the free licensing period is three years. During this time, you must air the series once annually during the prime slot on the main channel and rerun it at least three times during the children’s channel’s prime time.”

These conditions were designed to maximize Peppa Pig’s exposure on the National Television Network.

Steve Liu remained silent, carefully considering. The terms weren’t unreasonable and didn’t cross any red lines. Ronan Anderson was indeed a Hollywood producer who understood the Eastern market well.

But he wasn’t in a hurry to decide. Such matters required thorough examination. Any unexpected issues could become ammunition for criticism or even affect his career.

When dealing with Americans, one could never be too cautious.

Steve Liu smiled. “Mr. Anderson, many decisions are beyond my authority. I’ll need to consult with my superiors. How about we discuss this further after I’ve done so?”

Ronan understood his cautious mindset and didn’t press. “That’s fine.”

The meeting concluded. That evening, Relativity Entertainment hosted a banquet at the hotel for Steve Liu and his team. Ronan did not attend, leaving George Clint and Chris Renaud to handle the reception.

With the framework agreed upon, Ronan would no longer participate in further negotiations.

His personal involvement had already demonstrated sufficient commitment and a willingness to cooperate.

As long as Peppa Pig secured a prime animation slot on the National Television Network’s main channel, its appeal to children would ensure its success.

Only with Peppa Pig’s rising fame on the other side of the Pacific could future operations proceed.

Ronan also considered whether, once the collaboration was finalized, the Eastern branch should increase promotional efforts on the other side of the Pacific.

Perhaps Taylor Swift could practice her Chinese and, as both a voice actor for Peppa Pig and a country-pop starlet, visit the Eastern market for promotional events?

Ronan forwarded this idea to Big Machine Records, Shai Entertainment Animation Studio, and Embassy Pictures, asking the three parties to explore its feasibility.

Three days later, Ronan received a response from Steve Liu’s team. They agreed in principle to Relativity Entertainment’s proposed collaboration.

After all, it didn’t violate any principles or bottom lines, nor did it harm their interests.

Negotiations between the two sides accelerated, and an agreement on Peppa Pig was now only a matter of time.

This little pig had always been Relativity Entertainment’s cash cow. Soon, statues of Peppa Pig and Captain Jack Sparrow would stand in the plaza in front of Relativity Tower.

The latter was slightly problematic. When Relativity Entertainment routinely informed Johnny Depp, he strongly objected. Even though Relativity already held all image rights to Captain Jack Sparrow, Depp demanded a $10 million licensing fee.

The Hollywood superstar had changed agents, and his new representative was powerless to rein in his behavior.

Relativity Entertainment ignored Depp’s objections and proceeded with preparations.

If Johnny Depp truly didn’t know his place, Ronan wouldn’t hesitate to take a page from London’s Fleet Street—create a superstar, then destroy him personally.

This wouldn’t be difficult for Relativity Entertainment.

The Pirates of the Caribbean trilogy had propelled Johnny Depp to unprecedented heights, even earning him the title of Hollywood’s top commercial star.

Whether it was the second or third installment, both were North American and global box office champions, showcasing the immense boost Depp’s presence provided.

After the trilogy, Pirates of the Caribbean entered a hiatus, but the DVD release of The World’s End was a massive success.

With 6.29 million DVDs sold in North America in a single week, Relativity Entertainment was raking in profits.

The average price of a legitimate DVD in North America was around $20, and after deducting various costs, Relativity earned a net profit of $10 per disc.

There’s a saying that rings true: no matter how good a movie’s reputation, it’s not as profitable as DVD sales.

DVD sales are now Hollywood’s most important revenue stream.

In the era of videotapes, Relativity Entertainment had no advantage, but with the decline of videotapes and the rise of Netflix, Relativity—owning the platform—had become Hollywood’s most successful DVD seller.

Meanwhile, Night at the Museum 2 had just passed its second weekend in North America, with a cumulative box office of $157.98 million, easily surpassing $300 million globally.

The third sequel was already in the works at Shai Entertainment. Since the main creative team had signed a trilogy contract, their return was guaranteed.

As December arrived, the North American awards season kicked off with the Gotham Independent Film Awards, marking the beginning of a flurry of activity. Films vying for awards were released one after another, or screened privately, or hosted viewings—all in an effort to secure votes from the judges.

Ronan once again encountered Eastern cinema.

After Hero and Ambush from All Sides failed to secure Oscars twice in a row, Director Zhang’s ambition remained undimmed. He returned to North America with another major work, determined to make another push for the Oscar statuette.

This time, his film was called Curse of the Golden Flower.

Since Lionsgate Films had suffered heavy losses with Ambush from All Sides, the distributor had changed to Sony Classics.

This was Sony Entertainment’s independent distribution brand, separate from Columbia Pictures, primarily handling indie films.

Given the good relationship established during the Hero collaboration, Ronan accepted invitations from Director Zhang and Sony Classics to attend a screening of Curse of the Golden Flower.

This film had once been legendary, though Ronan, due to media bias, had never actually seen it.

This time, Director Zhang truly pushed opulence and synchronized movement to their limits. The gleaming golden armor and the exposed cleavage were equally unforgettable.

But Curse of the Golden Flower had almost no chance of winning the Oscar for Best Foreign Language Film or Best Director.

Setting aside other factors, Sony Classics’ investment was simply insufficient.

The film wouldn’t generate high revenue in North America, which meant Sony Classics wouldn’t allocate much to promotion and distribution.

Chapter 982: A Token of Gratitude

Given the current state of the Oscars, the cost of Oscar PR campaigns for any film was skyrocketing like inflation. Any Hollywood studio would carefully weigh the costs and benefits before diving into the high-stakes Oscar race—otherwise, recklessly throwing money at it would only lead to bankruptcy.

Undeniably, the high cost of Oscar PR made Curse of the Golden Flower’s potential North American box office seem insufficient to justify the investment, adding to the marketing challenges.

After watching the screening at a small round table, Ronan turned to Connie, who was sitting beside him, and asked, “What did you think?”

“Very impressive,” Connie said honestly. “I didn’t quite follow the story, but the scale was massive, and the colors were stunning. It felt like a step up from House of Flying Daggers.”

Ronan took a sip of water. The grandeur of the large-scale choreography was undeniable—no wonder he was later chosen to direct the Olympic opening ceremony. He couldn’t think of anyone more suited for the job.

Returning to the film, he mused that it was a shame the term “chrysanthemum” hadn’t yet become a popular slang term, or else the audience wouldn’t have been so distracted by it.

Many probably still remembered that song:

“Chrysanthemums wilt, wounds cover your body, your underwear has turned yellow…”

Connie’s reminder snapped Ronan out of his thoughts. “Director Zhang is coming over with someone.”

Ronan looked up just in time to see Director Zhang approaching with an Eastern woman. She seemed vaguely familiar, as if he had seen her somewhere before, but he couldn’t place her.

“Good evening, Ronan,” Director Zhang greeted in Chinese, knowing Ronan spoke the language. His face lit up with a warm smile. “I’m truly honored you came to the screening.”

Ronan stood and shook his hand, replying in Chinese, “Zhang, we’re old friends. No need for formalities.”

After a few more pleasantries and a handshake with Connie, Director Zhang gestured for the woman to step forward. “Ronan, do you remember Miss Wan?”

Ronan felt a flicker of recognition but couldn’t recall. “Miss Wan, have we met before?”

The woman was polite and, seeing his hesitation, quickly introduced herself. “Hello, Mr. Anderson. I’m Wan Qian. A few years ago, at the Shanghai International Film Festival, I was your temporary translator and guide.”

Hearing this, Ronan’s memory clicked. He lightly tapped his forehead, apologetic. “I’m so sorry, Miss Wan. It was my mistake to forget.”

Wan Qian looked at Ronan’s sincere expression and found that this Hollywood mogul and global billionaire was different from the other elite figures she had encountered—there was a rare sincerity about him.

Seeing that Ronan remembered, Director Zhang interjected, “Miss Wan also has a role in this film…”

He had personally chosen her for the supporting role, and bringing her along was a calculated move. But the effect seemed lackluster—Ronan Anderson had clearly forgotten her.

“Please, have a seat,” Ronan said, gesturing for them to sit. Once they did, he turned his attention to Wan Qian. “Miss Wan, I never expected to see you again in Los Angeles.”

Wan Qian smiled. “I’m just as surprised.”

Ronan remarked, “I didn’t expect you to enter the entertainment industry.”

Wan Qian, ever modest, replied, “I have Director Zhang to thank for giving me this opportunity.” She was a clever woman and knew she didn’t belong in Hollywood—it would be difficult to stay. Director Zhang was her key to the future. “After graduation, I was in a slump for a few years. If not for Director Zhang, I might have given up.”

“A slump?” Ronan asked curiously. “From what I remember, you were a bright, cheerful girl…”

Wan Qian laughed sheepishly. “I was addicted to gaming, living in a virtual world every day.”

Ronan nodded slightly. “You managed to break free—that’s worth celebrating.” He then turned to Director Zhang. “Zhang, you’ve discovered another great talent.”

Director Zhang smiled. “Wan Qian is a rough gem. Her potential rivals Li’s.”

Ronan hadn’t even noticed her in the film and couldn’t comment, so he simply replied, “She’s very promising.”

Director Zhang seized the moment. “Mr. Anderson, the media says this is a weak year for North American films…”

Ronan knew where this was going and cut him off. “Zhang, Curse of the Golden Flower is your collaboration with Sony Classics, not Relativity Entertainment.”

He glanced at Wan Qian. In the past…

But ever since Will Smith had been left paralyzed on the couch at St. Mary’s Hospital, Ronan’s mindset had changed. Many of his old ways of thinking no longer applied.

As fragments of memory resurfaced, he recalled the favorable impression Wan Qian had left on him years ago. He decided to preserve that memory rather than tarnish it himself.

Ronan instructed Connie, “Miss Wan helped me years ago, and I never properly thanked her. Take her to Finch and get one of the company’s VIP New Year gift packages.”

Wan Qian immediately tried to refuse.

“This is my way of making amends and expressing my belated gratitude,” Ronan said earnestly. “Miss Wan, this is just a keepsake to preserve a good memory. Please don’t refuse.”

Wan Qian already held Ronan in high regard, so she smiled and accepted. “Thank you.”

She didn’t linger and left with Connie.

Director Zhang then remarked, “Mr. Anderson is as kind as ever.”

Ronan smiled. “She helped me. It’s only right that I thank her.” He got straight to the point. “Zhang, you came to me for a reason. We’re old friends—just say it.”

Director Zhang wasn’t embarrassed. The Oscar statuette had always been his obsession, not something easily shaken off.

After several attempts to win an Oscar, he had gained some insight into the process. Curse of the Golden Flower was destined to fall short.

Every time, he started with hope, and every time, he ended in failure…

The bitterness, the media’s mockery, the confusion of his peers—only he truly understood it all.

But thinking of Ang Lee left a bitter taste in his mouth.

Ang Lee had first won the Best Foreign Language Film statuette, then last year took Best Director. How?

Wasn’t it because of the man sitting across from him?

At this point, some things weren’t as hard to bring up. Director Zhang probed, “Ronan, you’re Hollywood’s finest producer. Relativity Entertainment invests in and produces so many films every year. Do you think there’s one that would suit me?”

Ronan sighed softly. “Zhang, Relativity’s production style and direction don’t align with your directorial approach.”

Director Zhang tried to argue, but Ronan raised a hand to stop him. “Hear me out. You’re a master of Eastern cinema, an internationally renowned director. Whether you have an Oscar statuette or not, that won’t change.”

Hearing this, Director Zhang swallowed his words.

Ronan, considering how Hero had earned Relativity tens of millions, simply said, “The Oscars are a game of fame and fortune, a Hollywood game. They’re not kind to outsiders unless you’re willing to change completely like Ang Lee. But then, would it still be your work?”

With that, Ronan said no more and took his leave. “It’s getting late. I’ll go first. You’re welcome to visit Relativity Tower anytime.”

Director Zhang stood and shook Ronan’s hand, seeing him off to the door. When he returned, his face was thoughtful, as if pondering Ronan’s words.

Ronan met up with Connie and Finch, left the hotel, and got into the car.

As for what Director Zhang would do next, that was beyond his control.

This wasn’t the first time Ronan had warned him, but it would be the last. The master filmmaker only needed to let go of his Oscar obsession, and his talent would speak for itself.

Connie then said, “I gave the gift to Miss Wan. She asked me to thank you. Also, I gave her my contact information. If she runs into trouble in Los Angeles, she can call me anytime.”

Ronan nodded slightly. “Handle it as you see fit.”

Regarding Wan Qian and anything related to her, Connie was the final word.

Connie didn’t say more but sensed that her boss had changed somehow, though she couldn’t pinpoint how.

Finch, ever the professional bodyguard and security assistant, paid no mind to such matters.

Curse of the Golden Flower began its limited release in North America, and the reception exceeded Ronan’s expectations. Rotten Tomatoes gave it a 72% fresh rating, and IMDb audiences scored it an average of 7.3—far better than the media’s past criticism and online backlash.

In truth, Zhang’s three wuxia epics—the three films he had ambitiously pushed for the Oscars—had decent reputations in North America. But his focus had always been on the Oscars and overseas audiences, neglecting the domestic audience that was his true foundation.

As Ronan had said, the Oscars were Hollywood’s game of fame and fortune. The audience on the other side of the Pacific was Zhang’s real support.

Even more surprisingly, Time magazine later included Curse of the Golden Flower in its list of the top ten films of the year!

Faced with all this, Ronan didn’t know what to say.

He only hoped Director Zhang wouldn’t be misled by the North American media.

Over the next few days, Director Zhang visited Relativity Tower. Ronan didn’t bring up the past but warmly received him.

The great director likely wouldn’t have time for the Oscars much longer—someone from the other side would soon come calling.

A national celebration of such importance required a director who could command the stage.

It would indeed be an unparalleled spectacle—perhaps unmatched in Olympic history.

Ronan didn’t pay much attention to those matters. The North American awards season was now at its most intense.

Chapter 983: Ignorance and Stupidity

Awards season was always rife with competition, and where there was competition, there would never be a shortage of disputes. Public figures’ disputes inevitably devolved into mutual mudslinging.

Ever since Harvey Weinstein joined the Oscar game, the rules had taken a nosedive. And with Ronan and Relativity Entertainment also vying for the Oscar, the rules had sunk even lower. The lower the bar, the more room competitors had to maneuver.

For instance, one day the media might lambaste Brad Pitt’s performance in Babel as a pile of dogshit, and the next, someone else would attack Leonardo DiCaprio for thinking that grimacing and mugging constituted acting. Others dug up Helen Mirren’s old role in Caligula, while some media outlets condemned Little Miss Sunshine for blatant child exploitation, claiming it didn’t deserve any Oscar nominations.

Oscar PR and promotion had evolved into a stage where, while promoting oneself, one must also attack competitors relentlessly. Influential film critics with their columns were raking in cash during awards season, bashing one film today and another tomorrow, reveling in their profits.

Though this year was widely acknowledged as a lackluster one for North American cinema, the awards season was anything but dull. After years of silence, Harvey Weinstein had returned with The Queen, re-entering the Oscar race. Thus, Hollywood in December became even more chaotic.

The media and the public relished the spectacle—the more turmoil, the more entertaining. All the disputes, mutual attacks, and verbal assaults that had been brewing since the start of awards season reached a fever pitch after the release of Letters from Iwo Jima and Flags of Our Fathers, both directed by Clint Eastwood and produced by DreamWorks.

Especially Flags of Our Fathers—as soon as it hit limited release, the renowned Black director Spike Lee took to Netflix sharing to unleash a tirade: I bought a watch last year! Not a single Black person in this film’s portrayal of the U.S. military? Eastwood, you motherfucker, you deliberately ignored the importance of Black people! You’re discriminating against us!

Under normal circumstances, if someone were accused of racial discrimination, no matter how unjustified the claim, they would have to patiently explain themselves to the Black community, perhaps mentioning the contributions of Black people in logistics and support roles.

But Clint Eastwood was no ordinary man. He was an old cowboy with a temper as hard as steel, the quintessential hardline right-wing representative of Hollywood. The last cowboy of San Francisco, growing fiercer with age, his stubbornness ingrained in his bones!

When interviewed, Clint Eastwood, the hardline knight who made even Texas rednecks look tame, publicly retaliated against Spike Lee, who had nothing better to do than buy watches: Shut your mouth! Your accusations only reveal your ignorance of history! Because in the Battle of Iwo Jima, Black people didn’t play a significant role.

Spike Lee, who had wielded the banner of “racial discrimination” for over a decade, tearing through opponents without fail, had finally met his match. Clint Eastwood refused to yield an inch.

More crucially, the media and public opinion weren’t siding with Spike Lee. Quentin Tarantino, who had been verbally shredded by Spike Lee multiple times in the past, jumped into the fray, posting a picture of Spike Lee on Netflix sharing with the caption: *sonofb**ch!!*

Indeed, Hollywood’s top directors, especially the rogue Quentin Tarantino, cursed with such unfiltered directness. Ronan vaguely recalled an entertainment news piece where Spike Lee had flown into a rage over the excessive use of the n-word in Quentin’s films, asking if Quentin wanted to be an honorable Black man. Quentin had responded in an interview: Spike Lee is a son of a bitch!

For nearly twenty years, Hollywood had strived to uphold the rights of minority groups, with Spike Lee being one of the most vocal advocates, maintaining his combative spirit decade after decade, tearing apart all opponents and establishing himself as a far more seasoned troll than even Kevin Smith.

Quentin Tarantino was the director Spike Lee had torn into the most. Their feud escalated, with Clint Eastwood leaving Spike Lee in tatters. Without the banner of “racial discrimination,” Spike Lee was just a troll.

And Quentin Tarantino was adding fuel to the fire, his remarks targeting Spike Lee personally while giving no grounds for accusations of “racial discrimination.” Besides, their personal feud was well-known in the industry, and no one wanted to get dragged into their mess.

At the premiere of The Departed, Will Smith specifically asked Ronan for his opinion on the matter.

“Spike is our opinion leader,” Will Smith said in the lounge of the Sheikh Theater. “Should I support him?”

Seeing Ronan deep in thought, Will Smith pressed further, “Ronan, your insights are always sharp. I can’t quite read the situation.”

Ronan replied bluntly, “Will, my advice is not to get involved in this mess. Treat it as a personal feud.”

Will Smith wasn’t entirely sure, “Is that… appropriate?”

Ronan simply said, “Since Spike Lee first attacked Clint Eastwood, over a week has passed. How many people have come out to support him? What does that tell you? Spike Lee’s remarks this time are utterly stupid, revealing his ignorance. He attacked purely for the sake of attacking and ended up being met with silence from the media and the public.”

Will Smith thought about it carefully and realized that was indeed the case. Even Quentin had come out to call Spike Lee a son of a bitch, yet public opinion showed no signs of exploding.

“This is just an unreasonable tantrum,” Ronan added. “Jumping in will only get you dirty.”

Will Smith trusted Ronan’s judgment and said, “I’ll follow your advice.”

Past experiences had proven that listening to Ronan was never wrong. As for Spike Lee, this time he would likely lose face, and Hollywood’s Black community should probably find a new opinion leader.

In Will Smith’s view, an opinion leader shouldn’t spout off at every opportunity or bark at everyone like a rabid dog. Spike Lee was far from a qualified opinion leader. The more he thought about it, the more ashamed he felt of Spike Lee’s ignorance.

Will Smith took Ronan’s advice but had his own little plans. As the two left the lounge, they ran into George Lucas and Spielberg. After exchanging greetings, they walked into the theater together.

Along the way, they discussed the escalating feud between Spike Lee and Clint Eastwood.

“Spike Lee is being very unwise,” Spielberg shook his head as he walked. “Why provoke Clint of all people? When that old cowboy’s temper flares, he might just grab a gun and storm into his house.”

Ronan had dealt with Clint Eastwood directly a few times and asked, “He’s almost eighty, and his temper is still that explosive?”

George Lucas said, “Clint doesn’t seem like a Californian; he’s more like a Texas cowboy… Well, maybe he’s the last cowboy in California.”

Will Smith remained silent but could tell that the other three had a very poor impression of Spike Lee and didn’t think much of his feud with Clint Eastwood. This only strengthened his resolve.

Both Letters from Iwo Jima and Flags of Our Fathers were DreamWorks productions, so Spielberg was naturally biased: “If Clint weren’t in the right, I wouldn’t be able to resist speaking up.”

Anyone who could anger the ever-accommodating Spielberg to the point of speaking out was extraordinary.

George Lucas saw things even more clearly: “We’re all getting old. Who knows what changes the future holds.”

Ronan said indifferently, “No matter how things change, Hollywood is still our Hollywood.”

This statement sounded a bit odd, but from the perspectives of Ronan, George Lucas, and Steven Spielberg, it wasn’t wrong at all. In reality, these three were among the wealthiest figures in Hollywood!

Ronan, George Lucas, and Steven Spielberg weren’t professional managers like CEOs or presidents of major companies; they were bosses who held numerous shares and capital!

George Lucas chuckled, “I like what Ronan said.”

Spielberg also laughed, “Ronan, I completely agree with your point!”

The four of them entered the theater. Ronan and Will Smith took their seats in the front row, while George Lucas and Spielberg sat in the third row. With no one else around, Spielberg lowered his voice, “I have a feeling Ronan isn’t as he appears.”

George Lucas asked, “In what way?”

Spielberg’s voice dropped even lower, “Civil rights movement.”

George Lucas laughed and countered, “Steven, what about you and me?”

Spielberg laughed as well and didn’t pursue the topic further.

Ronan sat next to Tom Cruise, who glanced at Will Smith on the other side and asked, “What were you two discussing?”

Will Smith shrugged slightly, “Spike.”

Tom Cruise understood and said, “Will, it’s best to stay silent on this matter.”

Will Smith replied, “Ronan gave the same advice, and I’ve decided to stay silent.”

Tom Cruise smiled, “Looks like we’re on the same page.”

Ronan said, “It’s best not to get involved in this kind of messy feud.”

Frankly, attacking Eastwood in this manner only made one look ignorant and stupid, with no benefits whatsoever.

Martin Scorsese, sitting nearby, probably overheard their conversation and cast a curious glance their way. The three of them promptly ended their discussion. As the overhead lights dimmed, the noisy theater instantly fell silent, and the opening sequences of Embassy Pictures and Shai Entertainment appeared.

Martin Scorsese’s adaptation of the Infernal Affairs trilogy, The Departed, began its premiere screening.

Chapter 984: The Best Picture

Ever since acquiring the remake rights to Infernal Affairs, Ronan had waited four long years for The Departed to finally see the light of day. Martin Scorsese and the gangster genre were a match made in heaven.

If this had been his past life, Ronan would have certainly criticized The Departed for ruining the poetic essence of the original Hong Kong version. But now, he saw things differently. At its core, Scorsese’s film was tailored exclusively for North American and Western audiences, with no consideration for anything else.

After years of working in the film industry, Ronan understood one thing clearly: given Hollywood’s and the Oscars’ dominance in the global market, as long as The Departed performed well in North America and secured a few key Oscar wins, not a single cent of its earnings in Asia—whether from theaters or ancillary revenue—would be lost.

Historically, films that won Best Director or Best Picture saw their global box office increase by tens of millions of dollars—a mere drop in the bucket for such accolades.

Of course, Ronan’s preconceived notions still lingered. Infernal Affairs held too many cherished memories for him. It represented the last glorious days of the video hall era.

After Infernal Affairs, Hong Kong cinema never recovered, and the video hall era came to an abrupt end.

In many ways, this was the nostalgia of Ronan’s generation—those who grew up in the 1980s, their love for film intertwined with the rise and fall of Hong Kong cinema.

That nostalgia, like Hong Kong cinema itself, was gone forever.

But for Eastern cinema, this was a blessing in disguise. The decline of Hong Kong cinema drove talent northward, indirectly fueling the rapid development of the Eastern film industry.

Perhaps Hong Kong filmmakers had their flaws, but no one could deny their role in commercializing the Eastern film industry.

As for those who clung stubbornly to the past glories of Hong Kong cinema, the wheels of history would crush them all.

Ronan’s focus quickly returned to the film itself.

The Hong Kong version of Infernal Affairs was undeniably a romantic crime film, a quintessential example of Hong Kong cinema.

However, Scorsese’s The Departed was far from a simple remake. Even though the main plot followed the original, the essence had transformed into a thoroughly Americanized story.

Beyond borrowing the same narrative framework, the film’s atmosphere and style were worlds apart from the original.

Put simply, the Hong Kong version crafted a “cool” and poetic Infernal Affairs that left audiences in awe, while the American version stripped away sentimentality and romance, delivering a story that felt more real and brutal.

The most striking difference lay in the mid-film climax where the police chief is thrown from a building. The Hong Kong version employed multiple techniques and a stirring score to heighten the drama, while the American version was blunt and direct—the protagonist’s only response was a string of expletives: Fuck! Fuck! Fuck!

For an uneducated street thug, there was no better way to express himself in that moment.

This created a sense of raw, unfiltered brutality.

Of course, no one truly knew what reality was like. After all, they were dealing with Hollywood, not the mob.

In this era, the mob might have influenced lower-level companies or individuals, but the upper echelons of Hollywood had nothing but contempt for them.

The two were on entirely different levels.

In other words, the brutality and realism of The Departed were what North American audiences and Oscar voters perceived as brutal and real.

Scorsese, deeply rooted in North American culture, understood what kind of gangster films resonated with audiences and how to cater to their tastes—and those of the Oscar judges. This wasn’t a typical Hollywood commercial film aimed at overseas markets. In terms of audience appeal, it bore some resemblance to Juno.

So, it was easy to imagine that when The Departed screened in Asia, it would be met with harsh criticism.

Films could never escape the influence of their cultural and social environments.

Take the Infernal Affairs trilogy, for example. After being introduced to North America by Embassy Pictures, the first film—a classic series that had saved Hong Kong cinema and been a massive hit in Asia—only grossed $160,000 in North America.

The latter two films weren’t even released in theaters; Embassy Pictures sent them straight to the DVD market.

To this day, the Infernal Affairs trilogy had sold fewer than $2 million worth of DVDs in North America.

No one could ignore the stark differences in the market.

North America had always been the most insular film market in the world, the least welcoming to foreign films.

Sometimes, ideals were grand, but reality was brutally unforgiving. Ronan knew all too well how difficult it was for foreign films to break into North America, let alone achieve box office success.

Since Crouching Tiger, Hidden Dragon and Hero, Relativity Entertainment hadn’t released any Eastern films in theaters on a large scale.

The cultural divide between Eastern and Western cinema could sometimes be vast.

Many American filmmaking techniques were difficult for Eastern audiences to appreciate, especially purely American themes—like the abundance of crude comedies that Eastern audiences simply didn’t find funny.

Likewise, some Eastern film styles left Western audiences baffled.

This was perfectly normal.

For example, take the line: Ximen Chuixue doesn’t blow snow—he blows blood.

To an Eastern audience, this single line was enough to conjure an entire scene—the ancient town, the small shop, the setting sun, a sword dripping with blood, a man in white standing motionless, his robes fluttering slightly in the wind. The Sword God—how could one word capture his essence?

But in North America? This quintessentially Eastern approach struggled to find an audience.

So, Western filmmaking would have a character pull out a knife and shout, Fuck you!

Less sentimentality, less brooding, less posturing—just raw, unfiltered human reactions under extreme pressure. This was one of the biggest differences between the American and Hong Kong versions. Consider the ending: two undercover agents meet on a rooftop, one furious, the other tense. What would a normal person do in that situation?

The American version likely came closer to reality—a brutal fight, punctuated by curses.

But it wasn’t beautiful, it wasn’t romantic, and it didn’t look cool or satisfying.

Think about it—Tony Leung’s line, “I’m sorry, I’m a cop,” moved countless hearts.

Even now, Ronan remembered that scene and line vividly. It was iconic.

In comparison, Tom Cruise and Will Smith’s back-and-forth felt rough and unrefined, like the difference between an art film from San Fernando Valley and a classic Hong Kong Category III film.

The former was all about raw, unfiltered action, while the latter built atmosphere with romantic precision.

Even a rugged artist like Xu Ke had his own brand of romance.

The artists of San Fernando Valley were all about shouting “F!”—how could they compare to Xu Ke, with his mastery of pressure points, swinging on a swing, performing the invincible Wind and Fire Wheel, exploding watermelons, and tug-of-war with a cow?

That was the romance of men, the pinnacle of excitement.

Western audiences would probably be left scratching their heads, wondering what Xu Ke was even doing.

This was the essence of cultural differences in cinema.

Though The Departed was a remake of Hong Kong’s Infernal Affairs trilogy, it was a thoroughly Americanized film. The same story framework yielded not a trace of familiarity—perhaps this was the mark of a master director who always spoke in his own voice, or perhaps it was the most direct manifestation of cultural differences.

The Departed bore the unmistakable stamp of Martin Scorsese. If the Hong Kong version of Infernal Affairs exuded romance, melancholy, and refinement, then The Departed was all coldness, brutality, and grit—a complete contrast in style.

As the premiere screening ended, the theater erupted in prolonged applause. Scorsese, along with Tom Cruise, Will Smith, and the rest of the main cast and crew, took the stage to acknowledge the crowd.

Wave after wave of applause washed over them.

From the third row, George Lucas clapped and turned to Spielberg, saying, “This is Martin’s best film since Goodfellas.”

Spielberg nodded in agreement. “I’d say it’s easily in his top five.”

The two legendary directors had their own judgments, but their opinions aligned.

After the premiere, the media was overflowing with praise. It seemed that with The Departed, Scorsese had returned to his peak in the gangster genre.

“Legendary director Martin Scorsese’s latest American crime masterpiece—his talent shines brighter than ever.”

“This story fully showcases Scorsese’s artistic and spiritual mastery.”

“The most vibrant, thrilling, and exhilarating film of the year.”

Just as Ronan had predicted, The Departed was met with overwhelming acclaim in North America. Media reviews were nearly unanimous in their praise, with renowned critics like Roger Ebert awarding it four-and-a-half or even five stars. It was nearly impossible to find a review scoring below seven out of ten.

As for the original Infernal Affairs, in the eyes of North American media and critics, it was as if it had never existed—much like the French original of True Lies or the Italian original of Scent of a Woman.

Relativity Entertainment’s entire marketing campaign deliberately omitted any mention of the original film, mirroring the strategies used for True Lies and Scent of a Woman.

In Hollywood, especially during awards season, if you couldn’t play the game with a thick skin and a ruthless heart, there was no room for growth.

With the film’s release, The Departed’s Oscar campaign and PR machine kicked into full gear.

Carefully crafted puff pieces flooded the media.

“The setting is superb, the emotions volcanic, the dialogue and complex plot leave audiences in awe.”

Hollywood had no shame.

Chapter 985: Only the Result Matters

Because The Departed had a production budget of ninety million dollars, it was destined to be different from the typical Oscar-contending films.

There were no limited releases to test the waters, nor any controlled audience screenings. Under the full push of Embassy Pictures, The Departed was released like a holiday blockbuster, premiering in nearly three thousand five hundred theaters across North America.

The massive promotional campaign and the dual male leads of Tom Cruise and Will Smith were guarantees for box office success.

At this time, Tom Cruise was still doing well, but Will Smith’s influence was staggering. Any film he starred in, as long as it maintained a basic level of quality, was bound to perform well at the box office.

At this point, Emperor Smith was truly an imperial presence in the film market.

Of course, no matter who it was or at any time, one could never underestimate Tom Cruise’s influence.

Despite the R rating being a disadvantage and the limited audience for gangster films, The Departed still exploded with extraordinary market appeal upon its release.

In its first weekend in North America, the film grossed thirty-eight million eight hundred eighty thousand dollars.

Compared to the lineup of Ronan Anderson as producer, Martin Scorsese as director, and Tom Cruise and Will Smith as leads, thirty-eight million eight hundred eighty thousand dollars in the opening weekend wasn’t much.

This was largely due to the limitations of the subject matter.

The Departed’s opening weekend box office was already the best debut in Martin Scorsese’s film career.

This also set a new record for Martin Scorsese.

From the moment it was released, The Departed was met with widespread acclaim, with endless praise, naturally becoming a hot topic during awards season.

Embassy Pictures’ Oscar PR campaign was also proceeding step by step, with stability as the priority.

Martin Scorsese’s decades-long career was one of the film’s biggest assets during awards season and the Oscars.

If another director had helmed The Departed, the final outcome of the awards season would be hard to predict.

But with Martin Scorsese and The Departed, the effect was sure to be explosive.

Famous film critic Roger Ebert wrote in his column: The Departed is a gangster film that has reached the highest level; it is Martin Scorsese’s best work since Goodfellas in 1990.

This also represented the mainstream opinion of North American media and critics.

The Departed had a Rotten Tomatoes freshness rating of ninety-five percent, a media composite score of eighty-five, and an IMDb rating that fluctuated between 8.7 and 8.8 in a short period.

Although by the second weekend of its release, the film’s IMDb rating gradually dropped to 8.6, this was already a score comparable to Martin Scorsese’s classic films such as Goodfellas, Taxi Driver, and Raging Bull.

Boosted by its excellent reputation, The Departed’s box office performance was exceptionally stable. In its second weekend in North America, the box office only dropped by twenty-nine percent from the first weekend, grossing twenty-seven million six hundred ten thousand dollars.

After ten days of release, The Departed had earned seventy-eight million five hundred thousand dollars in nearly three thousand five hundred theaters across North America.

It wasn’t difficult for the film to surpass one hundred million dollars at the North American box office, but to recoup the investment through the North American box office share alone, it had to achieve something at the Oscars.

Embassy Pictures’ PR team had already sprung into action, and Martin Scorsese and his management team behind him had also begun the awards season PR work in a low-key and pragmatic manner.

With Martin Scorsese’s extensive network of relationships over the years, when the film’s quality was indeed guaranteed, many people were willing to cast their votes for him.

“Given the current situation…”

In the small meeting room of Embassy Pictures, Garcia-Rodriguez said to Ronan: “Our main competitors are B Plan’s Babel, DreamWorks’ Letters from Iwo Jima, and The Weinstein Company’s The Queen.”

Thomas added: “I remember The Queen is a project we let go to The Weinstein Company.”

PR Director David Villa said: “Given The Weinstein Company’s current promotional and PR situation, their main targets are not Best Director and Best Picture.”

Ronan then said: “Harvey Weinstein has asked to meet with me this afternoon; I’ll try to sound him out.”

Garcia-Rodriguez continued: “As long as we do our job well, Martin Scorsese and The Departed have the highest chance of winning Best Director and Best Picture. There aren’t any strong competing films this year.”

Everyone else agreed with Garcia-Rodriguez. Hollywood and the media entertainment industry had already reached a consensus that the soon-to-pass year of 2006 was a genuine off-year for Hollywood films.

PR Director David Villa said: “We already have a film that guarantees quality; the rest depends on promotional PR. Martin Scorsese’s inherent advantages are very obvious. Unless something unexpected happens, most of the public opinion will lean toward him. If he gets nominated and loses again, the Academy will face tremendous pressure.”

“That’s a subtle reminder to the Academy that they should give me a Best Director trophy,” Garcia-Rodriguez revealed a PR trick. “But it can’t cross their bottom line.”

David Villa nodded: “Exactly. We’ve prepared millions of dollars in promotional PR funds, but how to use this money is also very particular.”

Ronan no longer participated in specific frontline matters and directly said: “You make the plans; I only care about the results.”

The high-ranking executives of Embassy Pictures all understood the meaning behind these words. Garcia-Rodriguez even said: “Rest assured, with such obvious advantages, we won’t let any surprises happen.”

From the moment it was released, Martin Scorsese and The Departed became hot topics during awards season. After ten days of release, it became the top favorite.

The idea that “the favorite must die” applies to the World Cup, but the most common scenario for the Oscars is that the top favorite dominates the awards season and then becomes the winner at the Oscar ceremony.

An upset is called an upset because the probability of it happening is very low.

A crucial part of Embassy Pictures’ PR work was to eliminate the possibility of an upset as much as possible.

After ending the meeting at Embassy Pictures, Ronan returned to his office. After processing some documents, Connie quickly came in to announce that Harvey Weinstein had arrived.

Ronan met Harvey Weinstein in the reception room. After several years of relative silence, this big man was once again full of vigor.

“I’ve seen The Queen,” Ronan said directly. “It’s a very good film.”

Harvey Weinstein could put on airs in front of the CEOs of the Big Six, but in front of Ronan, he always maintained a low profile because he knew which people in Hollywood he truly couldn’t afford to offend.

Moreover, Walt Disney was currently in a mess, and he saw the reasons very clearly.

Harvey Weinstein’s fat face was all smiles: “Ronan, The Weinstein Company being able to make a comeback in the awards season with The Queen has to thank you and Relativity Entertainment. If it weren’t for you voluntarily giving up, the The Queen project wouldn’t have ended up in my hands.”

Ronan wouldn’t act high and mighty just because Harvey Weinstein was being humble. As usual, he remained calm and smiled: “Harvey, we are friends; there’s no need for such polite talk. At that time, we were helping each other, and if the final result can be a win-win, that would be ideal.”

Harvey Weinstein quickly said: “It has already achieved a win-win.” He took the initiative to get to the point: “Ronan, The Queen’s first target in this awards season is Best Actress, which doesn’t conflict with Relativity Entertainment’s goals.”

Ronan didn’t hesitate to say: “I will mobilize people around me to cast their Best Actress votes for The Queen as much as possible.”

Hearing this, Harvey Weinstein felt greatly reassured. Although he was a veteran of Oscar PR, if he really went into operation, he might not necessarily lose to Relativity Entertainment, but he was truly wary of Ronan and Relativity Entertainment’s strength.

The Big Six companies in Hollywood had their shares too dispersed; it was impossible to recklessly target a person or company. The people in charge of the Big Six were all professional managers who had to consider all aspects when making any decision.

But Relativity Entertainment was different; many things were entirely a manifestation of Ronan Anderson’s personal will.

A company that was inherently powerful and could make quick decisions, once it became an enemy, would be truly terrifying.

Harvey Weinstein didn’t want the newly established The Weinstein Company to become a second Walt Disney. Moreover, with The Weinstein Company’s strength, it was far from being as resilient as Walt Disney.

Walt Disney was being tormented by Ronan Anderson to the point of being half-dead; if The Weinstein Company were tormented a few times, it would be finished.

Harvey Weinstein immediately responded: “The Weinstein Company can influence the Best Picture and Best Director votes, and they are all for The Departed.”

Ronan smiled and said: “Harvey, I hope we can continue to have a win-win situation in this awards season.”

“Absolutely,” Harvey Weinstein said earnestly. “I believe in that.”

He then said: “Ronan, if the opportunity arises in the future, I hope The Weinstein Company can have more cooperation with Relativity Entertainment.”

Ronan calculated the time and saw that it was still early before Harvey Weinstein’s downfall. This guy was quite skilled in independent small productions, so he immediately said: “No problem. If possible, The Weinstein Company’s overseas distribution can be temporarily handled by Embassy Pictures.”

The newly established The Weinstein Company didn’t yet have overseas distribution capabilities. Previously, Harvey Weinstein had also discussed this business with Ronan. After the Weinstein brothers left Walt Disney and Miramax, they also needed new overseas distributors.

Harvey Weinstein said: “Okay, we can sign a distribution contract. My meaning is, the overseas distribution of The Queen will be handled by Embassy Pictures.”

Previously, at Miramax, overseas distribution was handled by Buena Vista International under Disney.

Ronan said: “Embassy Pictures will give The Weinstein Company the most favorable distribution contract in the industry.”

Chapter 986: An Ordinary Return Gift

After finalizing the cooperation, Ronan and Harvey Weinstein agreed on a general framework. Soon, someone would be sent to discuss the details. The Weinstein Company’s international distribution channels couldn’t be established in a short time, so international distribution for many years to come would have to rely on Relativity Entertainment.

With its powerful marketing channels, Relativity Entertainment had already positioned itself at the absolute upstream of the industry chain.

As for Harvey Weinstein’s personal scandals, they were insignificant in the face of business cooperation.

Even if they were exposed, it would be easy to sever ties.

Moreover, based on past experiences, the MeToo movement was still a decade away from making waves.

If Relativity Entertainment were to determine cooperation based on such matters, they wouldn’t find many partners in Hollywood.

Harvey Weinstein soon took his leave. Before going to lunch, Ronan received a new message from Connie.

Connie had received a call from Wan Qian, an actress from the East, who wanted to visit in the afternoon and asked if Ronan had time.

After a brief moment of thought, Ronan had Connie give an affirmative reply.

The last time they met at the screening of Curse of the Golden Flower, the young actress’s knowing when to advance and retreat had left a good impression on Ronan. He was a little curious about why she had suddenly taken the initiative to visit.

Ronan’s impression of her was excellent, and in some ways, he hoped this good impression could be maintained.

After lunch, Ronan returned to his office and continued with his work. First, he approved a new project submitted by Shai Entertainment.

After a period of discussion, Shai Entertainment had completed the first draft of the script for the first season of Spartacus, as proposed by Ronan, and was preparing to start planning this very violent and explicit series project.

Its scale would absolutely surpass A Song of Ice and Fire: Game of Thrones, making it the largest-scale project Shai Entertainment had undertaken since its establishment.

Netflix Streaming Media had also placed an order with Shai Entertainment.

Ronan naturally approved this project. The series would be produced by Michael Hurst, who had served as the art director for 300, and would also direct.

The success of 300 would be beneficial to the filming and production of Spartacus.

The first season was initially planned for ten episodes, with a production budget of ten million dollars.

For the investment in the first season, this was considered quite high. The investment in period dramas had always been higher than that in modern dramas.

After approving this project, Ronan reviewed the latest progress of some film and television projects from Shai Entertainment.

The crew of Slumdog Millionaire, led by director Danny Boyle, had already entered the filming stage in Mumbai, India, and would soon move into post-production.

Other film projects such as District 9, Zombieland, The Teddy Bear, Hostel 2, Dawn of the Dead 2, and Hairspray were either completed in post-production or in the final stages of post-production, all ready to be released on time in 2007.

Next year, Relativity Entertainment’s top-tier film projects would be led by Transformers and Marvel superhero movies.

There were also animated features from Shai Entertainment Animation Studio and Pixar.

There weren’t many large-scale productions; most were medium-sized investment film projects.

Additionally, after finishing Hurricane Rescue 3, Jerry Abrams submitted a new film project to Ronan.

It was a sci-fi film about the end of the world and monsters, with the script titled Cloverfield.

Jerry Abrams, drawing on the successful experience of Shai Entertainment’s operation of The Blair Witch Project, planned to shoot it as a first-person perspective mockumentary and then promote it through viral marketing.

Of course, this kind of viral marketing would let the audience know it was just movie promotion, and the viral marketing was more about sparking the audience’s curiosity.

Although it was an end-of-the-world monster sci-fi film, according to Abrams’ plan, it only required a production cost of around twenty-five million dollars.

Abrams also suggested to Ronan that if everything went smoothly, he hoped to start filming as soon as possible so that the movie’s advertisements could be shown as trailers for Transformers.

Ronan remembered this film; he had watched it with great curiosity. Although the impression wasn’t particularly deep, he remembered that sequels were made later, and it was said that some companies wanted to buy the rights to adapt it into a TV series.

Based on his past memories, combined with the script and production plan submitted by Jerry Abrams, Cloverfield was very similar to The Blair Witch Project. The difference was that the former actually showed the monster.

Unlike other monster movies, this film looked like it was entirely shot by one person with a DV camera, giving the audience an immersive experience.

In the era of monster sci-fi films, everyone seemed to be repeating the same monster formula.

But film, as an art form, a means of communication, and an industry, had always depended mainly on technological innovation.

Cloverfield stood out from monster sci-fi films in an innovative way.

As a monster sci-fi film and an unprecedented disaster film, Cloverfield was absolutely praiseworthy for its innovations and boldness in filming technology and marketing methods.

Ronan approved Jerry Abrams’ project and then forwarded all relevant materials to Shai Entertainment’s production department and George Clint.

By the time this film was released, The Blair Witch Project had been out for nearly ten years, and viral marketing might once again prove its power.

Moreover, themes of destroying New York or Los Angeles had always had a market in the United States.

As Jerry Abrams wrote in his email to Ronan: “We live in an age full of fear, so imagining some strange and enormous creature attacking the city you live in is truly a very exciting thing. I hope the film can allow the audience to experience that kind of fear where harm is everywhere in an entertaining and safe way.”

Sometimes, Ronan had the illusion that Americans always felt someone was out to get them—whether terrorists or giant monsters. If no one gave them a hard time, they couldn’t seem to get through a single day.

This project was on track and could be released in 2007 or 2008.

There was another project whose files had reached Ronan. Will Smith had obtained the remake rights for The Karate Kid from Sony Columbia Pictures, and Shai Entertainment’s scriptwriting department had completed the first draft of the script.

At Ronan’s suggestion, the new project was renamed The Karate Kid.

The project had an initial budget of thirty million dollars, with Will Smith as the producer, Jaden Smith as the lead, and Tiger Chen as the action director.

Additionally, Shai Entertainment had basically agreed on terms with Jackie Chan, who would play a key supporting role, acting alongside Will Smith’s son.

The negotiations between Shai Entertainment and Jackie Chan were not very smooth. Jackie Chan had enough seniority in Hollywood to demand high salaries.

When filming Around the World in 80 Days, Jackie Chan’s salary reached the peak in Hollywood, with Walt Disney paying him over twenty million dollars, a salary only top Hollywood stars enjoyed.

But the film’s failure caused Jackie Chan’s salary in Hollywood to plummet. However, for Hollywood film companies, Jackie Chan was still a relatively rare resource. To get Jackie Chan to play the supporting role, Shai Entertainment paid a high salary of six million dollars.

It was said that Will Smith had privately given Jackie Chan a promise.

But this was the price Will Smith paid for his son, part of his personal chips, and Ronan didn’t inquire further.

Ronan was very clear that as long as The Karate Kid could be released on the other side of the Pacific, this six million dollar salary would be absolutely worth it.

Although Jackie Chan’s style had remained unchanged for decades, there were too many fans on the other side of the Pacific willing to pay for Jackie Chan.

Moreover, when it was released on the other side of the Pacific, Jackie Chan would absolutely be the male lead in the promotions, and Will Smith’s son would have to step aside.

A knock on the door, and Connie walked in: “Miss Wan has arrived and is in the reception room.”

Ronan nodded slightly and said, “Accompany me there.”

The two left the office and went to the adjacent reception room, where they saw Wan Qian dressed in a women’s suit.

The young Eastern actress politely greeted Ronan and Connie. On the side table, there was a rectangular gift box.

Ronan shook hands with her and politely said, “Miss Wan, please have a seat.”

Wan Qian showed a restrained smile and softly said, “The last time we met, Mr. Anderson gave me a gift. According to our customs, I should return the favor.”

She took the gift box.

Ronan’s gaze fell on the rectangular gift box and said, “Miss Wan is too kind.”

Wan Qian had her own principles in her actions: “Mr. Anderson, this is my return gift. I am going back to my country and may not come to Los Angeles often in the future. The gift you gave me left me with a beautiful memory in this city, and I should return the favor. It’s not expensive, just an Eastern painting made by an elder in my family.”

Ronan could roughly guess what the girl was thinking; she probably didn’t want to owe a favor.

“Thank you.” Ronan didn’t refuse again: “I have always been very interested in Eastern culture.”

Wan Qian handed the gift box to Ronan, feeling relieved inside, and politely smiled as she said, “I won’t disturb Mr. Anderson any longer.”

Ronan put away the gift box, first nodded to Wan Qian, then said to Connie, “See Miss Wan out.”

Connie took Wan Qian out of the reception room and all the way to the first-floor lobby.

In the reception room, Ronan opened the gift box, which contained a very ordinary modern Eastern painting.

An ordinary return gift, suitable for their respective statuses.

It could only be said that this was truly a girl with a gentle and virtuous heart.

Ronan didn’t think much more about it. After Connie returned, he had her put away the painting and place it in the company’s storage room, estimating that it would never be taken out again.

This would be a beautiful memory.

As for the entertainment industry on the other side of the Pacific, Ronan didn’t think about it and didn’t want to consider it. It wasn’t something he should be concerned about.

Hollywood was the foundation of Relativity Entertainment.

Chapter 987: The Hangover

As Christmas drew nearer, the holiday movie season reached its final climactic peak, with films crowding the release schedule, all vying for a slice of the Christmas box office pie.

Paramount’s musical film Dreamgirls upheld the strong performance of the genre since Chicago, revitalizing the musical market. Its North American opening weekend raked in nearly thirty million dollars, with Beyoncé delivering the finest performance of her career as the female lead.

Since becoming a wholly-owned subsidiary of Relativity Entertainment, Big Machine Records had been in constant contact with Beyoncé. However, the success of Dreamgirls made her an overnight sensation, attracting a host of new suitors.

Securing Beyoncé was no easy feat, as Big Machine Records faced stiff competition from Sony Music and Universal Records.

But Relativity Entertainment took a different approach, leveraging its years of collaboration with Chanel to present Beyoncé with an endorsement deal. If she signed with Big Machine Records, she would become the face of a Chanel fragrance.

A top-tier brand endorsement could significantly boost a star’s status. Even if their films or TV projects underperformed, a high-profile endorsement could keep their star power intact.

Beyoncé soon showed signs of leaning toward the offer.

Undoubtedly, Paramount and Beyoncé emerged as the winners of this pre-Christmas season.

Where there are winners, there are inevitably losers.

20th Century Fox found itself among the latter.

In recent years, perhaps due to Ronan’s connection with Relativity Entertainment, 20th Century Fox had developed a close association with epic and fantasy films.

However, the film 20th Century Fox released during this Christmas season had no direct ties to Ronan or Relativity Entertainment.

Dragon Rider fizzled at its North American premiere.

This near-blockbuster, with a production budget of one hundred million dollars, managed only a little over twenty million dollars in its opening weekend, making it an uphill battle to break even.

CinemaScore even predicted that Dragon Rider’s North American box office would plateau around seventy million dollars.

Before Relativity Entertainment’s “dragon ball” could unleash its power and summon the dragon, 20th Century Fox had already taken a hard fall.

Ronan learned that James Murdoch had rushed back to Los Angeles from London, UK, holding meetings at 20th Century Fox for two days.

But he wasn’t worried that 20th Century Fox would abandon summoning the dragon. Those film projects had already seen significant investment, and by Hollywood’s rules, studios would prioritize completing a film over abandoning it.

Abandoning a project midway would mean the tens of millions already invested would go to waste. But if completed, there was still a fifty percent chance of success.

Warner Bros.’ Superman Returns was a prime example. Rather than giving up, they kept pouring money in, even pushing the production budget to a staggering two hundred and seventy million dollars.

Indeed, 20th Century Fox showed no signs of abandoning their dragon-summoning plans. Projects like Roland Emmerich’s 10,000 BC and Ridley Scott’s Pharaoh and the Gods were progressing steadily, with the fastest likely to hit theaters next summer.

Warner Bros. also released Blood Diamond, starring Leonardo DiCaprio. This was one of the few films in DiCaprio’s career to perform poorly at the box office.

With a production budget of one hundred million dollars, it opened widely like The Departed, but its North American opening weekend grossed only eight million six hundred and forty thousand dollars. Warner Bros. would need a long time to recoup their investment.

As everyone knew, Leonardo DiCaprio had an excellent track record in choosing films. Throughout his career, very few of his films had lost money, and Blood Diamond was one of the worst.

The poor reception of Blood Diamond also sealed Leonardo’s fate as a mere nominee at this year’s Oscars.

Speaking of which, Leonardo’s path to winning an Oscar statuette was similar to Martin Scorsese’s—relying not on a single explosive film but on years of accumulated experience and reputation.

It had reached the point where the Academy would feel embarrassed not to give Leonardo an Oscar.

Embassy Pictures, in their PR campaign for Tom Cruise’s Best Actor nomination, largely ignored Leonardo, just as Ronan had planned. Their primary focus was on Forest Whitaker from The Last King of Scotland.

Their strategy mirrored the one used years ago for The Pursuit of Happyness—constantly emphasizing in the media that The Last King of Scotland was an African film, with Forest Whitaker portraying a Ugandan warlord.

Will Smith had gained more influence in Hollywood’s Black community gatherings and was subtly exerting his own sway.

According to him, Black voters in the industry were not strongly inclined to vote for Forest Whitaker.

Ronan had a general idea of Will Smith’s intentions. Will wanted to capitalize on the opportunity created by Clint Eastwood’s public humiliation of Spike Lee to vie for the position of opinion leader among Hollywood’s Black community.

This was a good thing, and Ronan expressed his support.

Will Smith was greatly influenced by him, and through Will, he could sway some of the Black community in the industry.

The tide of social progress was unstoppable, but one could still find ways to benefit from it.

In the weekend before Christmas, Relativity Entertainment also released a film—the premiere of The Hangover, starring Bradley Cooper and Seth Rogen.

Given the film’s modest budget and its typical raunchy comedy style, the premiere was not a grand affair.

The industry wasn’t particularly optimistic about the film, thinking that even if it succeeded, it would at best reach the level of Final Destination.

Before its official release, The Hangover had internal screenings. Since Relativity Entertainment hadn’t produced many comedies, the internal reception was lukewarm. This typical raunchy comedy struggled to gain genuine approval, even within the commercial film circle. Raunchy comedies were considered the lowest in terms of taste, even below gory horror films.

Due to Ronan’s manipulation of the script, the film’s plot remained largely the same as the original.

This was an ensemble piece. The protagonist, the groom, was days away from walking down the aisle to marry the love of his life. Upon hearing the good news, his best friends were genuinely happy for him and decided to throw him a bachelor party. The five of them drove to Las Vegas, the gambling capital, to spend a wild, chaotic night of farewell to singlehood.

Under the influence of alcohol, the five passed out, and when they woke up, they had no memory of the previous night.

That wasn’t the worst of it. The real problem was that only four of them remained in the room—the groom, Doug, was missing! Even stranger, there was a tiger in the bathroom and a baby, no older than a year, in the closet!

Faced with such chaos, the remaining four were at a loss, but they knew time was running out. They had to figure out what happened the night before, and with the wedding just days away, they had to find Doug within two days, or bigger trouble would follow.

They began a series of mishaps as they tried to piece together the truth of the previous night. But as events unfolded, the problems they faced only grew more complicated…

The film’s greatest success was its seamless integration of suspense elements into the raunchy comedy atmosphere.

Suspense is one of the most crucial elements in all film narratives. It can make the audience feel curiosity, anxiety, unease, or sympathy, creating anticipation for the rest of the story. When viewers encounter a perplexing event or an unresolved question, they naturally develop a desire to “solve the mystery.”

Under Embassy Pictures’ operation, the film was released in nearly 3,400 theaters across North America. Surprisingly, the public reception was entirely different from the internal screenings at Relativity Entertainment. Apart from a few media outlets giving negative reviews, most gave it positive ones.

” The Hangover distills the subconscious content of psychoanalysis in its themes and reflects the modern tendency to seek stimulation and revelry due to spiritual repression. In terms of technique, the film adopts a commoner’s perspective, uses suspense to the fullest, and authentically records everyday language, providing visual and psychological enjoyment for the audience.”

A media reviewer’s comment seemed quite reasonable.

Every year in Hollywood, some films are completely overlooked before release, even criticized by media and film critics during test screenings, but after release, they achieve unexpectedly high box office numbers.

The Hangover was one such film.

After the first three days of its opening weekend, the film, showing in 3,360 theaters, grossed seventeen million five hundred and forty thousand dollars on its first day alone. The North American box office for the opening weekend totaled forty-seven million eight hundred and eighty thousand dollars, with an average of over fourteen thousand dollars per theater. For a film with a production budget of only twenty-five million dollars, the box office was phenomenal.

Even more astonishing was CinemaScore’s bold prediction—they believed The Hangover’s final North American box office would exceed two hundred and fifty million dollars!

Considering the film’s marketing costs, the total investment was only fifty million dollars.

“An unexpectedly delightful film,” “A clichéd plot with hilarious dialogue,” “Completely immersed in the film, with scenes constantly replaying in my mind,” “The film is genuinely funny, not forced or pretentious, and its presentation is surprisingly satisfying,” “Extremely satisfying!” Although media reviews were generally conservative, the overwhelming audience response spoke volumes about the must-see nature of this R-rated comedy.

Before Christmas, Ronan left Los Angeles.

Chapter 988: Focused Entirely on Work

After disembarking from the plane and leaving the airport, Ronan took a car into Rio de Janeiro’s financial district, where the crew of Fast & Furious 4 was filming on location.

The outdoor shooting for this film was nearing its end, and in about ten days, they would transition to studio filming.

Arriving at a main road in the financial district, which had been temporarily closed off by the Rio police, Finch went to negotiate, and Ronan’s car, along with his bodyguards, quickly entered the restricted area. Before they even reached the filming location, the sound of explosions rang out, mixed with collisions and the shattering of glass.

David parked the car, and Ronan put on a pair of sunglasses before stepping out and walking toward the set.

Rio de Janeiro, located in the Southern Hemisphere, was in the midst of its hottest summer. The scorching sun beat down on the asphalt, making it feel sticky underfoot.

The screech of brakes pierced the air as a high-powered black sports car executed a perfect drift before speeding down the road like a bolt of lightning.

The Fast & Furious 4 crew had gathered some of Hollywood’s best stunt drivers.

Following Ronan’s instructions, Jessica Felton and Justin Lin ensured that any scenes with even a hint of danger were handled by highly specialized stunt doubles.

Actors like Paul Walker, who wanted to satisfy their craving for wild street racing during filming, were absolutely not allowed to do so.

Outside the set, they could race however they pleased, but during filming, they had to adhere strictly to the terms of their contracts.

Serious injuries or fatalities among the main cast during filming would be an enormous headache for any production.

The Actors Guild and other public interest organizations were never just for show in this regard.

If an actor were to die suddenly during filming, the Actors Guild could investigate the production, and the combined insurance and compensation payouts would be enough to make even Relativity Entertainment wince.

Perhaps Hollywood had too many outrageous things, but when it came to protecting the rights of guild members, it was absolutely top-tier in the global entertainment industry.

Even someone of Ronan’s stature would not take the Actors Guild and Directors Guild lightly—organizations that could find fault even where there was none.

As for environmental protection associations and animal rights groups, any Hollywood production company would break out in a cold sweat at the mention of their names.

No one wanted to deal with them.

Fortunately, in a place like Brazil, these organizations had little room to operate and wouldn’t jump out to cause trouble for the crew.

Ronan did not disturb the crew’s normal work. He went under a large sun umbrella, casually ordered a cold drink, and sipped it while watching the crew bustle about.

Justin Lin was busy coordinating the normal filming, completely swamped.

At first, Ronan did not see producer Jessica Felton. Later, he spotted her under the awning of a building not far from the filming location, communicating with several Brazilians, one of whom was wearing a police uniform—likely a worker from a Rio de Janeiro government agency.

Ronan had an extremely poor impression of Rio’s public security, especially since he had almost once bought the copyright to City of God. He turned to Finch beside him and asked, “Has the crew encountered any safety issues here?”

“No,” Finch immediately replied. “Rio takes the crew very seriously, and the crew’s security forces are strong enough.”

A burst of chaotic noise came from the filming location as the sweaty crew members suddenly dispersed, seeking shade, grabbing cold drinks, and gulping them down during a brief rest.

Ronan made his way to where the directing team was. Justin Lin, seeing Ronan appear suddenly, was quite surprised and quickly came over to greet him.

“Is the filming going smoothly?” Ronan asked without explanation.

Justin Lin said, “The progress is slightly behind schedule, but the Rio City Hall has given us more time than originally planned, and the police have been very cooperative. I’m confident we can finish all the outdoor scenes within ten days.”

Ronan reminded him, “Be careful about safety.”

Justin Lin understood his meaning and said, “I know. The crew won’t let the actors take unnecessary risks.”

“When did you get here?” A slightly excited female voice came from behind him, followed by quickening footsteps. “Ronan, when did you arrive in Rio?”

Ronan turned around and saw Jessica Felton. Smiling, he said, “Just now. I came straight from the plane.”

Jessica Felton held a folder in her hand and, probably because of the heat, lightly fanned herself. She asked curiously, “Why did you suddenly come to Rio?”

Ronan took a cold drink, opened it, and handed it to Jessica Felton, saying, “Have a drink to cool down.”

Jessica Felton didn’t stand on ceremony with Ronan. She took it and drank a couple of sips. Seeing Justin Lin and the directing team busy again, she said, “This isn’t the place to talk. Let’s go to the rest area.”

Ronan nodded slightly. “Let’s go.”

Jessica Felton led the way to an area with large sun umbrellas set up.

Ronan followed, saying, “Rio’s weather is really unbearable. A hot Christmas that’s hard to endure.”

“Feels weird, right?” Jessica Felton laughed, adjusting her sunglasses. “Santa Claus in Rio wears a bikini.”

Ronan shrugged and followed Jessica Felton under the sun umbrella, his gaze falling on her.

Jessica Felton wore a well-fitted white short-sleeved T-shirt and light blue seven-eighths jeans. Through the mesh of her sports shoes, one could faintly see her small, light red toenails.

Her arms, originally exposed, were covered with white ice sleeves. On top of her sunglasses, she wore a light-colored sun hat. Her brown hair was tied into a ponytail, falling behind the sun hat.

Despite being covered up, her fiery figure was still on full display.

However, based on his rich experience, Ronan judged that Jessica Felton’s chest seemed to have decreased by a cup size since they first met.

Jessica Felton asked again, “Ronan, why did you suddenly come? You didn’t even call before coming.”

Ronan smiled and said, “It’s Christmas. I came to see you.”

“Did something go wrong with the crew’s work?” Jessica Felton’s first thought was naturally about work. “Or did something unexpected happen?”

Ronan shook his head slightly. “No.”

Jessica Felton, entirely focused on work, immediately thought of some things and said, “Is it because I didn’t give the crew a holiday? Did someone report it to you?”

Ronan simply went along with her words and asked, “By the way, why isn’t there a holiday for Christmas?”

Jessica Felton seriously explained, “Rio de Janeiro will soon start preparing for Carnival. At that time, the crew won’t have the same freedom to close roads for filming as they do now. We must finish all outdoor filming by early January next year. I’m worried about unexpected situations, so after discussing with the main crew members, we decided to work overtime.”

She thought for a moment and added, “I’ve also made a lot of preparations, like chartering a plane to invite the crew members’ families to visit the set in Brazil. Tonight, I’ve also booked the hotel’s beach for a Christmas party. The crew shouldn’t have too many complaints about not having a holiday…”

Overtime filming was actually common in Hollywood. As long as the crew members’ rights and overtime pay were guaranteed, no one would actively cause trouble.

The sun umbrella blocked the dazzling sunlight. Ronan took off his sunglasses, wiped the sweat, and said, “Jesse, you’re the person in charge of the crew. These matters are within your authority. I just came to see you. Nothing else.”

Jessica Felton took another sip of her cold drink before saying, “I thought something serious had happened in the crew that I wasn’t aware of, and it had alarmed you.”

Ronan couldn’t help but laugh. “We’ve known each other for so many years. If there really was a situation, would I not let you know?”

Jessica Felton, entirely focused on work, replied, “That’s not necessarily true.”

Strictly speaking, she was an employee of Relativity Entertainment, and Ronan was the boss. If the crew really had a serious problem, Ronan would inevitably interfere.

Ronan didn’t want to talk about work anymore and took the opportunity to change the subject. “The crew is having a Christmas party tonight?”

“Yes, the hotel has already prepared everything.” Jessica Felton couldn’t help but bring up work again. “After all, it’s Christmas. No matter how much overtime pay we give, we need to provide the crew with a way to celebrate and revel. Only then can we ensure the work efficiency in the following days. Currently, the crew’s filming progress is slightly behind schedule, so we need to catch up as soon as possible.”

For some reason, Ronan suddenly felt a sense of helplessness. After a few seconds of silence, he said, “I’ll stay for the party. You won’t mind, will you?”

“You’re attending?” Jessica Felton shook her head very seriously. “To be honest, neither you nor I should attend. They won’t be able to relax.”

This was indeed the truth, and even Ronan couldn’t deny it.

As the boss of Relativity Entertainment, Ronan’s status was there.

And as the producer of the crew, it would be a very foolish act for Jessica Felton to lower herself and celebrate with the crew members.

Finch’s phone suddenly rang. He stepped out from under the sun umbrella to answer, said a few words, and then walked back, whispering something in Ronan’s ear.

Ronan’s eyebrows immediately furrowed. He looked at Jessica Felton and said, “I can’t attend either. I need to rush back to Los Angeles now.”

Jessica Felton immediately asked with concern, “What’s wrong? Did something happen?”

Ronan slowly nodded and said solemnly, “I just received a notice from Warner Bros. There’s been an unexpected situation in the The Dark Knight crew. I need to go back to Los Angeles immediately to discuss how to handle it with Warner Bros.”

“Work comes first.” Jessica Felton said, “Don’t worry about the Fast & Furious 4 crew. I’ve got it covered.”

Ronan sighed lightly and said, “Give everyone my Christmas greetings at the party.”

Without saying more, he turned to Finch and said, “Have the crew handle the takeoff and flight path quickly. Let’s hurry back to Los Angeles.”

Finch had already contacted Ronan’s private jet crew. By the time they returned to the airport, they could take off immediately.

Ronan could only sigh inwardly. He had warned them so many times, but since they didn’t listen, what was bound to happen would inevitably come.

Chapter 989: Indivisible

The black Rolls-Royce Phantom ascended the ramp and slowly came to a stop in front of the Warner building. A senior assistant from Warner Bros, who had been waiting there, immediately approached the car and opened the door. Connie and Ronan stepped out of the back seat one after the other.

“Good morning, Mr. Anderson,” the senior assistant said immediately. “Please follow me.”

Ronan gave a slight nod, his expression unusually solemn, and followed him into the Warner building.

Connie, as always, silently trailed behind Ronan.

The group took a dedicated elevator directly to the top executive floor of Warner Bros, then arrived at the door of a conference room.

Two security guards stood watch outside the conference room, which seemed a bit unusual.

Ronan didn’t say anything. In fact, Connie had reported the detailed situation last night. More than a day had passed, and with Warner Bros’ rich experience in handling such matters, they had likely already come up with a preliminary response plan.

Such seemingly tragic events were never bad for movie companies. In fact, they could even…

Ronan didn’t dwell on it further and entered the conference room with Connie.

“Mr. Anderson…”

“Good morning, Ronan.”

Greetings echoed one after another. The conference room was filled with many people: Kevin Tsujihara, the Chief Executive Officer of Warner Bros; Diego Harris, the Executive President of DC Comics; Charles Roven, the renowned producer of Warner Bros; George Clint, the Chief Executive Officer of Shai Entertainment; and Christopher Nolan, the director and executive producer of The Dark Knight.

With Ronan’s arrival, all the heavyweight decision-makers for The Dark Knight were present.

The last time so many people had gathered for a meeting was during the project approval discussion for The Dark Knight.

Ronan found a random seat at the conference table, pulled out the chair, and sat down.

Charles Roven, who was presiding over the meeting, saw that everyone had arrived and first addressed Ronan: “I’m very sorry, Ronan, for interrupting your vacation in Rio de Janeiro. There has been a serious situation with the The Dark Knight crew. I don’t know if you’ve heard about it?”

“It’s fine,” Ronan said expressionlessly. “I’ve already been informed about Heath Ledger’s passing. It’s tragic…”

Charles Roven agreed: “Yes, it’s a tragic loss. Hollywood has lost a young actor of immense talent.”

Someone else chimed in: “May he rest in peace.”

“God will bless him.”

The group spoke words of sorrow and mourning, but none of their faces showed any genuine grief.

Charles Roven, presiding over the meeting, then got to the point: “Ladies and gentlemen, let me brief you again. Yesterday morning, during the Christmas period, Heath Ledger, the Australian actor who played the Joker in The Dark Knight, was found deceased in his New York apartment. The New York police and the FBI have since intervened in the investigation.”

He cleared his throat and continued: “The New York police officially announced Heath Ledger’s cause of death this morning. It was an accident. Heath Ledger died from acute drug intoxication. Six addictive substances were detected in his body…”

No one in the room was surprised by this news. Due to their involvement in The Dark Knight, they had all heard something about the main actors’ situations.

Moreover, accidents involving drugs in Hollywood were not uncommon. People were still talking about River Phoenix.

As for feelings of sorrow and mourning, who could expect these Hollywood big shots to be genuinely distressed?

Kevin Tsujihara remained composed, as if this would not have any negative impact on Warner Bros or The Dark Knight.

Diego Harris seemed lost in thought, apparently distracted.

Ronan still showed no expression, just sitting at the conference table, listening to Charles Roven’s update on the latest situation.

George Clint glanced at Ronan but made no indication. He had almost no impression of Heath Ledger.

Christopher Nolan felt some regret. The young Australian actor had been extremely talented. It was a shame…

Before the filming began, he had discussed Heath Ledger’s situation with Ronan, believing that as long as there were contractual restrictions, Heath Ledger wouldn’t cause trouble for the crew. Now, looking back, he realized he had been a bit naive.

Contractual terms could only restrain someone for a while.

Such a young actor with a promising future was truly a pity.

Connie sat to Ronan’s left, feeling no sorrow, not even a hint of sympathy.

She had witnessed Ronan advising Heath Ledger at least twice. What was the result?

Charles Roven then said: “Ladies and gentlemen, Heath Ledger was a supporting actor in The Dark Knight, but as everyone knows, the Joker is the true protagonist of the film. Heath Ledger’s passing will inevitably have an impact on our movie project.”

Everyone present understood this. If the actor playing the male lead in a movie died, how could the film not be affected?

Charles Roven asked: “Regarding Heath Ledger’s passing, does anyone have any thoughts or suggestions?”

As he spoke, his gaze fell on Ronan.

But Ronan sat there, maintaining his silence, his expression unchanged from the beginning. He showed no intention of speaking.

George Clint spoke up: “On behalf of the crew, we should first send our condolences to the family, then make a public statement in the media to mourn Heath Ledger.”

Christopher Nolan, being a director, was more conscientious than the other big shots in the room: “I should go to New York to see Heath Ledger’s family. After all, we worked together, and it’s only right to see it through to the end.”

“That’s fine,” Charles Roven had no objections. “What George and Christopher said is also what we plan to do next.”

Kevin Tsujihara interjected: “Warner Bros and DC Comics will issue separate statements of mourning.”

Connie glanced at Ronan and said: “Relativity Entertainment will also issue a separate statement. Including The Dark Knight, Heath Ledger has collaborated with Relativity Entertainment twice.”

Those present were all industry insiders and immediately thought of Brokeback Mountain, which had been a huge success at the last Oscars. Heath Ledger had been the male lead and even received a Best Actor Oscar nomination for it.

Ronan didn’t want to say much. Since returning to Los Angeles last night and learning about the situation, he had decided that neither Relativity Entertainment nor Shai Entertainment would do anything beyond the routine mourning for Heath Ledger.

That morning, Ronan had personally called Michelle Williams. Although Michelle Williams had already parted ways with Heath Ledger, she had immediately taken their daughter back to New York the day before.

From Michelle Williams, Ronan had learned more about Heath Ledger’s situation.

But none of that mattered anymore. Facts were no match for the enormous lure of profit. Warner Bros was not facing the death of a main creative team member for the first time; they were experienced in this regard.

The facts didn’t really matter because once Warner Bros’ massive propaganda machine was set in motion, they could turn falsehoods into truths.

If someone asked about Heath Ledger later, Ronan would definitely say that an actor as outstanding as him came along only once every fifty years.

After all, River Phoenix had already become a once-in-a-century super genius.

But in today’s meeting, Ronan neither wanted to say much nor needed to.

This was Warner Bros and DC Comics’ home turf.

Sure enough, Charles Roven raised his voice: “We must face one fact: Heath Ledger’s passing will have a huge impact on our jointly invested The Dark Knight!”

He looked at Ronan and George Clint and continued: “This cannot be ignored. We need to prepare in advance. How should we handle the impact of Heath Ledger’s passing on The Dark Knight?”

Since Charles Roven had brought this up, Warner Bros and DC Comics must have a plan.

Therefore, neither Ronan nor George Clint responded, maintaining their silence and completely letting Warner Bros take the lead.

“Heath Ledger’s passing is tragic. For the The Dark Knight crew, for the entire Hollywood, for the film industry, it is a tremendous loss,” Charles Roven said. These words seemed like a routine matter, yet also like a rehearsal for a public media statement: “When everyone should be going crazy for Heath Ledger, he has left us forever!”

No one in the room took these words seriously.

Kevin Tsujihara spoke softly: “Ladies and gentlemen, the Joker was Heath Ledger’s last role…”

Christopher Nolan, being a director, was relatively more pure in his thoughts compared to the other big shots in the room. He didn’t understand the underlying meaning of Kevin Tsujihara’s words and interjected: “After the Joker in The Dark Knight, Heath Ledger also took on the lead role in Sony Columbia Pictures’ The Imaginarium of Doctor Parnassus. As far as I know, the filming for that movie has already been completed.”

Undoubtedly, according to the actual situation, Kevin Tsujihara’s statement that the Joker was Heath Ledger’s last role didn’t hold up.

Kevin Tsujihara frowned slightly, looking at Christopher Nolan with some displeasure.

Christopher Nolan wasn’t stupid and immediately realized he had said the wrong thing. He promptly fell silent. Among everyone in this meeting room, he had the least say.

Ronan clearly understood Kevin Tsujihara’s meaning. Upon hearing these words, he also knew that Warner Bros and DC Comics were truly prepared.

In the face of enormous profits, the massive media platforms and propaganda machines of Warner Bros and its parent company, Time Warner, were unstoppable.

Moreover, why would he want to stop them?

Charles Roven raised his voice: “We need to make everyone realize that the Joker was Heath Ledger’s last role. Heath Ledger poured all his heart and soul into the Joker. His passing and his 200% dedication to the Joker are inseparably linked!”

Chapter 990: Death by the Joker

The resounding voice fell, and the conference room fell into a brief silence. Everyone was deep in thought, considering what would best serve their interests.

Since reality could not be reversed, they had to face it head-on.

“Heath Ledger’s passing is an irreversible fact. Amid our grief, we should ensure that his most important work reaches as many audiences as possible,” said Diego Harris, the executive president of DC Comics, speaking slowly. “I believe Heath Ledger in heaven would want The Dark Knight to succeed.”

Though no one responded, everyone present hoped for The Dark Knight’s success—especially its commercial triumph.

Charles Roven then added, “Fans deserve a proper way, a proper film, to mourn Heath Ledger. The Dark Knight is undoubtedly the best choice.”

At this point, even Christopher Nolan, whose instincts were somewhat dull, understood what Warner Bros and DC Comics were planning.

“Heath Ledger’s last film was actually The Imaginarium of Doctor Parnassus from Sony Columbia Pictures, where he played Doctor Parnassus,” Charles Roven bluntly stated. “If Sony Columbia reacts quickly, The Imaginarium of Doctor Parnassus could become the biggest beneficiary.”

He wasn’t finished. “Fortunately, according to reliable sources, The Imaginarium of Doctor Parnassus has just finished filming and hasn’t entered post-production. The budget is also low, so Sony Columbia won’t be able to seize this opportunity immediately.”

Kevin Tsujihara chimed in, “Therefore, we must act fast. We need to get ahead of Sony Columbia, creating a fait accompli through media and publicity before they realize what’s happening. We want fans and public opinion to assume that The Dark Knight is Heath Ledger’s final film, that the Joker is his last role, and that the Joker and The Dark Knight are the best ways to honor him. Missing this film and this role means missing Heath Ledger forever!”

George Clint nodded slowly. Heath Ledger wasn’t an unknown actor—he was a star nominated for Best Actor at the Oscars. His death was inglorious, but that didn’t matter. Warner Bros and Relativity Entertainment held significant media influence and could shape narratives through public opinion.

Moreover, audiences were always forgiving toward the deceased. Once a wave of mourning took hold, the impact of a dead person far surpassed that of the living.

George Clint had firsthand experience. When The Bourne Identity was released, they had capitalized on Robert Ludlum’s death, with results far exceeding expectations.

Charles Roven continued, “As Kevin said, we must launch our publicity campaign before Sony Columbia reacts. The core message is clear: Though Heath Ledger died from acute drug intoxication long after filming The Dark Knight—even starring in The Imaginarium of Doctor Parnassus in between—these details can be overlooked.”

No one in Hollywood’s film promotions found Charles Roven’s approach inappropriate. Exaggeration was standard practice.

Charles Roven turned to Christopher Nolan. “I recall you mentioning that Heath Ledger locked himself in a hotel for over twenty days to prepare for the Joker.”

Christopher Nolan confirmed, “That’s true.”

“Good. We’ll stick to that story,” Charles Roven declared firmly. “Because of his deep immersion in the Joker’s role, Heath Ledger couldn’t escape it.”

Hearing this, Christopher Nolan’s expression flickered slightly. As the director, no one understood the actors’ state better than he did.

Heath Ledger had already finished another film, The Imaginarium of Doctor Parnassus, after playing the Joker. Claiming he still hadn’t escaped the role was outright fabrication.

If this had been early in his Hollywood career, Christopher Nolan would have vehemently objected. But after years in the industry, he knew protesting would be futile and might even offend Warner Bros’ executives.

Christopher Nolan wisely chose to remain silent.

The others, including Ronan, didn’t care. They had personally participated in countless Hollywood publicity deceptions. Charles Roven’s suggestion didn’t faze them.

Charles Roven, a seasoned Hollywood producer, had no moral qualms. “While filming The Dark Knight, Heath Ledger isolated himself in a hotel room for a long time to study the Joker’s psychology—repeatedly practicing lip-licking, hair-smoothing, and speech patterns—ultimately creating his version of the Joker. But because he delved too deeply into the role, he couldn’t fully escape it. Unable to bear the post-performance pressure, he turned to drugs, leading to his fatal overdose.”

Silence fell over the conference room once more.

Christopher Nolan gasped, his perception of Hollywood’s moral boundaries shattered.

Could rumors be fabricated like this? Could news be distorted so blatantly?

This was at least ten thousand miles from the truth!

Kevin Tsujihara reiterated Charles Roven’s point: “Heath Ledger’s death resulted from his deep immersion in the Joker’s role during The Dark Knight, unable to extricate himself, ultimately driving him to despair. To escape this terrifying state, he resorted to drugs.”

Charles Roven added, “This aligns with what Heath Ledger’s fans expect. They’ll embrace this narrative, even spreading it themselves to draw more attention.”

Once this narrative took hold, even if someone revealed the truth, the fans influenced by this deification campaign would defend it fiercely, attacking those who spoke the truth.

By then, truth wouldn’t matter. The impact and appeal Heath Ledger’s death brought to the film would be undeniable.

No one present understood better than Ronan what this would achieve.

The once-dominant narrative about Heath Ledger’s death was that he couldn’t handle the pressure after playing the Joker, leading to his depressed, drug-induced demise.

Truth? Did it matter? Even if revealed, Heath Ledger’s fans would drown out the truth with their fervor.

In their eyes, Heath Ledger was born for the Joker and died for the Joker.

This was the inevitable result of Warner Bros’ “deification” propaganda.

Charles Roven further stated, “Starting this afternoon, Warner Bros will release various promotional materials about the Joker alongside Heath Ledger’s news. We hope everyone will cooperate.”

Diego Harris immediately responded, “DC Comics has no issues.”

George Clint agreed, “Shai Entertainment will fully cooperate.”

Ronan pondered briefly before saying, “Charles, I currently don’t have the time or energy to manage this. How the Dark Knight crew cooperates will be decided by you and Director Nolan.”

Though Christopher Nolan felt somewhat uncomfortable, he knew his voice carried little weight. “I will cooperate with Warner Bros.”

Charles Roven nodded. “I will.”

Kevin Tsujihara said, “Ronan, Warner Bros will take the lead on this publicity campaign.”

“That’s fine,” Ronan replied without objection. “If you need Shai Entertainment’s assistance, coordinate with George.”

Charles Roven then added, “I’ll convene the main creative team tomorrow to unify our external messaging.”

Ronan waved his hand. “Charles, the crew is your and Director Nolan’s responsibility.”

Concerned about Warner Bros and DC Comics’ significant interests, Kevin Tsujihara worried that Charles Roven might not control the Dark Knight crew’s main creators if Ronan didn’t participate. “I’ll personally attend the main creative team meeting tomorrow.”

Charles Roven also breathed a sigh of relief. “The crew’s external messaging only needs to be unified for a year. After that, they can say whatever they want.”

Over time, lies became truth. Even if the truth came out, most people would choose to ignore it.

Warner Bros’ media influence was undeniable, with a powerful ability to shape public opinion.

“Then let’s act quickly,” Charles Roven concluded. “We cannot let Sony Columbia take the initiative.”

The meeting ended, and Ronan and others gradually left. Charles Roven and Kevin Tsujihara remained, soon joined by several Warner Bros PR and publicity department heads and specialists to discuss implementation details.

Additionally, Warner Bros would send professional PR experts to meet Heath Ledger’s family. Securing their cooperation would make the plan proceed more smoothly.

This wasn’t difficult. The man was already gone, and reality was undeniable. Warner Bros had many ways to persuade them.

Even if they couldn’t be persuaded, Warner Bros’ plan would proceed regardless. Against the tide of public opinion, Heath Ledger’s family’s voice would carry no weight.

Since receiving the news yesterday, Warner Bros, including Charles Roven, had been considering all aspects, formulating the most advantageous publicity plan for The Dark Knight.

Such a heaven-sent opportunity was not to be missed by Warner Bros and DC Comics.

As for the rest, Charles Roven and Kevin Tsujihara had no interest or intention of managing it.

Speaking of which, if Warner Bros missed this opportunity, Sony Columbia Pictures would not sit idly by once they realized what was happening.

Chapter 991: Deification

“That concludes today’s meeting.”

In the Warner Bros. conference room, Charles Roven, who presided over the meeting, let his gaze sweep across the faces of the main creative team members—Christian Bale, Morgan Freeman, Gary Oldman, and others—before emphasizing once more, “Finally, I must reiterate that each of you has signed a contract with the production team. You are obligated to cooperate with the promotion of The Dark Knight.”

The room fell silent. Everyone remained quiet, but their silence was a tacit agreement.

In Hollywood film promotion, there were far more extreme demands than this. It was hardly worth mentioning.

After all, they were only being asked to praise Heath Ledger in any public setting, in front of any media or fans, and to speak at length about the extraordinary efforts Heath Ledger had made for the role of the Joker.

They were all magnanimous enough not to quibble with a man who had already passed away.

As the meeting ended, most people gradually left the conference room.

Some lingered behind.

Christian Bale and Gary Oldman walked out of the conference room at a leisurely pace and entered the elevator together. By then, everyone else had already taken the elevator and left. The spacious elevator was empty except for the two of them.

“Warner Bros. sure knows how to spin a tale,” Gary Oldman said bluntly. “Heath Ledger died because he played the Joker? That’s a load of nonsense.”

Christian Bale replied, “Actually, I spoke with Heath Ledger on Christmas Eve.”

Gary Oldman asked curiously, “Was he okay then?”

“We had a great conversation on the phone, even cracked jokes with each other. Heath Ledger talked about his plans for his future career,” Christian Bale said simply. “He was proud of his performance in Batman. He wanted to be in the third Batman film. He said he loved working with Christopher Nolan and that filming had been the best time of his life. He even did the Joker’s voice and laugh for me over the phone. We were both in high spirits.”

Gary Oldman had gotten along well with Heath Ledger during filming and spoke frankly, “We all know the Joker didn’t kill him. If anything, it was the opposite. Heath Ledger had a great sense of humor—something only his close friends and family knew. He really enjoyed playing the Joker.”

Christian Bale shrugged slightly. “We know the truth, but let’s just go along with Warner Bros.’ version. It was his own mistake. You can’t blame others. He took those drugs, and you can’t pin that mistake on someone else, even if it’s hard to accept.”

Gary Oldman nodded. Just then, the elevator arrived, and he and Christian Bale stepped inside.

As actors, cooperating with the production and distribution team’s promotional efforts was a necessary responsibility.

That afternoon, Warner Bros. launched a massive “deification” campaign, striving to build a positive image of Heath Ledger. They shifted the blame for his drug addiction onto the role of the Joker, sparking public attention and sympathy, and initiating a series of memorial and mourning activities.

Society was always more forgiving of the deceased.

Just think—an actor so deeply immersed in his role that he couldn’t escape it would evoke how much public sympathy and attention?

Warner Bros.’ Entertainment Weekly and Empire magazines published carefully crafted memorial articles about Heath Ledger.

“In early December, Heath Ledger told a reporter from this publication during an interview that he was ‘a bit too tense’ while playing the Joker in The Dark Knight. While filming The Dark Knight, he faced sleep problems because of his portrayal of the ‘psychotic, remorseless mass murderer, the Joker.’”

“During the interview, he said, ‘Last week, I could only sleep two hours a night. I couldn’t stop thinking. My body was exhausted, but my mind kept racing.’ He said he had to take two sleeping pills every night, but they only worked for two hours.”

“The Dark Knight becomes Heath Ledger’s final masterpiece!”

The death of a star always attracted widespread attention. Even during awards season, Heath Ledger remained the focus of entertainment news.

Most of the news emphasized the supposed immense distress the role of the Joker had caused Heath Ledger.

“Perhaps the Joker’s madness brought Heath Ledger trouble. The Dark Knight director Christopher Nolan said in an interview: The Joker was a huge challenge for Heath Ledger. His portrayal was incredibly original and terrifying, extremely marginalized. It was a very young role, utterly lawless, injecting a lot of primal terror and panic into our hearts. And Heath Ledger achieved a level that shocked me.”

“To shock Christopher Nolan with his performance, one can imagine how much heart and effort Heath Ledger poured into the role of the Joker.”

Warner Bros. was indeed formidable. They somehow dug up an old interview video of Heath Ledger and posted it online.

In the interview, Heath Ledger happened to mention death, saying—“I feel good about death.”

For a time, the American media was abuzz. Some mourned the loss of a young talent, but more speculated about the cause of his death.

Relativity Entertainment also released a statement of mourning for Heath Ledger through Netflix sharing.

“We are deeply saddened and shocked by this accident. This is an extremely difficult time for those who loved him. I ask the media to respect his family’s privacy. We deeply mourn Heath Ledger, who interpreted The Dark Knight and the role of the Joker with his life, perfectly concluding his acting career.”

“Mr. Ronan Anderson also considered whether to remove the posters and trailers featuring Heath Ledger as the Joker but ultimately decided to keep them as a testament to an outstanding actor’s legacy. When the lights dim in theaters next year for The Dark Knight, please remember that the Joker on the screen has departed…”

This eulogy was soon reposted by many websites and media outlets, appearing prominently on various platforms.

Under the guidance of Warner Bros. and related media, more and more people began to speculate whether playing the dark and terrifying Joker had placed an unbearable burden on Heath Ledger.

Once a suitable angle for hype was found, Hollywood’s massive promotional machine often unleashed unimaginable energy.

Ronan also mentioned Heath Ledger in an interview with media reporters, though he didn’t say much: “Heath Ledger’s passing is heartbreaking! My two collaborations with him on Brokeback Mountain and The Dark Knight are among the most unforgettable moments of my life. He brought the role’s joy, anger, sorrow, and happiness to life better than anyone could have imagined. His love, sincerity, and passion for life made everyone who knew him fall in love with him.”

Ronan did not hesitate to shower Heath Ledger with praise.

Similarly, Warner Bros.’ “deification” campaign was filled with praise for Heath Ledger, growing more intense by the day.

Kevin Tsujihara of Warner Bros. also stepped forward personally.

“Heath Ledger’s departure is an unbearable pain for everyone, especially his family and friends. When you’re a filmmaker and feel responsible for an actor, there’s only one reason: their excellence in front of the camera has conquered you.”

News about Heath Ledger soon overshadowed all other entertainment news. Even as 2007 began, he remained the focus of public opinion.

Some fans even began spontaneously organizing memorial activities in public spaces.

Under Warner Bros.’ promotional hype, The Dark Knight became a sensation before its release. The Joker surpassed Batman, becoming the central figure in posters, trailers, and all promotional materials.

Originally the protagonist with a halo, the Joker truly became the main character of The Dark Knight.

Some clear-headed individuals could see through Warner Bros.’ intentions, but public opinion had a massive influence, and many people were blindly following.

This was only one aspect. Warner Bros. did far more than imagined. While publicly portraying Heath Ledger as a brilliant actor who gave everything for his role, behind the scenes, they put considerable effort into shaping the narrative around his death.

For instance, many media outlets kept the cause of Heath Ledger’s death shrouded in mystery. By mid-January, several media outlets and websites revealed that Heath Ledger’s death was related to drugs. Reports claimed that Heath Ledger had shown erratic behavior on the set of The Dark Knight, suffering from severe insomnia, constant confusion, and poor relationships with other crew members and actors.

Then, others came forward to debunk these reports, sparking further debate.

Debate often generated even more attention.

Warner Bros. was no stranger to this type of operation and had ample experience.

Whether deifying or defaming, everything was done to ensure The Dark Knight received maximum attention upon release.

In January 2007, industry evaluations of the most anticipated films of 2007 placed The Dark Knight at the top of every media outlet’s list!

Could anyone expect Warner Bros. to abandon using Heath Ledger for promotion?

The answer was obvious.

Hollywood was never a simple circle. Like any business world, it was filled with struggle and entanglement, even magnifying these profit-driven conflicts countless times.

Heath Ledger was neither the first nor the last to be used in such promotions.

Moreover, Heath Ledger’s family had already reached an agreement with Warner Bros. If even his family didn’t object, outsiders had no need to interfere.

Here, those with pure hearts who believed they could make it in Hollywood with passion, talent, and hard work alone would only be ruthlessly assimilated or devoured by the industry.

Although The Dark Knight was still nearly half a year away from release, the market explosion for this film was already foreseeable.

Chapter 992: Indian Film Culture

New York, Manhattan.

A black Mercedes-Benz car stopped in front of the funeral home. Ronan, dressed in a black suit, stepped out of the car, ignoring the flashing cameras and the reporters’ loud requests for interviews. With a solemn expression, he walked into the funeral home.

This was the memorial service held by Heath Ledger’s family for him. Afterward, with the assistance of the Australian Consulate, Heath Ledger would be returned to his hometown in Australia for burial.

Ronan first placed a bouquet of fresh flowers in front of Heath Ledger’s portrait, then shook hands with Heath Ledger’s parents and sister one by one.

“Please accept my condolences.”

At this moment, any words were superfluous, and Ronan didn’t know what else to say.

Heath Ledger’s parents suppressed their grief: “Thank you.”

Ronan, led by Heath Ledger’s sister, went to the lounge next to the memorial hall.

“Thank you, Mr. Anderson,” Heath Ledger’s sister said softly. “I heard from Michelle that you tried to persuade Heath several times, but he wouldn’t listen…”

Ronan lowered his voice and said again, “Please accept my condolences.”

Heath Ledger’s sister, with tears in her eyes, silently nodded, leading Ronan into the lounge, then returned to the memorial hall alone.

There were already many people in the lounge, most of whom Ronan knew, such as Christian Bale, Christopher Nolan, Michelle Williams, Jack Gyllenhaal, and Ang Lee.

Everyone looked grave, all silent.

Ronan went to Michelle Williams’ side: “Michelle, please accept my condolences.”

Michelle Williams immediately said, “He was too stubborn, too stubborn.”

Ronan didn’t know what to say.

“I tried to persuade him, but it didn’t work,” Michelle Williams said hoarsely. “Ronan, you also tried to persuade him, but he wouldn’t listen.”

The lounge was too quiet, and everyone’s gaze turned to Michelle Williams.

Michelle Williams said, “Because of drug abuse, I divorced him, but he still didn’t change. And now? Matilda has lost her father!”

Those present had all worked with Heath Ledger and knew something about him.

Jack Gyllenhaal walked over and said, “Michelle, don’t blame Heath. He… made a grand exit… taking away his love for drama, taking away our memories of him.”

Soon, the lounge fell silent again.

Footsteps sounded again, and Heath Ledger’s sister brought someone in—a very young woman.

Ronan glanced at her; she was also a well-known figure in the entertainment industry, the sister of the former Scarlet Witch, Elizabeth Olsen.

Mary Olsen saw Ronan, and her eyes lit up, but she didn’t say anything. This was not the right occasion for much conversation.

Recently, the relationship between Heath Ledger and Mary Olsen had been a hot topic in the entertainment media.

The first person to discover Heath Ledger’s death was a female masseuse who had come to his home. After finding Heath Ledger dead, her first action was not to call the police but to make four consecutive calls to Mary Olsen.

There were even widespread rumors outside that Heath Ledger had died in Mary Olsen’s apartment.

Mary Olsen publicly denied being in a romantic relationship with Heath Ledger.

At this point, any news about Heath Ledger would become a hot topic, and false information was rampant.

This was also the effect that Warner Bros and DC Comics wanted.

Today was a relatively private memorial service. Around noon, Heath Ledger’s family came to express their gratitude, and then, including Ronan, people gradually left.

Ronan ignored the frequent hints from Mary Olsen and invited Ang Lee into his car.

At this moment, getting involved with Mary Olsen was just asking for trouble.

As for the youngest Olsen sister, who had just come of age, Shai Entertainment would only contact her in a few years.

Ronan was going to the airport to return to Los Angeles, and Ang Lee was also going to the airport to return to Asia, so they were going the same way.

Ang Lee watched the funeral home grow smaller in the rearview mirror and said, “When we were filming Brokeback Mountain, you tried to persuade him, and I tried to persuade him too. I never thought…”

Ronan said, “Completely changing someone’s values is one of the hardest things in the world.”

“Yes,” Ang Lee also knew this well. “Good intentions often end up being seen as bad. This happens too often.”

He then asked, “Is Warner Bros planning to use this for publicity and marketing?”

Ronan seemed very calm: “Warner Bros took the first step, otherwise, it would be Sony Columbia Pictures doing the hype now.”

According to the information he received from Chris, Sony Columbia Pictures also wanted to use Heath Ledger for hype, but they were a few steps slower and eventually accepted the situation created by Warner Bros.

The momentum around the Joker was too great. If Sony Columbia Pictures wanted to reverse it, they would have to invest a lot of resources.

But The Imaginarium of Doctor Parnassus had a production cost of only thirty million dollars, so it wasn’t worth investing too much in publicity.

Ang Lee sighed and simply changed the subject: “This awards season, Relativity Entertainment’s films are the top favorites again?”

Ronan said, “It’s mainly due to the advantages Martin Scorsese has accumulated over the years. Without Martin Scorsese as the director, The Departed wouldn’t be one of the favorites this awards season.”

Ang Lee thought for a moment: “The Oscars should give Martin Scorsese a Best Director statuette.” He took the initiative to say, “I’ve contacted several friends. Our votes will all go to The Departed.”

Having struggled in Hollywood for nearly twenty years, Ang Lee had a fairly extensive network of relationships. His success at the Oscars was also largely due to his carefully cultivated network.

Ronan nodded slightly: “Thank you.”

Ang Lee smiled and said, “You’re too polite, Ronan. If it weren’t for you and Relativity Entertainment, would I be where I am today?”

Ronan smiled slightly and didn’t say anything more about the Oscars or the awards season. Instead, he asked, “How is your global travel and expanding your horizons going?”

“Very well. I’ve seen cultures and customs from all over the world and have some insights,” Ang Lee said quite sincerely. “If it weren’t for this, I wouldn’t have returned to North America.”

Ronan asked, “What’s the biggest insight?”

Ang Lee almost didn’t hesitate and said directly, “What is national is never universal.”

Hearing this, Ronan agreed and said, “Lee, no wonder you are the most successful Eastern director in Hollywood.”

The principle was very simple, but not everyone could see it clearly.

Ang Lee said, “Before, I only had a vague concept of this. After seeing the cultures and customs of various places around the world and watching many countries’ films, it has become much clearer.”

Ronan nodded slowly: “It seems you’ve gained a lot from this trip.”

Ang Lee continued, “I recently spent a long time in India and specifically went to Bollywood to investigate. Bollywood films are typical in this regard. Their musical films are very popular in the Indian market, and even most mainstream Hollywood commercial films are no match for them. But outside of India, these musical films have very few audiences, and even the professional film circle finds it difficult to recognize them.”

Ronan thought of Indian films where people would suddenly start dancing and said, “Others might not know, but I find it hard to accept Indian musical films.”

Ang Lee said very seriously, “Actually, Indian films have some merits in certain aspects. Their culture also integrates many ideas from the East and West. If this can be reflected in films, there might be a market.”

Hearing this, Ronan remembered something and said, “By the way, Lee. Recently, the Indian branch recommended an Indian novel to me. I think it’s quite good and has the potential to be adapted into a film. If you’re interested, you can take a look.”

Thinking of the previous Brokeback Mountain, Ang Lee said without hesitation, “Sure, I’ve been researching Indian culture recently.” He then asked, “What’s the novel called?”

Ronan said, “Life of Pi. It seems it was published in India around 2001. I forgot the author’s name, but I’ll have someone send the electronic version of the novel to your email later.”

“Great!” Ang Lee was very much looking forward to it. “I’ll definitely study it carefully.”

Ronan simply said directly, “I have limited knowledge of Indian culture, Lee. See if it has the value and possibility of being adapted into a film, and how to adapt it if possible.”

Ang Lee thought for a moment and said, “After I read the original novel, I’ll write a specific report for you.”

Ronan nodded slightly: “Okay. You know my work email. You can send it directly to my email or mail it to Relativity Tower.”

Ang Lee added, “This might take a few months, even more than half a year.”

“No rush,” Ronan waved his hand. “The adaptation rights for the novel are already in Relativity Entertainment’s hands. The specific timing of the adaptation is up to me.”

The Indian branch, after several contacts with the original author and publisher, had smoothly purchased the film and television adaptation rights for Life of Pi last year. Similar to Slumdog Millionaire, Indian literary works were difficult to sell at high prices. Relativity Entertainment only spent eight hundred thousand dollars to obtain the adaptation rights.

This was also related to the market and economic differences between the two regions. Eight hundred thousand dollars was a low price for Relativity Entertainment, but for the Indian middle class, it might be a huge fortune.

The initiative for this project was completely in Relativity Entertainment’s hands, so Ronan was not in a hurry and let Ang Lee plan and operate it slowly.

Ronan roughly remembered that Life of Pi was the last film in Ang Lee’s commercial success, and its global box office seemed to exceed the total of Crouching Tiger, Hidden Dragon and Brokeback Mountain.

Of course, if nothing went wrong, this should also be Ang Lee’s highest-budget production project.

Life of Pi also did a good job balancing commerce and art.

Arriving at Kennedy Airport, Ang Lee went to board his flight back to Asia, while Ronan took a private plane back to Los Angeles. The awards season was in full swing, and the competition for various awards had reached its most intense stage.

Chapter 993: Years of Devotion

As January arrived, all the Oscar contenders revealed their true strength. In 2006, commercial films lacked powerful works beyond a few top-tier productions, and the awards season contenders were no exception.

Relativity Entertainment had no trouble analyzing the strongest competitors for The Departed.

Babel, Letters from Iwo Jima, and Flags of Our Fathers—these could be considered The Departed’s most formidable rivals at the Oscars.

Films like Little Miss Sunshine and The Queen were clearly outmatched in categories like Best Director and Best Picture.

Compared to previous awards seasons, this year’s competition was significantly weaker.

In the Best Director category, aside from Clint Eastwood, who had just won the award two years prior, no one else stood a chance against Martin Scorsese.

As for Best Picture, The Departed dominated in reputation, box office, and prestige, leaving its competitors far behind.

Thus, Embassy Pictures’ strategy of a straightforward, high-profile awards campaign was perfectly suited for The Departed.

From the start of 2007, The Departed swept through the early awards.

At the mid-January Golden Globes, it took home four major awards: Best Director, Best Actor, Best Drama Film, and Best Screenplay.

Facing clearly inferior competitors, The Departed crushed them effortlessly.

At the Actors Guild Awards, Tom Cruise easily won Best Male Actor for The Departed, while Jessica Chastain unexpectedly claimed Best Supporting Actress.

The latter was a pleasant surprise—though Embassy Pictures had submitted her for consideration, they hadn’t actively promoted her. She simply benefited from weak competition and The Departed’s overwhelming advantage.

Next came the Directors Guild Awards, where Martin Scorsese unsurprisingly won Best Director.

The Producers Guild Awards followed, with Relativity Entertainment emerging as the big winner—The Departed took Best Picture, and Pixar’s The Incredibles won Best Animated Film.

At the less prestigious Writers Guild Awards, The Departed secured Best Adapted Screenplay.

While critics’ awards and independent film prizes raised visibility, they weren’t true Oscar bellwethers. The four major guild awards, however, were the real indicators, with over 90% overlap in voters and a 95% historical accuracy in predicting Oscar winners.

With these results, the Oscar suspense diminished significantly—an upset was highly unlikely.

In the past twenty years, every film that swept the four guild awards had gone on to dominate the Oscars.

With these wins, The Departed became the undisputed frontrunner, with many predicting multiple Oscar victories.

This outcome stemmed from three key factors:

First, Martin Scorsese’s decades of prestige and his return to the gangster genre he mastered; second, Relativity’s aggressive PR campaign; and third, the sheer weakness of the competition.

In this awards season, if The Departed wasn’t the frontrunner, who was?

Babel? Letters from Iwo Jima? The hardline right-wing Flags of Our Fathers? Or a comedy like Little Miss Sunshine?

The situation was clear—none of these competitors stood a chance.

After the guild awards, Embassy Pictures maintained its Oscar push while launching its 2007 release schedule.

Relativity’s first major release of the year was Brother Bao’s film.

In late January, Embassy Pictures held the premiere of Dead or Alive in Los Angeles.

Uwe Boll had finished filming this project in the first half of the previous year, but due to scheduling, its release was delayed until January.

As usual, Brother Bao’s premieres were modest affairs, attended mostly by the cast and crew, along with friends he had made over the years.

And, of course, his fans.

Ever since Brother Bao rose to fame in the ring, he had gained a devoted following. Later, with his Netflix sharing, he became a viral director.

Whether his films were good or not didn’t matter—his fans just wanted excitement, and Brother Bao’s movies always delivered.

Ronan also attended the premiere. He had skipped BloodRayne’s premiere, but since he was in Los Angeles this time, he didn’t refuse Uwe Boll’s invitation.

Watching Uwe Boll stride down the red carpet, basking in the adoration of fans as if he were a top-tier star, Ronan could only conclude that Brother Bao would remain a sensation for at least three more years.

And perhaps, three years after that, he might even grow stronger with age.

Inside the theater, Uwe Boll immediately joined Ronan. Smiling, Ronan said, “Your fans are very enthusiastic. They really love you.”

Uwe Boll rubbed his increasingly bald head and chuckled, “I never expected to be this popular.”

Ronan couldn’t help but laugh. “Uwe, this is the treatment you deserve.”

Uwe Boll grinned, his jowls shaking.

Ronan then asked, “How’s Abraham Lincoln: Vampire Hunter coming along?”

“It’ll be finished next month,” Uwe Boll replied eagerly. “Ronan, I’ll have the entire production wrapped up by the first half of the year.”

Ronan understood his implication. “In the second half of this year, or early next year, Embassy Pictures will definitely bring Abraham Lincoln: Vampire Hunter to theaters.”

Unlike his previous films, Uwe Boll took Abraham Lincoln: Vampire Hunter far more seriously—it was his first venture outside of video game adaptations.

Though he still incorporated some game-like elements into the film.

Faced with such dedication, it was hard for anyone to dislike Uwe Boll.

Ronan had always trusted Brother Bao’s abilities. Beyond his directing skills, Brother Bao was utterly reliable in every other aspect.

Suddenly, Uwe Boll brought over a balding middle-aged man and introduced him: “Ronan, this is Frank Pearce, one of the founders of Blizzard Entertainment and currently their executive president.”

Then, turning to Frank, he said, “Frank, this is Ronan, my boss.”

Frank Pearce quickly shook Ronan’s hand. “Mr. Anderson, it’s an honor to meet you.”

Ronan politely replied, “The pleasure is mine. I’m a huge fan of your company’s World of Warcraft.”

Frank Pearce’s face lit up with delight. “That’s a great honor for all of Blizzard.”

Ronan’s words were, of course, just a courtesy. Uwe Boll had once given him a Blizzard beta account, but after playing briefly, he had handed it off to Housekeeper Nikita, who had been obsessed with World of Warcraft for the past two years. Rumor had it she was even a guild leader in a top-tier guild.

Since it never interfered with her work, Ronan had never intervened.

Ronan continued, “The story of World of Warcraft is epic. Have you ever considered adapting it into a film?”

“We have thought about it,” Frank Pearce admitted. “But the company feels the timing isn’t right yet.”

Ronan glanced at Uwe Boll, wondering if his years of pursuit had finally borne fruit.

He decided to give a push: “Frank, Uwe has always loved Blizzard’s games and is one of the best, if not the best, directors for game adaptations in Hollywood and the world. I personally suggest that your company seriously consider letting Uwe adapt World of Warcraft into a film.”

Frank Pearce didn’t know how to respond. Uwe Boll had been relentlessly pursuing Blizzard for years, and though he hadn’t secured the adaptation rights, many of Blizzard’s executives had become friends with him.

Uwe Boll looked at Ronan, feeling he had backed the right person.

After years of devotion, his relentless pursuit had finally paid off. Ronan had never given up on supporting him.

Had he not done enough?

Ronan added, “Your company should really consider it. Worldwide, you’d be hard-pressed to find a better director for game adaptations than Uwe.”

This was the truth, and Hollywood agreed. Aside from Paul Anderson, no other director in the global film industry had achieved the commercial success in game adaptations that Uwe Boll had.

Frank Pearce smiled. “This isn’t something I can decide alone. We’ll have to wait for the company’s decision.”

Hearing this, Uwe Boll’s face fell slightly.

Frank Pearce quickly excused himself, afraid the topic of Uwe Boll adapting World of Warcraft would come up again.

Ronan patted Uwe Boll’s shoulder. “Some things, no matter how hard you chase, might not work out.”

“Sigh…” Uwe Boll let out a long breath.

Ronan didn’t want to discourage him further, so he said no more.

In some ways, Uwe Boll’s relationship with Blizzard resembled a twisted version of a devoted admirer and an unattainable goddess—no matter how hard he tried, she never looked his way, and he might end up with nothing.

It wasn’t something outsiders could easily comment on. Sometimes, silence was best.

Ronan had learned many lessons from Heath Ledger—some things were better left unsaid. Speaking up might not be appreciated and could even make things worse.

Brother Bao was a talent he valued. He could do as he pleased. Perhaps one day, the goddess Blizzard would fall from grace.

Chapter 994: Truly Joyful

Ronan had always known that, aside from his regular work, Uwe Boll had never given up on his relentless pursuit of Blizzard. But some things simply couldn’t be obtained no matter how hard one chased them.

No matter how much he tried to please them, he couldn’t even get a single glance in return.

Ronan shook his head at the thought. If Uwe Boll couldn’t continue as a director, he could always join Relativity Entertainment as a manager. Whether handling external relations or other tasks, Brother Bao was more than capable.

Just as they were about to enter the theater, two blonde women approached.

“Hey, Ronan.”

Charlize Theron and Candice Swaneepoel, who had played a supporting role in Dead or Alive, greeted Ronan one after another. Ronan smiled and shook hands with them.

“Long time no see, Sally,” Ronan said casually. “What have you been up to lately?”

Charlize Theron replied, “I’m working on a superhero movie with Will.”

Ronan took the opportunity to ask, “Are you interested in playing superheroes?”

Charlize Theron didn’t quite understand why Ronan was asking, but after a moment’s thought, she said, “It’s alright, I guess.”

Ronan nodded slightly, then turned to Candice. “You’re looking more beautiful than ever.”

“Thank you,” Candice Swaneepoel said, glancing at Charlize Theron before lowering her voice. “Ronan, can we talk privately for a moment?”

“Of course,” Ronan said.

Charlize Theron smiled faintly at Ronan before leaving.

Candice Swaneepoel crossed her arms in front of her, looking a little nervous as she rubbed her right hand with her left. “Ronan, you haven’t contacted me in a long time.”

Ronan wasn’t foolish, and with his experience, he understood what she meant. “I’ve been too busy. My schedule is packed, and I haven’t had the time.”

Candice Swaneepoel bit her lip lightly. “Then… do you have time tonight?”

“I’m very sorry,” Ronan said, having already made his decision. “I promised someone I’d go home on time tonight.”

Candice Swaneepoel looked at Ronan for a long moment before saying, “Alright, let’s talk another time.”

Ronan nodded slightly. “Another time.”

He didn’t linger in the VIP lounge any longer. Calling Uwe Boll, they entered the screening room together.

Candice Swaneepoel returned to Charlize Theron’s side.

“What’s wrong?” Charlize Theron asked softly. “You seem a little down.”

Candice Swaneepoel said, “Being rejected doesn’t feel good.”

Winning was exhilarating, but losing seemed to hurt just as much.

Charlize Theron lowered her voice. “That’s Ronan Anderson, Hollywood’s wealthiest and most powerful man. You’re taking this too seriously.”

Candice Swaneepoel clearly wasn’t ready to give up. “I just wanted to try.”

“He already rejected you. Don’t try again,” Charlize Theron warned. “Don’t do anything reckless. I’ve known Ronan Anderson for over five years. He’s not as kind as he seems.”

Candice Swaneepoel said, “I understand.” She then asked, “Sally, have you heard that Ronan Anderson has a girlfriend?”

Charlize Theron shook her head. “No, I’ve never heard of that. How could someone like him have a steady girlfriend?”

In all these years, she had never heard of Ronan Anderson having a steady girlfriend.

Seeing many people heading toward the theater, Charlize Theron called to Candice Swaneepoel, “Let’s go. We’re here for the premiere. Cheer up, dear. This is your first movie.”

Although she had only played a minor role, Candice Swaneepoel was still very much looking forward to seeing herself on the big screen.

However, that anticipation quickly turned into shock once the movie started.

This… was a movie?

Candice Swaneepoel had the urge to cover her face, but hearing the cheers and laughter in the theater, she was confused. Were these fans out of their minds? Was this kind of movie really worth cheering for?

But this was Brother Bao’s movie, and these were Brother Bao’s fans.

The fans were truly having a great time because the movie was filled with all kinds of fun.

Look at those beautiful women fighting—each one more stunning than the last. The constantly shaking peaks, the snow-white long legs, and decent looks—wasn’t that enough?

The women were already dressed in very little for their brawls. They couldn’t actually expose anything, could they? This kind of suggestive yet not explicit approach was even more alluring!

This movie was practically a conscience of the industry. On the basis of not exposing anything, it was as sexy as it could get—beaches, beautiful women, bikinis, wet fights, panting, all kinds of chests and legs…

Even women were getting turned on. What more could they ask for?

The biggest feature of this movie under Relativity Entertainment and Uwe Boll was that it had truly gathered a group of long-legged, big-chested, and beautiful women. Even Candice Swaneepoel’s looks weren’t top-tier among them.

Another point was that Uwe Boll had been very decisive. He seemed to have realized his strengths and weaknesses and hadn’t tried to insert something called a plot among the bikini-clad beauties.

The women fighting, panting, and shaking was enough. What was a plot, anyway?

When Brother Bao stopped caring about the plot, the movie became even more fun.

“Conspiracy and mystery, beauty and muscle—cool and stunning action, dazzling and gorgeous scenes, plus several knife-wielding, sexy, and charming female warriors. Dead or Alive will undoubtedly present audiences with an extremely sexy kung fu fighting movie. The superhuman charm of all the female leads is as deadly as their kung fu!”

Such high praise, of course, came from Relativity Entertainment’s promotional soft articles.

From the moment the project was greenlit, Brother Bao had determined his creative concept and stuck to it without wavering. Thus, Dead or Alive combined the entertainment selling points of beautiful women, action, violence, and group fights. From the very beginning, it boldly declared its lowbrow entertainment nature to the world. If you were looking for plot, suspense, tension, horror, philosophy, or life reflections, this movie had none of that.

With a clear production concept and a defined target audience, even though Dead or Alive’s reputation was as rotten as garbage, there were still many audiences willing to pay for it.

After directing several films in a row, Uwe Boll had indeed improved in some areas. His handling of violence and sexual content was particularly clever—always suggestive yet never explicit, always hinting yet never showing, which only served to whet the audience’s appetite.

Although the reviews, media, and audience reception for Dead or Alive were all terrible, in the eyes of Uwe Boll’s fans, this movie was actually great.

“Hot women fighting—visual feast!”

“Alluring figures and eye-catching fights—a decent popcorn movie.”

“I think it’s good. It’s smooth to watch. The plot is trashy, but the female actors are hot and very watchable.”

“Important things must be said three times! Watch civilly! Watch civilly! Watch civilly!”

“Lalala, Brother Bao hit my G-spot again!”

Brother Bao’s fans were truly having a great time.

Frankly, fan-oriented movies often didn’t have good endings because relying solely on fans made it difficult to sustain a movie’s market.

But Uwe Boll’s movies were different. Thanks to Ronan, Brother Bao’s films had always been kept within a five-million-dollar budget, making them small investments and small productions among Hollywood movies that could secure theater screenings.

Moreover, over the years, Brother Bao had indeed accumulated quite a few fans.

Don’t forget, the game itself had many fans.

Because Brother Bao had a certain market, and the previous films he directed had done well at the box office, Embassy Pictures was able to secure a decent number of opening theaters for Dead or Alive.

Although it couldn’t compare to the usual ten-million-dollar budget productions, Dead or Alive still managed to premiere in 2,725 theaters across North America.

On its first day, Dead or Alive surpassed its five-million-dollar production budget, grossing 7.33 million dollars.

Then, the movie’s box office began to decline steadily.

This was a trend that fan-oriented movies often struggled to escape.

Brother Bao didn’t have the ability to escape it for now.

On Saturday, Dead or Alive made 6.11 million dollars, and by Sunday, it dropped below five million dollars.

However, over the three-day weekend, Dead or Alive still managed to gross 17.41 million dollars in 2,725 North American theaters.

Although the North American box office champion for the week was Sony Columbia Pictures’ Street Dance Boys with 21.83 million dollars, the 17.41 million dollars from Dead or Alive’s opening weekend in North America was enough to ensure that the movie would generate significant profits from the North American box office alone.

Uwe Boll once again proved that he still had considerable commercial appeal.

In fact, under the officially certified “Uwe Boll” Netflix sharing account, a massive “Boll Supporters Group” had emerged.

With the support of Relativity Entertainment, Brother Bao continued to shine in his own way.

The following weekend, Sony Columbia Pictures released Ghost Rider, a superhero movie that grossed 45.33 million dollars in its North American opening weekend, dealing a significant blow to other movies in theaters.

Dead or Alive was heavily affected, with its second weekend box office plummeting by over sixty percent, earning only 6.8 million dollars.

But including the previous four weekdays, Dead or Alive’s North American box office had already approached thirty million dollars.

Embassy Pictures predicted that the final North American box office for this game adaptation would exceed thirty-five million dollars, which was not a problem.

For a small production with a five-million-dollar budget, this was already a super blockbuster.

Investing a few million dollars and ending up with a North American box office of over a hundred million—such movies seemed numerous, but in reality, North America rarely produced even one a year.

Even Harvey Weinstein’s former Miramax Films, which used to aim for Oscars, typically had production budgets of a few million dollars and, after winning awards, would only gross thirty to forty million dollars in North America.

The massive success of Dead or Alive also brought more attention to Brother Bao’s new film, Abraham Lincoln: Vampire Hunter.

Such a parody of a past super president had never lacked an audience.

Chapter 995: Five Gold Mines

Taking advantage of some free time in late January, Ronan visited the set of Uwe Boll’s Abraham Lincoln: Vampire Hunter. Watching the actor playing Lincoln wield an axe was quite entertaining.

Between takes, Uwe Boll sought out Ronan to discuss his future plans.

“I think this kind of parody film isn’t limited to just Lincoln,” Uwe Boll said, clearly having given it some thought. “What about Washington, Adams, Jefferson, Roosevelt? Especially Washington.”

Ronan muttered, “Cherry Blossom Axe Washington?”

Uwe Boll scratched his increasingly smooth forehead, not understanding Ronan’s meaning, and continued, “It’s not just presidents. What about other superstars from American history? Like Edison, Franklin, Tesla.”

He went on, “Marvel’s Avengers Initiative gave me an idea. Could we first make standalone films like Abraham Lincoln: Vampire Hunter or, as you put it…”

Uwe Boll struggled to repeat the phrase.

Ronan simply repeated it for him: “Cherry Blossom Axe Washington.”

“Yes, Cherry Blossom Axe Washington,” Uwe Boll said, picking up speed. “We could make standalone films about these historical figures first, then bring them all together in one movie—maybe to fight a zombie boss or take down the vampire patriarch…”

Hearing this, Ronan was somewhat surprised. Uwe Boll really was a genius. He immediately said, “A parody historical universe?”

Uwe Boll nodded eagerly. “Yes, exactly. A parody president universe, or a parody celebrity universe.”

Ronan considered the idea seriously for a few minutes. It seemed more promising than Uwe Boll’s attempt to secure the film rights to World of Warcraft from Blizzard. In Ronan’s eyes, Uwe Boll might truly end up with nothing if he kept this up.

This ultra-low-budget, or rather B-movie, parody celebrity universe didn’t seem half bad.

“Your idea is excellent,” Ronan affirmed Uwe Boll’s plan. Brother Bao really was talented—apart from his directing skills, everything else was solid. But he still asked, “After Abraham Lincoln: Vampire Hunter, what’s next? Have you thought about it?”

Uwe Boll said, “Washington! And just like Lincoln, a magical Washington. Your words just gave me an idea—could the axe Lincoln uses be passed down from Washington?”

Ronan nodded slightly and quickly made a decision. “Uwe, after finishing Abraham Lincoln: Vampire Hunter, use the existing crew to film a post-credits scene for it. Let’s see how the audience reacts.”

“Got it,” Uwe Boll said, his face full of flesh shaking as he smiled. “I’ll start planning tonight.”

Brother Bao was the kind of person who acted immediately once he had a plan. His execution was beyond doubt.

Ronan thought for a moment and added, “Uwe, after finishing Abraham Lincoln: Vampire Hunter, prepare a complete plan for this film universe for me.”

Uwe Boll could hear Ronan’s support and quickly agreed. “Got it. I’ll prepare a detailed plan.”

Ronan was quite approving of Uwe Boll’s ideas. Parody films had always had a market in North America. As long as costs were controlled, they could be as profitable as Dead or Alive.

Besides, the director didn’t have to be Uwe Boll.

There were plenty of celebrities who could be parodied.

For example, Demon-Slaying Light Bullet Truman, Evolutionary Demon Darwin, Pizza Tower Demon Galileo, Electric Light Madman Tesla, and so on.

Of course, the priority was still American historical figures, considering the North American market—the largest in the world.

Once upon a time, America was overrun with monsters and demons. A group of extraordinary heroes, with their immense strength and leadership, carved out the United States of America.

Like the axe-wielding Washington, the lightning mage Franklin, the ancient creature summoner Jefferson, and so on.

Leaving the Burbank studio, Ronan didn’t return to Relativity Tower. Instead, he went to Big Machine Records, also in Burbank.

With Relativity’s support, Scott Borchetta had secured Beyoncé, and Big Machine Records had officially signed the Black singer. Along with Taylor Swift, Adele, Justin Bieber, and Katy Perry, the company now had five top-tier pop stars.

These five were all seemingly first-tier pop stars.

Any one of them could not only sustain a company like Big Machine Records but also bring in substantial profits.

With five of them, if managed well, they were like five gold mines!

At Big Machine Records, Ronan chatted with Scott Borchetta, mostly listening as Scott spoke.

Ronan wasn’t very familiar with the pop music scene or its market.

Then, Scott Borchetta accompanied Ronan to observe the singers’ training.

The competition in the North American pop music scene was just as fierce as in the film industry. Singers needed solid skills, daily practice, and professional training tailored to their individual traits.

The saying from the other side of the Pacific, “A minute on stage, ten years off,” was quite true.

Of course, in the internet age, this would inevitably change to some extent.

Entering a training room, Ronan stood behind a large glass panel, watching Big Machine’s professionals guide Beyoncé through live performance movements and poses.

Near the glass, a camera was set up. Beyoncé occasionally paused her training to review her movements and posture through the digital camera footage.

Ronan remained an observer, offering no comments.

Compared to film and television production, his knowledge of the music industry was limited.

After reviewing the footage again, Beyoncé returned to the small stage, assuming a live performance pose under professional guidance.

Even ordinary standing positions during live performances required professional training.

For example, Beyoncé’s current stance was clearly carefully designed. She always stood sideways or with her back to the camera, her naturally large or surgically enhanced buttocks—resembling a millstone—always facing the camera.

In a live performance, that would mean her backside was facing the audience.

Though Ronan couldn’t appreciate this particular Black female physique—Beyoncé’s backside was only slightly smaller than Kim Kardashian’s post-surgery one—Black people and some White people loved it.

Among Black people, Beyoncé’s full-figured physique was the epitome of sexiness.

Scott Borchetta said, “This is a performance style the company designed specifically for Beyoncé to maximize her strengths.”

Ronan nodded slowly. “So she can win the support of many Black music fans?”

“That’s right,” Scott Borchetta didn’t shy away from the topic. “We’ve created a special physical training plan for Beyoncé. With her figure as capital, as long as her singing isn’t terrible, I’m confident she can stay popular for at least five years.”

Ronan understood the implication. Beyond her songs, Beyoncé needed to flaunt her backside in front of audiences and cameras as much as possible.

In the face of fame and commercial success, nothing was off-limits.

Pop stars pushing boundaries was nothing new—even flashing one’s crotch could take the world by storm.

The concept of “camel toe” had spread worldwide through pop stars.

As for Madonna’s bold antics at concerts, even those who hadn’t seen them had heard about them.

Two girls walked over, one very tall, standing next to Ronan, also looking at Beyoncé through the glass.

After a moment, Taylor Swift muttered, “Just selling her backside.”

No sooner had she spoken than the other girl retorted, “And you’re not selling your legs?”

Taylor Swift shot back, “At least I have legs to sell!”

The other girl thrust out her ample chest. “Flat as a runway!”

Taylor Swift was left speechless, her curly hair trembling with anger.

“You two! Enough!” Scott Borchetta was exasperated by these girls’ squabbles but knew it was normal and had no good solution. He could only stop them. “Taylor Swift! Katy Perry! Don’t you have training to do?”

The girl named Katy Perry stuck out her tongue and was about to leave.

Taylor Swift looked at Ronan. “Uncle Anderson, I heard you were here, so I came to see you.”

Hearing this, Katy Perry’s expression changed, looking at Taylor Swift in surprise.

Scott Borchetta knew Taylor Swift was a special member of the company, different from the other singers, so he didn’t say anything.

Ronan gently patted Taylor Swift’s arm. “Go to work. I’ll take you to your father after work.”

“Okay,” Taylor Swift said, as if all her earlier annoyance had vanished. “It’s a deal!”

She didn’t stay any longer and ran off like the wind.

The young singer named Katy Perry also left shortly after.

Scott Borchetta said, “Girls can be so troublesome.”

Ronan nodded slightly. “I understand. I’ve seen enough of this in film crews. Manage them as you see fit.”

Hearing Ronan’s words, Scott Borchetta felt reassured. “I understand.”

Scott Borchetta wasn’t new to the industry. With nearly twenty years at Universal Records, he had extensive experience.

Moreover, maintaining competition within the company wasn’t a bad thing.

When work ended, Ronan took Taylor Swift to the Pacific Investment Foundation before returning home.

As time passed, the Oscar ceremony drew nearer. Near the end of January, the Academy of Motion Picture Arts and Sciences held the Nominees Luncheon at the Beverly Hills Hilton Hotel, announcing the nominations for the 79th Academy Awards.

Chapter 996: First Time Exceeding Billion Dollars

The Academy announced the Oscar nominations in its usual formal luncheon style. Ronan, as always, did not attend the Nominees Luncheon but waited patiently at Relativity Tower.

This awards season, Relativity Entertainment had submitted three films for Oscar consideration: Juno, The Departed, and The Incredibles.

Naturally, Relativity’s primary focus for promotion and PR was The Departed.

Juno had an inherent disadvantage in its subject matter. Since its release in October, its North American box office had already reached one hundred forty-three million two hundred thousand dollars, leaving little room for further market potential. Relativity had not invested many resources into its awards season campaign.

As for overseas markets, this highly Americanized film had limited appeal abroad, with its international box office not even reaching half of its North American earnings.

With a production budget of only a few million dollars, Juno had already maximized its commercial potential. The Oscar effect would have little impact on it. The investment did not justify the returns, and even though this was a project produced by Jessica Felton, Ronan would not waste a fortune on a futile endeavor.

Ronan kept his work and personal life strictly separate.

The Incredibles aimed for Best Animated Short Film, but Pixar’s dominance in this category was too overwhelming. Relativity did not need to invest much effort.

Pixar winning awards while DreamWorks Animation and Blue Sky Studios played second fiddle had become the norm for the Best Animated Feature Oscar.

A former Oscar presenter once joked that he earned his voice acting salary from DreamWorks but always voted for Pixar.

For now, Pixar remained the undisputed leader.

Ronan intended to keep this group at the forefront, and this included Relativity Entertainment.

He was already planning films that would surpass previous achievements, such as Brother Bao’s parody of American historical figures in a cinematic universe.

At its core, a film company provided an intangible, ever-changing spiritual product. No matter how successful previous films were, each new one started from scratch.

Not long after lunch, news from the Beverly Hills Hilton Hotel reached Relativity Tower.

The nominations for the 79th Academy Awards had been announced, with few surprises. The Departed, having swept various awards season indicators, emerged as the biggest winner in the nominations.

The Departed received seven nominations: Best Cinematography, Best Editing, Best Director, Best Picture, Best Actor, Best Supporting Actress, and Best Adapted Screenplay.

Though the number of nominations wasn’t high, each carried significant weight.

The Incredibles secured a nomination for Best Animated Feature.

Juno, which had received almost no PR push, came away empty-handed from the Nominees Luncheon, consistent with Relativity’s level of investment.

At this stage, whether winning or being nominated for an Oscar was directly tied to financial investment.

Professional statistics showed that even for less prestigious categories like Best Sound Editing or Best Documentary Short Film, the average cost of securing a nomination now exceeded three hundred thousand dollars.

Relativity’s two films had earned eight Oscar nominations. The Incredibles had the highest chance of winning, with the Best Animated Feature statuette practically in the bag.

The nomination with the lowest odds was Jessica Chastain’s Best Supporting Actress. Not only was her experience severely lacking, but her nomination owed more to the weak competition this year than to Relativity’s PR efforts.

As the awards season progressed and nominations were announced, most people realized that aside from Martin Scorsese and The Departed, there weren’t many better alternatives.

Even Tom Cruise’s chances of winning grew stronger by the day.

Following the announcement of the Oscar nominations, the winners from the Nominees Luncheon expanded their theatrical releases. The Departed, already in wide release, was no exception.

The weekend after the luncheon, The Departed, already in the latter half of its theatrical run, expanded from 1,321 theaters to over 3,000. Its weekend box office rebounded by nearly six hundred percent from the previous weekend, earning thirteen million four hundred sixty thousand dollars.

Its cumulative North American box office reached one hundred seventy-two million seven hundred eighty thousand dollars.

Starting that weekend, The Departed began its international release, leveraging the Oscar effect. English-speaking countries like the UK, Australia, and New Zealand, as well as major Hollywood overseas markets in Europe and Latin America, all saw varying scales of screenings.

Boosted by the Oscar nomination effect, its overseas opening weekend grossed nearly forty-five million dollars.

The Departed enjoyed strong commercial and critical reception in Western markets.

However, for the sake of its reputation and Oscar prospects, the film never released in Asia.

Ronan was well aware that with Infernal Affairs setting such a high standard, The Departed would struggle to achieve similar acclaim or commercial success in Asia. It might even face widespread criticism.

The following weekend, despite the annual Super Bowl disrupting the movie market, The Departed still earned seven million eight hundred eighty thousand dollars, remaining the most impressive among all Oscar-nominated films.

Its cumulative North American box office had now reached one hundred eighty-five million three hundred thirty thousand dollars, with a strong chance of hitting two hundred million.

Additionally, its overseas box office had grown to sixty-eight million nine hundred ten thousand dollars.

Undoubtedly, The Departed had achieved a double victory in both box office and critical reception in North America and the broader Western film market.

In truth, The Departed was a highly successful film in its own right.

Even now, among all the films directed by Martin Scorsese, The Departed ranked in the top three for both professional and audience reception.

As for the original Infernal Affairs, the North American film industry, including Relativity Entertainment, chose to ignore its existence, as if the original film had never been made.

After the Super Bowl weekend, Embassy Pictures and The Weinstein Company formally signed a contract. Over the next three years, Embassy Pictures would handle international distribution for The Weinstein Company’s films.

Their first collaborative film was The Queen, which had been nominated for Best Picture, Best Director, and Best Actress.

However, its international distribution would not begin until after the Oscar ceremony.

Thanks to Harvey Weinstein’s PR efforts, Helen Mirren, who played Queen Elizabeth II, was currently the frontrunner for Best Actress.

Despite the British royal family’s expressed displeasure with the film, it did not hinder the studio’s commercial operations.

In the following days, Ronan visited Pixar to participate in the early planning of numerous projects. Pixar had decided to include Ronan as a member of its brain trust.

Pixar’s success was largely due to its brain trust system.

Normally, the film industry operated on anti-monopoly principles—no one could remain successful forever. When you achieved great success, it might signal your impending replacement.

Pixar had always tried to break this pattern, ensuring each of its works balanced audience reception and commercial returns.

The brain trust was established by Ed Catmull. Its members included company executives, directors, screenwriters, and even cinematographers and business personnel.

Their common trait wasn’t their job titles but their ability to tell stories through film.

Moreover, the brain trust held no absolute power, which was crucial. It meant directors were not obligated to follow anyone’s advice.

If Pixar were a hospital and films were patients, the brain trust would be a team of esteemed doctors.

Their role was akin to assembling an expert panel to diagnose a complex case accurately.

However, the brain trust was only responsible for critiquing and offering suggestions. The final decision still rested with the film’s producers.

Sometimes, those involved in filmmaking could be too close to the project to see clearly.

Every excellent work went through a process of transformation from an ugly duckling to a swan, which might seem unbelievable in a society that valued efficiency.

A film about a rat becoming a chef—how unappetizing was that idea?

And the first half of WALL-E, with no dialogue, was a risky move.

While Pixar dared to bet on such plots, it didn’t mean these plots were guaranteed successes.

Creativity had to start somewhere, but only through repeated revisions could they find breakthroughs for flawed filmmaking and breathe life into hollow characters.

As mid-February approached, Relativity Entertainment’s annual statistics from the previous year were released.

After years of accumulation, with numerous projects, copyrights, and crucial online and offline channels under its belt, Relativity’s performance had grown rapidly.

Since its establishment, Relativity’s revenue had exceeded billion dollars for the first time.

In 2006, the company’s total revenue reached fifteen billion four hundred million dollars, with a net profit of three billion nine hundred twenty-two million dollars.

This growth was primarily driven by offline consumer businesses, which had increased by over one hundred fifty percent compared to 2005.

In contrast, box office revenue had dropped to about fifteen percent of total income.

However, no one could ignore the significant role theaters played in the overall marketing and promotion of films.

Theatrical releases were like super advertisements, continuously attracting attention.

Thus, Relativity would continue to prioritize theatrical releases for its film business rather than directly pushing to the Netflix Streaming Media Platform.

As Valentine’s Day approached, many romantic films began their promotional releases. Embassy Pictures also launched Twilight.

Chapter 997: Fan-Oriented

Every year, Valentine’s Day is the prime season for romantic films to hit the theaters, and this year is no exception. In the week leading up to Valentine’s Day, several movies are set to premiere, including Warner Bros’ Love’s Melody, Universal’s Love Overboard, DreamWorks’ My Wife is a Giant, Lionsgate Films’ Daddy’s Little Girls, and Relativity Entertainment’s Twilight.

These films vary in investment and distribution scale, all vying to capitalize on the special Valentine’s Day period to attract couples and emerge as winners in the movie market.

Among them, Twilight stands out as the most anticipated.

Embassy Pictures has been promoting the film since last year, with Lindsay Bill being molded into a beautiful writer, screenwriter, and producer. In this era where looks are justice, she instantly became a sensation across the internet, even propelling Twilight, a novel that isn’t exactly mainstream, to the top of the New York bestseller list, where it remained for several weeks.

All of this has laid a solid foundation of audience anticipation for Twilight.

The melodramatic love story, coupled with the fresh and appealing backdrop of werewolves and vampires, is incredibly attractive to young women.

What kind of sensation did Auntie Qiong Yao once cause with the support of female audiences?

The impact Twilight is having in North America and the Western market is imaginable.

Relativity Entertainment held an internal screening for Twilight, and the response was positive.

However, after the film was released, there was a lot of ridicule in the media. On one hand, the romance genre has declined, and on the other, the seemingly vast fantasy backdrop is merely serving a melodramatic love triangle, which is quite excessive.

Fortunately, Ronan has always understood one thing: Embassy Pictures has never misrepresented Twilight in its promotions.

In all of Embassy Pictures’ promotions, across any platform and at any time, Twilight has been marketed as a romance film, not a fantasy film.

This is crucial; otherwise, the film would surely flop.

Imagine this: the audience for fantasy films seems broader than that for romance films, and concepts like werewolves and vampires, which are popular in the West, have considerable appeal.

But if these are promoted as the main selling points, countless viewers enter the theater expecting an epic film, only to see Twilight. What would their reaction be?

The reputation and word-of-mouth for Twilight would completely collapse, and the market might very well collapse with it.

Ronan has seen too many such examples. There were too many films or TV series that heavily promoted themselves under the guise of workplace dramas, medical technologies, or other themes, successfully piquing the audience’s interest. But once the film or series was released, it turned out that these were just side elements serving a melodramatic love story, leading to a complete collapse in both reputation and ratings.

There was even a film that claimed to be a hard sci-fi but was actually a melodramatic romance, which not only slammed shut the door to sci-fi films that had just begun to open on the other side of the Pacific but also locked it tight.

Ronan couldn’t let Twilight push Hollywood’s already declining romance films to the brink of becoming a niche genre.

Fortunately, Twilight has its natural advantages.

First, it has the original novel, with its intense love story right there!

Second, the timing is perfect, with Valentine’s Day just around the corner, a period when most films released are romances.

To build momentum for Twilight, Embassy Pictures launched a grand global premiere event at the Nokia Theatre in Los Angeles.

To rally Twilight fans from around the world to participate in the premiere, Relativity Entertainment had booked the large square in front of the Nokia Theatre two days prior for fans to camp out.

On the day of the premiere, as early as 6 AM, over 3,000 fans poured into the venue on time, creating a lively scene.

Additionally, nearby hotels had been fully booked months in advance, with hordes of fans flocking from all over America just to get a close look at the entire “Twilight family” cast making their first official red carpet appearance.

The fans of this novel series, under the relentless promotional and marketing campaigns, have invested tremendous enthusiasm in the film.

Ronan is well aware of the commercial value this series can create for Relativity Entertainment. Not only did he personally attend the premiere, but he also, at the request of producer Lindsay Bill, walked the red carpet.

Of course, like most premieres, Ronan did not grant any media interviews. As he passed through the media area, he ignored the shouts of the many reporters and headed straight for the theater.

Compared to Ronan, Lindsay Bill, the so-called beautiful writer and producer, was swarmed by reporters as soon as she appeared in the media area.

Entertainment reporters are not as polite to her as they are to producers like Ronan; their questions are as sharp as knives.

Making a beautiful woman look flustered is a common tactic among entertainment reporters.

Especially the male reporters present, who seem to have an inexplicable psychology—seeing a woman so successful makes them somewhat uncomfortable.

After a few formulaic questions, a middle-aged white male reporter took the lead in attacking, loudly asking, “Don’t you think this type of film is outdated? Werewolves and vampires are just gimmicks! Can this film allow the crew to recoup the thirty million dollar investment?”

Lindsay Bill is no longer the inexperienced newcomer she once was. She calmly faced the reporters’ difficult questions and, with a smile, said, “Outstanding films never go out of style. Twilight will become a classic romance film. Whether we can recoup the investment, you’ll know after this weekend.”

Equality is shouted from the rooftops in the media, but in the hearts of many men, this equality will never be achieved.

Seeing Lindsay Bill’s composure and confidence, the male reporters not only did not back down but another one jumped in: “I’ve read your original novel Twilight—vulgar, affected, and perverted. Do you think a film adapted from such a novel can succeed?”

These entertainment reporters are purely attacking for the sake of attacking, opposing for the sake of opposing.

Lindsay Bill quickly realized this and somewhat understood that her identity as a woman might have caused discomfort in some people.

For some reason, Lindsay Bill thought of her good friend Jessica Felton. It seems Jessica Felton rarely accepts media interviews—could this be the reason?

Being a woman is really hard sometimes.

Thinking this, Lindsay Bill didn’t stop speaking: “If one of the most beautiful emotions in the world, love, is seen by you as such, it can only be said that you have psychological issues.”

She bluntly said, “I suggest you see a psychologist.”

With that, Lindsay Bill stopped paying attention to these reporters and turned to walk towards the theater.

The reporters behind her didn’t want to let Lindsay Bill go so easily and tried to chase after her with more questions, but they were stopped by the security personnel.

Only after entering the theater did Lindsay Bill let out a sigh of relief, feeling more exhausted than working overtime for a month.

She saw Ronan talking to director Catherine Hardwicke and immediately walked over.

After exchanging greetings, Catherine Hardwicke saw that Lindsay Bill had something to say to Ronan and quickly excused herself.

“What’s wrong?” Ronan noticed Lindsay Bill’s unusual expression and asked, “Encountered a problem?”

Lindsay Bill smiled helplessly and said, “I was harassed by the media reporters.”

Ronan laughed and said, “You need to learn how to deal with these things.”

Lindsay Bill was even more helpless: “I shouldn’t have become a famous writer. It would be better to be like Jesse.”

Hearing her mention Jessica Felton, Ronan said, “Your styles are different.”

“That’s true,” Lindsay Bill said. “It’s a pity that Jesse is still busy making Fast & Furious 4 and has been in Latin America for two months, so she can’t come back to attend the premiere.”

Ronan said, “She came back once a while ago, but left the next day.”

Lindsay Bill asked, “Is everything going smoothly over there?”

Ronan nodded slightly: “She left Rio de Janeiro and went to Trinidad and Tobago for filming.”

The film’s two leads, Robert Pattinson and Kristen Stewart, walked in hand in hand and came over to say hello first.

After seeing the two walk away, Lindsay Bill said, “These two are pretending to be a couple, and now they’re actually dating.”

Ronan asked, “I heard recently that Catherine Hardwicke had them go to her house to rehearse a window scene together?”

“That’s true,” Lindsay Bill rubbed her forehead: “I talked to Catherine about it, and she’s been more restrained since then.”

Ronan reminded her: “Some things can’t be left entirely to the director’s whims. If necessary, replace the director.”

Lindsay Bill said seriously: “I understand. Ronan, don’t worry, the crew is under my control.”

Since Ronan had decided to delegate authority, he wouldn’t interfere recklessly. Lindsay Bill’s working style is gentler than that of Jessica Felton and George Clint.

Of course, it wouldn’t be accurate to say that Catherine Hardwicke is excessive. After all, in Hollywood, directors who meddle in the relationships between male and female leads are quite common.

As for Robert Pattinson and Kristen Stewart, only they know what they’re thinking as a couple.

Who would have thought that in a few years, the latter would become a lesbian.

Although it’s more about following trends.

Ronan and Lindsay Bill walked towards the theater lobby together. As they walked, Lindsay Bill said, “I’ve finished the first draft of the script for The Hunger Games. I’ll send it to your email later.”

“Alright,” Ronan said. “Lindsay, your main focus for the next few years will be on Twilight and The Hunger Games.”

Lindsay Bill already knew Ronan’s plans and said, “No problem. I think these two projects have great potential and might even usher in an era of low-budget blockbusters.”

Ronan smiled and said, “There is indeed a certain market, but compared to top-tier mainstream commercial films, it will definitely be inferior.”

As for Twilight, it is a film heavily oriented towards women and fans.

Those who like this series will love it to death, while those who don’t like it will find the mere mention of the film disgusting—a severe polarization.

Chapter 998: The Five Waves of Truth

Standing in the theater lobby, as far as the eye could see, the crowd was almost entirely young women. The few male audience members present were usually accompanied by women with whom they had a clearly special relationship.

It was undeniable that falling for a handsome, super-powered, yet gentle and caring man who was different from oneself was a dream every girl had harbored at some point. This was also why the Mary Sue genre remained evergreen.

In Mary Sue stories, the domineering CEO was always gentle, handsome, and devoted solely to the Mary Sue. No matter how violent or ruthless he might be, he was endlessly considerate toward her. He possessed astonishing talent, even supernatural abilities, and was all-powerful, yet humble and patient in her presence.

Without a doubt, Isabella was such a Mary Sue, and Edward was the corresponding domineering CEO.

Edward also fit the mold of the man women dreamed of.

Love at first sight, though the least reliable kind of love in the world, was the dream women cherished most.

Edward was strong and capable, always there to protect his girlfriend—whether by leaping to push a car, appearing just in time to scare off troublemakers, or escorting her to a dance with unmatched charm, drawing envious glances.

Moreover, Edward was genuinely wealthy and willing to spend his life with his girlfriend. He respected her choices, unwilling to disrupt her original life and existence. She grew old, while he remained forever young…

This likely fulfilled women’s greatest desires.

Objectively speaking, whether in the novel or the film, the story exuded an elegant and beautiful feminine charm. The tale was simple and romantic—a vampire, lonely for a century, falls in love with a shy human girl. They face numerous obstacles, but the power of love ultimately conquers all.

Ronan had commissioned a special survey, which revealed that over ninety percent of Twilight’s book fans were female.

Thus, as soon as the film began screening, many male audience members started feeling uncomfortable.

This was fundamentally a clash of ideologies between two groups. Dogs could never understand cats, and many dogs wouldn’t lower their proud heads to try.

Men who could endure watching Twilight to the end usually fell into two categories: one, you were a vegetarian vampire; two, you were head over heels for your girlfriend and were accompanying her.

The handsome, wealthy male lead left male audiences unmoved.

As for the female lead, Isabella, men felt the same.

To a large extent, Isabella was an empty shell, her greatest function being that any woman could easily project herself onto her and begin fantasizing wildly.

Like the male leads in early wish-fulfillment novels, she didn’t need a described appearance, distinctive traits, or even a personality. As long as the audience could immerse themselves in her, that was enough.

Isabella was like an oversized Lego toy. Setting aside her appearance, her personality was described as insecure, clumsy, and quirky—any woman who had gone through adolescence could relate to these traits.

With Isabella as this empty shell, the female lead became a vessel any woman could step into, rather than a distinct person.

Compared to male audiences, the female viewers in the theater could only be described as frenzied. From the moment Edward appeared, the girls’ screams, rising and falling, proved that Isabella was far from alone.

When the concept of vampires first emerged, they were originally in the same camp as devils and zombies—creatures meant to shock. But with the rise of romantic idealism, vampires in the hands of many novelists began to take on a more positive image. They catered to male readers’ bloodlust and female readers’ tear ducts, influencing audiences worldwide.

Vampire love stories contained everything alluring about love: deadly passion, eternal desire, conquest and submission, sadism and masochism, sorrow intertwined with pleasure, and immortality attained through pain and ecstasy.

The problem was, vampires had no body heat. They were as hard as stone, icy cold, and rigid. So, that thing wouldn’t be much better than an ice pop.

Women who could endure it were definitely not ordinary.

They must have been tempered through countless trials.

Ronan remembered seeing someone online say that Twilight reflected the essence of love—judging by appearance and wealth, not substance.

This applied to both men and women.

And between these two essentials, the latter was more important. As long as the latter was satisfied, the former could be completely ignored.

This argument seemed quite reasonable. For example, Tang Sanzang didn’t marry all those beautiful demons; in the end, he married…

Or, a certain woman engaged in short-term investments but ended up trapped.

Vampire-themed films were not uncommon in Hollywood. But in today’s Hollywood, where everything was being turned into series, a theme with such money-making potential as vampires had, apart from the extremely limited B-movie Underworld, not yet been made into a franchise. It was truly a matter of outrage for both humans and gods.

A series of films could maximize Relativity Entertainment’s profits.

To maximize profits, the film had to be romantic, romantic, and more romantic.

The “Five Waves of Truth” should serve as the guiding principle for the film!

Romance, waste, prodigal son, waves, and finally, the howling of the waves.

Twilight was very romantic.

Someone once evaluated Twilight as reaching the pinnacle of romantic novels and films.

However, Lindsay Bill was also remarkable. The lines she wrote continuously made young girls and women scream.

“Even if you’re not human, I love you to the point of not fearing death.”

This was Isabella’s line. Now, look at Edward’s classic confession: “I love you more than everything in the world combined!”

Even Auntie Qiong’s “Mountains crumble and the earth cracks” might not have had such an effect.

Of course, the film’s flaws were also obvious.

This was a melodramatic, idol-driven youth romance. All the so-called fantasy elements served this purpose, so there was no talk of world-building.

Due to budget constraints, the special effects were just passable.

After all, the production budget was only thirty million dollars.

But none of this mattered to female audiences.

To cater to the preferences of young girls, Twilight almost reached the extreme of what flower-chasers desired.

It was precisely to meet the needs of these flower-chasers that vampires in literature and film had transformed from their original monstrous forms into the handsome men of today.

The film Twilight was naive; no one could deny this. But many naive films often achieved tremendous commercial success.

Girls with bursting hearts would absolutely adore this ultimate Mary Sue film.

Why were wish-fulfillment novels so popular in the past? The answer wasn’t complicated. Men loved fighting and flirting; women loved sweet nothings, and the male lead had to be rich, preferably handsome too.

When the premiere screening ended, applause was almost inaudible.

It wasn’t that no one clapped; the girls’ screams, rising and falling, completely drowned out the applause.

The girls in the theater were like they had been struck by Xu Ke’s supreme acupuncture!

Fans were crazy about what they loved. Girls always fantasized about being the Mary Sue, so their view of this film inevitably lacked sufficient rationality.

In contrast, the few male audience members looked at the girls beside them as if they were aliens.

Incomprehensible, lunatics…

Probably, many men thought this way.

After the premiere, Twilight began its wide release across North America. Due to the large number of films released simultaneously, even with Embassy Pictures mobilizing significant resources and the film being rated PG-13, the number of opening theaters wasn’t particularly high.

Other major companies’ distribution capabilities were not inferior to Relativity Entertainment.

Twilight opened in only 3,550 theaters on its opening weekend.

But on its first day in North America, fueled by the near-frenzied enthusiasm of female audiences, Twilight achieved per-theater earnings exceeding ten thousand dollars!

On Friday, the film grossed thirty-six million nine hundred thousand dollars in North America!

All other films that opened the same weekend combined couldn’t match Twilight’s box office.

Book fans and female audiences were utterly captivated by the film.

In just one day, Twilight’s North American box office surpassed its production budget!

As the first-day box office figures were released, most media outlets that had previously predicted Twilight’s failure changed their stance, acknowledging that the film had at least achieved commercial success.

Twilight’s commercial success stemmed from its precise grasp of the film’s niche market. However, behind the high first-day box office, there were countless male audiences who felt misled by the film.

Calling it “misled” wasn’t accurate. These men had basically entered the theater to please their female companions, but Twilight truly wasn’t suitable for mature-minded men to watch.

Inevitably, Twilight received extremely polarized reviews.

“Terrible to the point of making me cry.”

“Brainless chick flick!”

Even the two leads, beloved by female audiences, were criticized mercilessly by male viewers.

“The male lead isn’t good-looking and lacks masculine charm. Once you get used to it, you can tolerate it. But the female lead’s acting is unbearable. From start to finish, she has that same look of slight terror and incredulity, like she’s frozen in a daze, showing no emotional changes. And how did they even fall in love? It’s incomprehensible; the feelings came out of nowhere!”

Rarely had a film caused such a complete divide between male and female audiences.

Embassy Pictures also received a set of data statistics: on the first day of Twilight’s North American release, female audiences accounted for over eighty-five percent!

The facts proved that the strategy of targeting a niche market for promotion and marketing was entirely correct. Twilight was like a Hollywood version of a Qiong Yao drama, capturing the hearts of countless girls.

After Friday consumed a large portion of the fans’ and girls’ enthusiasm, Twilight’s momentum began to wane.

Under normal circumstances, Hollywood films’ weekend box office trends saw Saturday higher than Friday, or at least not much lower. But Twilight was different. On Saturday, the daily box office plummeted by forty percent compared to Friday, earning twenty-two million one hundred forty thousand dollars.

On Sunday, another drop of over forty percent occurred.

The characteristics of a fan-driven film were undeniable.

Nevertheless, Twilight still achieved tremendous success. Its opening weekend box office of seventy-two million four hundred thousand dollars also set the record for the highest February opening in the North American film market.

Chapter 999: The Worse, The More Beloved

Fan-driven films always seemed to escape the fate of starting strong but fading quickly. In the eyes of female audiences and book fans, Twilight was an undeniably fantastic movie. However, its reception among the broader audience was mediocre at best.

After its opening weekend, Twilight’s IMDb audience rating averaged only 5.3 out of 10.

Overall, the film’s reputation had already taken a nosedive. The box office, which had started strong, began to decline rapidly before the opening weekend had even ended.

The North American box office had a strong start, but to maintain decent earnings, it needed fresh stimulation.

Whether Lindsay Bill liked it or not, at this point, certain things had to be done. In the new week, she represented the production team and announced at a press conference that all subsequent novels in the Twilight series would be adapted into films. New Moon was officially greenlit, with the original creative team—including director Catherine Hardwicke and leads Robert Pattinson and Kristen Stewart—all returning.

These individuals had signed long-term contracts with Relativity Entertainment, so their return was not an issue.

The news was a significant boost for the original fans. Many book enthusiasts flocked to theaters for second and even third viewings.

As more people saw Twilight, the film’s reputation declined even faster.

There was a somewhat universal phenomenon in the film market: good reputation did not necessarily guarantee high box office, and conversely, high box office did not always mean good reputation.

The success of Twilight brought an undeniable fact to Hollywood’s attention—the 90s generation, still seen as children, had become one of the primary consumer groups for films.

During the rise of this new generation of audiences, the global film market would experience a widespread phenomenon for a considerable period: professional reputation, especially from critics, would no longer have as significant an impact on a film’s commercial success as it once did.

As Tom Cruise had said to Ronan, “Box office success, terrible reputation, and actors becoming famous for no apparent reason—that’s the most straightforward impression Twilight gives me.”

In the future, many films like Twilight would emerge, characterized by—movies getting worse, reputations declining, and box office soaring!

In the new week, boosted by the Valentine’s Day effect, Twilight’s box office performance did not plummet disastrously.

Someone once said that this was a world where the worst often prevailed. A film’s commercial response after release depended not only on itself but also on its competitors.

During Valentine’s Day, the market had a high demand for romance films, and this period was often dominated by female audiences.

Among the many films released during this period—Warner Bros’ Duet, Universal’s Love Overboard, DreamWorks’ My Wife is a Giant, Lionsgate’s Daddy’s Little Girls, and Relativity’s Twilight—which one should audiences watch?

After comparing the Valentine’s Day releases, Twilight’s advantages became increasingly apparent.

From Wednesday’s Valentine’s Day to Sunday, over five days, romance films dominated.

Among all films released during this period, Twilight had the highest screening rate and occupancy rate.

The film earned another forty-five million seven hundred seventy thousand dollars over these five days.

Including Monday and Tuesday, after ten days of release, Twilight had grossed one hundred thirty-one million two hundred fifty thousand dollars in North America.

Nearly eighty percent of this revenue came from female audiences.

Before the plot thickened, Embassy Pictures also pushed Twilight into Hollywood’s major overseas markets.

Thanks to the North American box office explosion and the special Valentine’s Day period, the film’s market response was generally positive. In just one week, overseas box office earnings reached nearly sixty-eight million dollars.

Another characteristic of Hollywood films was becoming increasingly evident: any film that performed well in North America would also do well overseas.

Similarly, countless female audiences overseas were drawn to Twilight.

The appeal of youthful romance and the Mary Sue trope was universal, transcending national and cultural boundaries.

In just ten days, “the worse, the more beloved” seemed to have become a unique hallmark of Twilight. No matter how much noise, clamor, or criticism came from outside, the fans remained steadfast.

Reality had drawn a vast chasm between Twilight’s popularity and its actual quality: on one side were fans whose enthusiasm knew no bounds, and on the other, a barrage of criticism from media, film critics, and adult male audiences.

It was undeniable that the preferences of teenage film enthusiasts and mainstream public opinion had diverged significantly over Twilight.

At its core, the cultural elites who controlled the discourse looked down on the “cultural plebeians” who controlled the box office.

Another phenomenon was the incredible rise of the young actors.

In a small meeting room at Relativity Tower, Ronan, George Clint, and Lindsay Bill were engaged in a discussion.

George Clint, looking at the various feedback data for Twilight, said, “Through Twilight, I’ve come to a conclusion: teen-oriented fan films can become another long-term box office growth point for us, alongside superhero films.”

Ronan completely agreed with this view: “The post-85s, especially the 90s generation, have grown up. They have the ability to choose films independently, and their movie consumption power cannot be ignored.”

Lindsay Bill added, “My experience with Twilight has made this even clearer.”

George Clint turned to Lindsay Bill, who adjusted her glasses, her delicate face serious: “Never underestimate those teenagers!”

Ronan nodded slowly and said, “These energetic and broad-minded young people will be the driving force in the box office market for a long time. They have clear likes and dislikes and are willing to empty their pockets for what they love. Under their collective influence, Hollywood is likely to see one box office miracle after another in teen-themed films.”

George Clint said, “It’s not just Twilight; we need to speed up The Hunger Games as well.”

These highly sought-after popular teen novels had seen their popularity skyrocket after Twilight. The fan base and fame accumulated by the bestselling novels meant that the production company did not need to spend much effort to achieve significant box office success.

Ronan said firmly, “Twilight is just the beginning!” He then asked, “Has the plan for New Moon been finalized?”

George Clint was the first to respond: “With Twilight’s success, the main creative team’s compensation will certainly increase, so the production budget will rise to around forty million dollars.”

Lindsay Bill added, “If we hadn’t signed long-term contracts in advance, the budget might need to increase by another ten million dollars.”

“That’s acceptable,” Ronan said, fully accepting this production budget. “Lindsay, what are your plans for New Moon?”

Lindsay Bill immediately replied, “Catherine Hardwicke and I agree that we should maintain the style of the first film. Twilight is a very clean movie, and the second one will be the same.”

Although the first film’s reputation was not good, the successful box office had brought considerable confidence. She further explained, “Catherine Hardwicke created a very successful beginning, which put pressure on the entire production team. But it also gave us a reference point. In the first film, Catherine Hardwicke laid a lot of groundwork, and the story has just begun. Therefore, we can give the sequel many possibilities, including how to set the core direction of the story.”

Ronan listened carefully. As the actual author of the novels, no one understood the series better than Lindsay Bill.

“Isabella and Edward have only just met; their story has not yet unfolded,” Lindsay Bill continued. “The internal conflicts among vampires, the struggle with werewolves, and the various attitudes of ordinary humans toward vampires and werewolves will all be revealed in New Moon. Catherine Hardwicke and I plan to include many plot points in the second film and organically piece them together to give the audience a clearer understanding of the film’s worldview.”

Ronan carefully considered Lindsay Bill’s words and said, “Alright, you take the lead on this.”

George Clint shifted the topic to another project: “Lindsay knows The Hunger Games best. I suggest she take charge of this project as well.”

Ronan had the same thought and asked, “Can you handle both?”

“I will step back from Gossip Girl,” Lindsay Bill said. “The filming schedules for The Hunger Games and Twilight won’t overlap, so there won’t be any issues.”

Ronan directly stated, “These two projects will be released in alternate years. First, complete Twilight 2, then work on The Hunger Games.”

Lindsay Bill replied, “No problem.”

“I have a candidate in mind for the director of The Hunger Games,” Ronan said directly. “Patty Jenkins, who directed Monster. Shai Entertainment can make initial contact.”

The Hunger Games was very different from Twilight, involving a lot of action scenes. Many female directors were not skilled in directing action sequences. Patty Jenkins had left a deep impression on Ronan, not only for directing Monster, which won Charlize Theron an Oscar for Best Actress, but also for her work on Wonder Woman.

Lindsay Bill said, “I know Patty Jenkins. We’ve had some interactions. Jesse and I once attended a feminist gathering organized by Patty Jenkins and others.”

Ronan said, “Then you take the lead in making initial contact with Patty Jenkins.”

George Clint then said, “Lindsay and I have done some preliminary planning. The production budget for The Hunger Games will be around fifty million dollars.” He thought for a moment and added, “On the condition that we don’t use big stars.”

Using A-list stars for both male and female leads might require an additional twenty million dollars in the budget.

Ronan quickly made a decision: “Like Twilight, the leads will be newcomers.”

Chapter 1000: Weakness

Ronan still remembered who the female lead of The Hunger Games series was, thanks to Hollywood’s connections. After all, many people in China had seen his cousin’s photos, some of which were as bold as those of the artists in the San Fernando Valley.

His cousin was a post-90s girl, and it was only 2007 now. Who knew where she was drinking milk?

Ronan asked, “Do you have any suggestions for the actress to play Katniss?”

George Clint thought for a moment and said, “CAA has quite a few new actresses, many of whom are quite skilled… Of course, we don’t have to limit ourselves to CAA. We can hold large-scale auditions later.”

Ronan nodded slightly. That was a good approach.

Lindsay Bill interjected, “I have an actress to recommend.”

“Let’s hear it,” Ronan said, knowing Lindsay Bill was reliable and wouldn’t recommend an eccentric actress.

Lindsay Bill immediately said, “Last year, CAA recommended a new actress to me, wanting her to play a small role in Gossip Girl or another project. Ronan, you know that we have close cooperation with CAA on TV projects, so I met with the actress and had her audition for a role in Gossip Girl.”

Ronan wasn’t surprised by this. Given the good working relationship between Relativity Entertainment and CAA, under equal conditions, Shai Entertainment’s crew would naturally prioritize CAA’s candidates.

Lindsay Bill continued, “Her acting is average, but above the basic standard. The most important thing is that Katniss has a lot of action scenes, which requires the actress to be agile. This actress is a former model, has undergone professional physical training, and served in the Israeli military…”

Hearing this, Ronan felt a strange sense of familiarity and asked, “Served in the Israeli military? Is she Israeli?”

Lindsay Bill replied, “Yes, she’s Israeli, named Gal Gadot.”

After hearing the previous introduction, Ronan had already guessed, so the name didn’t surprise him. He said, “Alright, since you think highly of her, keep in touch with her. Once the Hunger Games crew is formed, invite her to audition for the role of Katniss.”

Lindsay Bill said, “Okay.”

George Clint had no objections. Most of the leading actors in the crew ended up winning the audition, often through industry recommendations.

In fact, recommendations from experienced people in the industry were often more important than audition results.

The three-person meeting ended quickly. Ronan returned to his office and set aside time to read the first draft of the Hunger Games script that Lindsay Bill had completed.

Recently, thanks to the popularity of Twilight, The Hunger Games had risen to the top five on the New York Times bestseller list. When Relativity Entertainment started promoting the movie, it might even reach the top spot.

Despite the constant accusations of plagiarism from Battle Royale in Japan, North America remained unaffected.

As long as the first movie adaptation was successful, The Hunger Games would definitely be made into a movie trilogy.

Since Robert Iger handled the company’s daily operations, Ronan focused more on film and television projects.

Ronan replied to Lindsay Bill’s email about the Hunger Games script. The script still needed polishing.

Then, he began reviewing the new projects submitted by Shai Entertainment.

Most of them were sequel films. Given the success of the previous ones, greenlighting sequels was natural.

For new projects, Jerry Abrams had finished post-production on Hurricane Rescue 3 and would officially start preparing for Cloverfield after his vacation.

This alternative sci-fi film would be released next year.

With the completion of the Hurricane Rescue trilogy, Shai Entertainment’s cooperation with Liam Neeson had entered a new phase.

Following Ronan’s request, Shai Entertainment’s scriptwriting department used his outline as a template and came up with a script for a plane rescue project.

After reading it, Ronan had it sent to Liam Neeson for the lead actor to review first.

This veteran actor’s rescue journey had only just entered its middle phase.

Of course, the project named Air Rescue by Ronan didn’t need to be rushed. Hurricane Rescue 3 was set to be released during this year’s holiday movie season, and the new rescue film would have to wait at least one to two years.

If they were too frequent, it might lead to audience fatigue.

Relativity Entertainment’s Marvel superhero movie projects were progressing steadily. The alternative superhero film Kick-Ass, led by director and producer Matthew Vaughn, was in the final stages of preparation.

Matthew Vaughn also submitted the latest report to Ronan. The crew had confirmed all the main actors. In the crucial audition for the female lead, Hit-Girl, the now one-year-older Chloë Moretz emerged victorious, defeating strong competitors including Dakota Fanning, and ultimately secured the role.

Ronan also watched a segment of Chloë Moretz’s audition video. The young Hit-Girl was indeed cute and adorable.

Who would have thought that Chloë Moretz would grow up to look like that?

And it wasn’t a problem of severe weight gain, but rather her natural bone structure, which was quite challenging.

Regardless, the young Chloë Moretz was cute enough to captivate many.

This film would start shooting this year and be released next year.

Unlike Marvel’s superhero movies, Kick-Ass had a larger scale and was more violent.

Matthew Vaughn also planned to cooperate with Relativity Entertainment long-term. After finishing Kick-Ass, he intended to remake a new version of Ace Agents.

That is, based on the comic created by Mark Millar from the first movie, then adapted into a film.

Back then, to attract investment from the Abu Dhabi Group, Shai Entertainment’s Ace Agents wasn’t particularly successful, but through Hollywood-style operations, the production company profited greatly.

This also laid the foundation for the later establishment of Relativity Entertainment.

Now, with the opportunity to remake and shoot again, Ronan also planned to let Matthew Vaughn give it a try.

Nowadays, Hollywood’s agents had all become like Jason Bourne. A retro-style gentleman agent would stand out.

The trend of the movie market wasn’t constant.

Moreover, the investment in this project wouldn’t be particularly high. At most, it would be a medium to high-scale investment project.

After handling Shai Entertainment’s film and television projects, Ronan carefully reviewed the latest list of literary works submitted by Connie. It included the New York Times bestseller list and some novels and literary works that had recently attracted attention.

In this list of literary works, Connie had marked all the works whose adaptation rights had been sold, including the transaction time and the buyer’s information.

Given the current situation in Hollywood, once the adaptation rights of literary works fell into the hands of medium to large film companies, it would be very difficult to acquire them under normal circumstances.

Therefore, Ronan first focused on the works whose rights had not yet been sold.

It didn’t take long for him to see a familiar name—Weakness: The Game Process.

Sandra Bullock was once considered one of the most watered-down Oscar winners of the new century, and the film for which she won Best Actress was called Weakness.

Seeing the name of this documentary literature, Ronan remembered the film and vaguely recalled that Sandra Bullock seemed to have the same expression throughout.

Being able to win the Oscar for Best Actress with this film was more due to PR and seniority.

Ronan carefully read the relevant information about this literary work.

Weakness: The Game Process was published in 2006. The author was Michael Lewis, a contributing writer for Vanity Fair, and a well-known documentary writer in the United States.

This was Michael Lewis’s creation based on a true event, telling the true story of Michael Oher, a star offensive tackle for Mississippi State University, and his foster parents, the Tuohy family.

The male lead in the movie Ronan had seen before, he couldn’t remember the specific name, but he remembered it was a black man, and it was also a football-themed film.

Michael Oher was also black, a star player in the NCAA.

According to the relevant information collected by Connie, many NFL teams were very interested in Michael Oher.

Ronan basically confirmed that this was the source of the adaptation of the film starring Sandra Bullock.

The vast majority of films that won major Oscars were also realistic themes, the most common being adaptations.

Having confirmed this, Ronan immediately sent Weakness: The Game Process and its related information to Robert Lee, asking his department to acquire the rights as soon as possible.

Football was the most popular sport in North America, and the NFL was the number one professional sports league in the United States, surpassing all other events. Therefore, football-themed films were also the most marketable sports films in North America.

Once a company noticed Weakness: The Game Process, they would likely be interested.

Michael Oher’s experience was very unique and also aligned with the mainstream values of American society regarding family and black-white coexistence.

If this year or next year, Michael Oher participated in the NFL draft and entered the NFL with a lower ranking, it might attract more attention.

This was a matter of being quick.

Robert Lee acted very quickly. The next day, he sent someone to contact Michael Lewis, but Michael Lewis was not a new writer and had experience working at Vanity Fair, so he asked for a $5 million licensing fee.

Making such a film required not only obtaining the adaptation rights but also the authorization of Michael Oher and the Tuohy family, since all the real people existed. Otherwise, there would be significant trouble later.

It wasn’t until before the Oscar Awards ceremony that Relativity Entertainment finalized this project, spending a total of $6 million to basically obtain all relevant authorizations.

However, this project wouldn’t be immediately put on the agenda. At least, they had to wait for Michael Oher to enter the NFL.

At the end of February, the awards season reached its final climax—the 79th Academy Awards!

Chapter 1001: The Omen

Compared to previous years, the 79th Academy Awards ceremony was noticeably quieter. At the very least, on the day of the ceremony, there weren’t as many protest groups gathered around the Kodak Theatre.

In past years, protests involving hundreds of people representing different groups or organizations were common. In some years, the number of protesters even reached into the thousands.

This year, however, the Oscars seemed to have fewer surprises, and consequently, fewer protest groups.

Relativity Entertainment had two films nominated for multiple awards. Ronan had also arrived at the ceremony, though he didn’t walk the red carpet. Instead, he entered the VIP lounge directly through a side door of the Kodak Theatre.

As soon as he stepped into the VIP lounge, he received a text message.

“Wishing you success tonight!”

The message was from Jessica Felton, who was currently in Latin America filming Fast & Furious 4. She was expected to finish all her scenes by early March and return to Los Angeles to begin post-production.

Due to some unexpected incidents during filming in Trinidad and Tobago, the shoot, which was originally supposed to wrap up by the end of February, had been delayed until early March.

During this time, Ronan had visited the set twice, and Jessica Felton had also returned to Los Angeles. The two of them spoke on the phone roughly every three days.

However, their conversations mostly revolved around work.

Jessica Felton was no different from usual—relying on her own abilities to make a living, her mind filled with nothing but work and learning. Ronan, on the other hand, was relatively cautious. If this step didn’t succeed, their friendship might even fall apart.

Besides, after knowing each other for so many years, there was no need to rush.

Waiting for Jessica Felton to return to Los Angeles wouldn’t be too late.

Ronan replied with a text: Tonight, we’ll sweep the Oscars.

The chances of an upset for The Departed and The Incredibles were infinitely low.

Just as he put away his phone, Ronan felt it vibrate again. Thinking Jessica Felton had replied, he took it out only to find it was a spam message.

The message was common—informing him that he had won a big prize and to call a certain number.

With the rapid development of the information industry, the frequency of such messages had increased. Even Ronan couldn’t avoid them.

It would only get worse.

There was a time when Ronan, while on the other side of the Pacific, had conducted a special survey.

Due to his work, his personal information had been severely leaked, and he often received various scam messages or calls.

Ronan had kept some of them and done a tally. In just fifteen months, he had “won” cash prizes thirty-three times, totaling over sixteen million yuan.

He had also “won” numerous physical prizes—at least a dozen iPhones, five or six cars, and even houses.

He had even received court summons and police arrest notices.

He still remembered the first time he received a so-called police call—it had scared him half to death. Fortunately, he had been cautious, or the money in his account would have been gone.

“Hey, Ronan.”

Just as he put away his phone, Ryan Kavanaugh walked over and said, “You’re going to be the big winner tonight!”

Ronan smiled and said, “It’s hard to say anything before the results are out.”

Ryan Kavanaugh shook his head and said, “Who doesn’t know that the results are almost one hundred percent certain!” He sighed, “Ronan, I really envy you. When will Maple Leaf Entertainment ever be like Relativity?”

“One step at a time. Relativity also took several years to reach a certain scale,” Ronan said truthfully. “How are you and David doing at Walt Disney?”

Ryan Kavanaugh said, “We’ve gained more shares, but it’s not easy to kick out Michael Eisner and Roy Disney. Such a huge conglomerate can’t be resolved in a short time. I’ve made a three-year plan. In three years, Maple Leaf Entertainment will definitely take control of Walt Disney.”

Ronan said, “Some things, if rushed, won’t have good results. Your decision is correct. You have vast capital; the only thing lacking is time.”

“Yes, we entered Walt Disney too late,” Ryan Kavanaugh nodded repeatedly. “Time will allow Maple Leaf Entertainment to accumulate more advantages!”

Ronan laughed and said, “I wish you success. Ryan, when that day comes, we must celebrate.”

Ryan Kavanaugh shook Ronan’s hand tightly and said, “Definitely!” He then added, “By the way, I haven’t congratulated you yet. The Departed and Twilight have both been huge hits. Relativity really has some magic. It’s not surprising that The Departed did well, but even Twilight has such high box office numbers—it’s baffling.”

Ronan modestly replied, “This is all thanks to the production team and the distribution company.”

As of this weekend, The Departed had grossed over one hundred and ninety million dollars in North America, with global box office nearing four hundred million. Not only was it the top favorite for the Oscars, but it had also achieved tremendous commercial success.

Although Twilight had poor professional and audience reception, and its box office showed a clear trend of high opening but low sustainability, it was far more successful commercially than The Departed.

After three weeks in North America, this melodramatic love story had grossed one hundred and sixty-five million dollars, and its final North American box office was sure to exceed two hundred million.

Currently, overseas box office had also surpassed one hundred million, and the pressure to exceed four hundred million globally wasn’t significant.

After discussing some issues about Disney with Ronan, Ryan Kavanaugh went elsewhere.

Ronan, of course, didn’t take Ryan Kavanaugh’s words about Walt Disney lightly, but based on various reports, Ryan Kavanaugh’s three-year plan did have some credibility.

This also meant that Walt Disney would continue its internal struggles for at least three more years.

Ronan then ran into Harvey Weinstein. Due to the timing, the two chatted as they entered the main hall of the Kodak Theatre.

The Weinstein Company was aiming for Best Actress, and currently, Helen Mirren from The Queen had the highest chance of winning.

Arriving at the seats for The Departed and The Incredibles crews, Ronan found his seat and noticed that Tom Cruise, sitting next to him, was engrossed in a lively conversation with Brad Bird, as if they had just met their long-lost soulmates.

The name Mission: Impossible came up frequently in their conversation.

“Good evening, Ronan.”

Jessica Chastain, sitting in the row in front, turned around to greet Ronan.

Ronan nodded in acknowledgment and said, “Hello, Jesse.”

Being nominated for an Oscar, even knowing the chances of winning were infinitely low, Jessica Chastain was still excited. She said, “I… I…”

She seemed unsure how to express herself and stammered for a few moments before saying, “I don’t know how to express my gratitude.”

Ronan waved his hand and said, “No need to be so polite.”

Jessica Chastain said, “If Relativity ever needs me, just give me a call.”

Undoubtedly, she was a very clever woman, hoping to continue collaborating with Ronan.

In a way, Jessica Chastain was somewhat similar to Jessica Felton in her work ethic, except one was an actress and the other a producer with significant control over the set.

Ronan appreciated such people and said, “If there’s a suitable role, I’ll give you a call.”

“Mmm.” Jessica Chastain responded firmly.

Tom Cruise, having finished his idle chat with Brad Bird, turned to Ronan and said in a low voice, “Jesse has always been grateful to you.”

Ronan smiled but didn’t respond. Instead, he asked, “Tom, have you prepared your acceptance speech?”

Tom Cruise shrugged slightly and said, “No. If I really win, I’ll improvise.”

Ronan said, “Unless there’s an upset.”

This year’s Best Actor nominees included Tom Cruise, Leonardo DiCaprio, Ryan Gosling, Brad Pitt, and Forest Whitaker.

The Blood Diamond had a mediocre reception, and Leonardo’s journey as a perennial bridesmaid had just begun. Ryan Gosling’s credentials were far too lacking, and given his age, his chances of winning were extremely slim. In the nomination list, he seemed more like a token inclusion due to the lack of outstanding works in 2006—a case of choosing the tallest dwarf as general. Brad Pitt, needless to say, was far less favored by the Oscars than Tom Cruise.

The biggest threat was Forest Whitaker, but after months of persistent effort by Relativity, not only had middle-aged and elderly white voters lost their sense of identification, but even black voters had little connection to an African character.

In any other year, Tom Cruise’s chances of winning would have been slim.

But this year, the competition was just too weak.

Sometimes, comparison is what highlights one’s advantages.

“If I win,” Tom Cruise lowered his voice and said, “I’ll send you a car.”

Ronan didn’t stand on ceremony with him and said, “It’s a deal.”

Tom Cruise suddenly changed the subject: “Recently, someone suggested I invest in the financial industry. I don’t understand these things and wanted to ask for your opinion.”

Ronan told the truth: “I don’t know much about the financial industry either, so I don’t easily get involved. There’s no need to take that risk.”

Hearing this, Tom Cruise thought carefully and felt it made a lot of sense. He said, “Indeed, there’s no need to take unnecessary risks.”

Seeing that Tom Cruise had taken his words to heart, Ronan didn’t say more.

With the advantage of foresight and now standing at such a height, having collected a large amount of first-hand information, Ronan had already detected the omens of the economic crisis.

Since the year 2000, the pace of economic development in the United States had slowed. The industries that had truly experienced rapid development were undoubtedly the high-tech industry, represented by IT, and the real estate industry, which the federal government had vigorously promoted.

The task of improving the economic situation in the United States fell on the real estate sector. Around the year 2000, the federal government made a choice, calling on all Americans to buy homes. Even the Federal Reserve adopted a loose monetary policy, continuously lowering interest rates to keep loan rates low. They used real estate to drive the U.S. economy, keeping it prosperous.

They, in conjunction with Wall Street, encouraged the middle and lower classes across America to buy homes, creating a real estate boom, using a larger bubble to fill the black hole left by another bubble.

Thus, commercial banks issued subprime loans, then packaged these subprime debts and sold them to investment banks. After purchasing these mortgage securities, investment banks began designing financial derivatives. They also packaged them into subprime bonds—collateralized debt obligations—and sold them to major clients and insurance companies of investment banks.

In this way, subprime debts were sold all over the world.

Chapter 1002: Touching the Dream

To some extent, this was a case of self-sabotage. Wall Street played its financial games with great enthusiasm, but when danger struck, it was investors across America and the world who had to foot the bill. In the end, who could count how many families went bankrupt, or how many people took their own lives?

Facing the financial poison, Ronan remained cautious and conservative. With his current trajectory, there was no need to take unnecessary risks.

Relativity Entertainment had ample funds, manageable debt, and the economic crisis presented a prime opportunity for expansion.

Ronan vaguely remembered that since the crisis began, Hollywood studios had scaled back investments, and almost all of them were facing a cash crunch.

But with the advantage of foresight, Relativity Entertainment and the Taiping Investment Foundation were steadily accumulating vast resources.

The Oscar ceremony began with music, and Ronan pushed those thoughts aside, immersing himself in Hollywood’s grand spectacle for the world.

This year’s host was Ellen DeGeneres.

Though she did her best, the films nominated this year lacked excitement, and the decades-old Oscar format kept the atmosphere from improving.

There were too many segments paying tribute to the older generation, and before any awards were even given out, the nostalgia had already begun.

This seemed to set the tone for a rather dull ceremony.

The first award presented was Best Supporting Actress, which went to Jennifer Hudson for her performance in Dreamgirls.

Watching Jennifer Hudson’s dark skin, Tom Cruise frowned slightly, as if reminded of his biggest competitor, Forest Whitaker.

One award after another was presented, but the atmosphere remained lackluster.

This seemed destined to be an unusually long ceremony. Not only were most of the major awards lacking fierce competition—with no surprises beforehand and none during—but the frequent tribute segments made the event feel stale.

Over the past few years, the Academy had been trying to modernize the Oscars, but this year, they had taken a step backward.

It wouldn’t be an exaggeration to say that the progress made in recent years had been completely undone.

Originally, Netflix had wanted to plant an ad for Netflix sharing during the ceremony. The idea, proposed by Ronan, involved the host taking a photo of Tom Cruise with an Android smartphone and posting it live on Netflix sharing.

But the Academy and this year’s Oscar organizers rejected the proposal, citing tradition.

There was no helping it—those old men were far too slow to accept new things, and the Oscars had never taken new media seriously.

Unsurprisingly, the negotiations fell through.

The dull ceremony made people drowsy, and the female stars in tight evening gowns, unable to even use the restroom, must have found the three-plus hours even more unbearable.

The technical awards dragged on, and with no single film dominating, The Departed didn’t receive many technical nominations, leading to an equal distribution of awards.

Babel won Best Original Score, Pan’s Labyrinth took Best Makeup, Letters from Iwo Jima won Best Sound Editing, Dreamgirls received Best Sound Mixing, and Curse of the Golden Flower won Best Costume Design…

Few films won more than one minor technical award.

None of these films had an absolute advantage, so each crew got a little gold man, and everyone had a lively celebration tonight.

Relativity Entertainment’s two crews remained seated until the Best Adapted Screenplay award was announced.

The Departed won its first Oscar of the night—Best Adapted Screenplay!

Watching Relativity’s hired screenwriter, William Monahan, take the stage, Andrew Lau, who was also at the ceremony, felt a pang of bitterness.

But he knew all too well that the Oscars were Hollywood’s grand show, and outsiders would always be supporting actors.

In this regard, he saw things more clearly than Director Zhang, who sat not far away.

The Oscar complex was a strange thing, sometimes even shaping a director’s entire career.

Next, Little Miss Sunshine won Best Original Screenplay. Combined with Alan Arkin’s earlier Best Supporting Actor win, this low-budget, high-return indie film had taken home two Oscars.

But Little Miss Sunshine’s Oscar journey ended there. The chances of it winning Best Picture or Best Director were practically nonexistent.

“Let’s look at the nominees for Best Animated Feature.”

On stage, presenter Mark Wahlberg looked at the big screen: “The Incredibles from Pixar; Happy Feet from Warner Bros. Animation; Monster House from Sony Pictures Animation…”

The result was no surprise: “The winner is The Incredibles from Pixar.”

Relativity’s side erupted in cheers. Brad Bird first hugged Tom Cruise, then high-fived Ronan before striding onto the stage to accept the golden trophy.

“Thank you, Academy! Thank you, Relativity Entertainment!” Brad Bird spoke rapidly. “And especially to the hundreds of colleagues I worked with—the outstanding cast and crew, the great artists, the computer geniuses, the passionate studio, and those who did the voice acting and brought this film to theaters. On their behalf, I thank the Academy. Thank you!”

Brad Bird quickly left the stage.

Pixar’s team would go on to win many more Best Animated Feature Oscars.

Next, The Departed won Best Editing. Martin Scorsese clapped, his smile especially bright.

With Best Original Screenplay and Best Editing in hand, The Departed’s Best Director and Best Picture wins were all but guaranteed.

The ceremony was nearing its end. The guests and audience suffering through the dull atmosphere, and the people waiting at home, were all holding out for the final thirty minutes.

The long wait made time drag, and the more eagerly they anticipated the results, the more unbearable the waiting became. For most people, all the “weight” of the 79th Academy Awards was contained in those last thirty minutes.

On the surface, they cared about whether Martin Scorsese would finally win Best Director, and whether Tom Cruise would break his Oscar acting award drought.

These were the few mysteries this year’s Oscars had to offer.

But in reality, what they truly wanted to know was whether Martin Scorsese and Tom Cruise—two men who had been snubbed by the Oscars for years, despite standing at the pinnacle of directing and acting—would remain uncrowned kings or achieve legend status tonight.

For this answer, they had willingly waited nearly four hours.

For this answer, Martin Scorsese and Tom Cruise had waited over twenty years.

The Academy’s cold shoulder toward them had been almost blatant.

But this year, faced with films that lacked even strong competitors, what choice would the Academy’s nearly six thousand members make?

Martin Scorsese’s chances were decent, but Tom Cruise’s? If he had faced a truly formidable opponent, the outcome would have been anyone’s guess.

Last year’s Best Actress winner, Reese Witherspoon, strode onto the stage.

“Last year, we saw so many outstanding characters on screen, so many brilliant performances.”

No one knew which writer had come up with that line, but many in the audience cringed. Reese Witherspoon, however, was unfazed: “Among them, the most outstanding were these five actors…”

The big screen displayed the nominees: “Leonardo DiCaprio for Blood Diamond; Tom Cruise for The Departed; Forest Whitaker for The Last King of Scotland; Ryan Gosling for Half Nelson; Brad Pitt for Babel!”

This list highlighted a key feature of this year’s Best Actor race: none of the nominees were universally recognized as “acting powerhouses.”

The winner would be decided by comparison!

It wasn’t just about individual merit—it was about the competition.

So when Reese Witherspoon opened the envelope, she announced a name that most had expected: “The winner for Best Actor is Tom Cruise for The Departed!”

Applause erupted first from The Departed crew.

Tom Cruise opened his mouth, as if in disbelief, seemingly stunned.

Someone like Ronan, who knew Tom Cruise well, could tell this was partly genuine excitement and partly performance.

Ronan hugged Tom Cruise, who whispered in his ear, “I’m not as excited as I thought I’d be.”

“Go accept your award!” Ronan pushed him. “Go on.”

Tom Cruise high-fived a few crew members before jogging onto the stage, as if he couldn’t wait.

Holding the statuette, Tom Cruise stood at the microphone and declared, “Thank you! Thank you, Academy, thank you to everyone in the crew! And…”

He suddenly pointed a finger toward Ronan’s seat: “I also want to thank someone—he’s right there! Ronan, you’re not just my friend and brother, you’re the light that guides my path! You’ve helped me so much, I can’t thank you enough, but I’ll always remember it!”

Then, Tom Cruise raised the statuette: “I’ve always believed in my dreams, given them my all, and now I’ve finally touched them!”

The applause was deafening as Tom Cruise exited the stage.

With no truly strong competitors, the superstar had finally won an Oscar for acting.

Chapter 1003: The Triple Crown

The Best Actor statuette went to Tom Cruise, which aligned with the mainstream predictions before the awards ceremony. Far from being an upset, it was an inevitable result for a highly favored winner.

As Tom Cruise walked off the Kodak Theatre stage with his statuette, Brad Pitt and Leonardo DiCaprio couldn’t help but feel a pang of envy. If even Tom Cruise could win, when would their turn come?

Some in the audience shook their heads. The Oscars were becoming increasingly unpredictable—how could Tom Cruise win Best Actor? The judging criteria were growing more baffling by the year.

Only Ronan knew that the future Oscars would be even more of a mess, where film quality and acting performances would be sidelined in favor of PR campaigns.

After Best Actor, the Best Actress award was announced.

This year’s Oscars had no surprises—every favored candidate won, leaving no room for suspense.

Last year’s Best Actor, Philip Seymour Hoffman, announced the result without any surprises: “The winner for Best Actress is Helen Mirren, The Queen.”

Amid thunderous applause, Helen Mirren, who at sixty still dared to bare all on the big screen, stepped onto the Oscar stage to receive her first Academy Award.

She was an anomaly among actresses—struggling in obscurity in her youth, only to find success in her later years.

Helen Mirren was the epitome of a late bloomer.

This Best Actress win also marked Harvey Weinstein’s official return to the Oscar game after years of dormancy due to internal Disney conflicts.

Then came the most anticipated award of the night.

Ellen DeGeneres, clearly aware of the evening’s biggest draw, skipped the small talk and swiftly handed the stage over.

The presenters for Best Director took the stage, and the Kodak Theatre fell into a hush before erupting into waves of murmurs.

The camera panned to Martin Scorsese, and most of the front-row guests turned toward the Relativity Entertainment section where he sat.

The murmurs, gasps, whistles, and cheers never ceased.

The three presenters on stage were anything but ordinary!

Standing side by side at the microphone were Steven Spielberg, George Lucas, and Francis Ford Coppola.

What came to mind upon seeing these three legendary directors? The Best Director award was a foregone conclusion.

Perhaps the Academy realized that a single presenter wouldn’t suffice for Martin Scorsese, so they brought in Spielberg, Lucas, and Coppola.

Years ago, these four had been dubbed the “Young Directors’ Quartet,” later becoming the four great directors of the 1980s. Their reunion on the Kodak Theatre stage was a spectacle in itself!

The Academy had gone to great lengths to boost the Oscars’ appeal and reverse its declining viewership.

The suspense was gone, the noise subsided, and applause erupted. Tonight was all about this moment.

Frankly, this felt more like a lifetime achievement award than a Best Director prize.

In truth, this was less about recognizing The Departed and more about honoring Scorsese’s decades of outstanding filmmaking.

It also carried a hint of Hollywood’s counterattack against European cinema.

Last year, Embassy Pictures had pushed The Departed into the Cannes Film Festival’s competition section, only for it to leave empty-handed. At the post-awards press conference, European media, led by France’s Le Figaro, had openly questioned Scorsese—had the director of Goodfellas, Taxi Driver, and Raging Bull truly sold out to Hollywood?

Scorsese had responded firmly: “I am an American director. I am a Hollywood director.”

When European journalists questioned the Oscars on the spot, he had even said, “I grew up watching every Oscars ceremony on TV. It shaped me. The Oscars have an indescribable magic over me.”

His words were a defense of Hollywood, the Oscars, and American cinema. Given his stature in the film industry, the Academy owed him a grand tribute.

“Tonight, the three of us stand here,” Coppola began, “because we all know the thrill of winning Best Director.”

“That was the most magnificent moment of my life,” Spielberg added.

“Wait…” George Lucas glanced at the other two. “I’ve never won this award.”

The theater burst into laughter. Spielberg, amid the chuckles, asked, “Then what are you doing here?”

“I don’t know,” Lucas steered the conversation back to the award. “But I think giving is better than receiving.”

“Yeah, right!” Spielberg and Coppola said in unison.

The trio wrapped up their little skit and announced the nominees: “Alejandro González Iñárritu, Babel; Martin Scorsese, The Departed; Clint Eastwood, Letters from Iwo Jima; Stephen Frears, The Queen; Jonathan Dayton, Little Miss Sunshine.”

“The winner is…” Spielberg opened the envelope. No surprises here. “Martin Scorsese, The Departed!”

Only Scorsese knew what he was feeling at that moment. The entire theater rose in a standing ovation.

Old Marty embraced everyone from the crew, including Ronan, before stepping onto the stage. He then hugged his old friends—George Lucas, Steven Spielberg, and Francis Ford Coppola—one by one, accepting the Oscar statuette from Lucas and stepping up to the microphone.

“Thank you, thank you, thank you…”

A long string of thanks poured from his mouth. The director who had so often been snubbed for Best Director had finally achieved his Oscar dream with a critically acclaimed gangster film set in North America.

“Could you check the envelope again? Did I really win? I mean, I can’t believe the Academy gave me this, and my old friends presented it to me! We’ve known each other for 37 years. I’m so moved, so moved.”

“Thank you to the Academy, to Ronan Anderson and Relativity Entertainment, and to all the actors and crew I’ve worked with…”

After a lengthy list of thanks, Scorsese seemed to reflect on the years gone by. “I also want to thank everyone who has wished me well over the years. Many of them are strangers. You know, I’d walk down the street, and people would say things to me. I’d go into a doctor’s office, or somewhere, and it would happen.”

“They’d say, ‘You should have an Oscar.’ I’d go for an X-ray, and the doctor would tell me, ‘You should have an Oscar.’ I’d say, ‘Thank you.’ Friends who’ve walked with me for years, and many friends here tonight, have all wished me this award. My family, too. I thank you all. This moment is for you.”

The Kodak Theatre was on its feet, everyone applauding. Scorsese deserved every bit of it.

With the biggest moment of the night revealed, the final award arrived.

Tom Hanks took the stage alone. “Standing where the Queen of England just stood is incredible. Witnessing Martin Scorsese win the Oscar for Best Director will be an unforgettable memory.”

He turned to the big screen behind him. “Let’s recap the Best Picture nominees…”

“Babel, Jon Kilik and Steve Golin; The Departed, Ronan Anderson and Martin Scorsese; Letters from Iwo Jima, Clint Eastwood and Steven Spielberg; Little Miss Sunshine, Wayne Friedman and Peter Saraf; The Queen, Andy Harris and Christine Langan.”

“The winner is…” Tom Hanks opened the envelope and glanced inside. “The Departed!”

No surprises here. Ronan signaled for the entire crew to join him on stage.

The Kodak Theatre erupted in applause once more. Martin Scorsese and The Departed were the night’s biggest winners.

Scorsese returned to the stage, Ronan leading the crew up with him, and accepted the Best Picture statuette from Tom Hanks.

Having just delivered his acceptance speech, Scorsese stepped aside, letting Ronan take the microphone. In a concise manner, he said, “Thank you. Thank you to the Academy, to every member of the crew, and to everyone at Relativity Entertainment. This award is the best reward for our hard work over the past year.”

This marked Relativity Entertainment’s third consecutive Best Picture win at the Oscars.

Crash, Brokeback Mountain, and now The Departed—the last three Oscars had all gone to Relativity Entertainment.

This tied DreamWorks’ previous record of three consecutive Best Picture wins.

Tonight, Martin Scorsese was the legend, and Relativity Entertainment was the biggest winner. The Oscars had awarded The Departed five statuettes: Best Picture, Best Director, Best Editing, Best Actor, and Best Adapted Screenplay.

Before the ceremony, many media outlets had claimed this was the most international and diverse Oscars yet. But the results proved that the Oscars would always remain an American, Hollywood-centric affair.

Chapter 1004: Reaping the Benefits

With the conclusion of the Oscars, another awards season in Hollywood officially came to an end.

The media’s tone before and after the ceremony was completely different. Before the winners were announced, The Departed was widely regarded as the top contender. But after the results were revealed, even the media outlets that had previously predicted the film would be a major winner began criticizing its victories as undeserved.

Criticisms like “Martin Scorsese certainly deserved an Oscar for Best Director and Best Picture, but The Departed isn’t his best work” flooded the press. Films like Babel and Little Miss Sunshine became the media’s darlings of sympathy.

As for The Departed taking three of the four major awards, and Relativity Entertainment winning Best Picture for the third consecutive year, the media was rife with conspiracy theories and allegations of backroom deals.

This was typical of North American media. Even top-tier publications like The New York Times and Los Angeles Times often chose to see only what they wanted, with objectivity and facts taking a backseat. Fabricating stories to serve certain agendas was nothing new.

The Oscars had ended, and the annual ritual of attacking the winners and sympathizing with the losers was in full swing. The Departed was neither the first nor the last to face this.

Hadn’t Forrest Gump and The Shawshank Redemption sparked endless debates after the Oscars? Especially the latter, which, despite numerous nominations, went home empty-handed, earning widespread pity. But anyone with half a brain knew The Shawshank Redemption was never going to win over Forrest Gump for those major Oscars.

Strictly speaking, The Departed wasn’t particularly outstanding. But the Oscars were, ultimately, a competition, and the other contenders were simply weaker.

Regardless, The Departed had garnered enough attention and acclaim in North America. After the Oscars, the film began rolling out in East Asian and Southeast Asian markets.

Just as Ronan had predicted, with the hype surrounding Infernal Affairs preceding it, The Departed faced criticism and even outright scorn from the moment it premiered. Audiences in East and Southeast Asia, familiar with Infernal Affairs, inevitably compared the two. The purely American gangster style of The Departed clashed with their aesthetic sensibilities. While its reputation didn’t collapse entirely, it paled in comparison to Infernal Affairs.

For a significant portion of East and Southeast Asian film enthusiasts, The Departed’s major Oscar wins were baffling. How could a remake that didn’t even measure up to the original become the Best Picture?

Many struggled to understand how the brilliant showdown between Andy Lau and Tony Leung could transform into a crude, back-and-forth struggle between global icons Tom Cruise and Will Smith.

But one thing was clear: even in East and Southeast Asia, the Oscar effect was undeniable. Despite its lackluster reception, The Departed still drew decent crowds. This was a new source of box office growth for the film.

In the week following the Oscars, The Departed raked in nearly twelve million dollars across East and Southeast Asian markets.

In North America, where the film had been playing for nearly three months, the Oscar bump wasn’t as pronounced as in newer markets. The film had already seen a resurgence when the nominations were announced. Still, the Oscars’ influence was undeniable. The number of theaters screening The Departed jumped from fewer than five hundred to nearly fifteen hundred in the week after the ceremony, and weekend box office receipts surged from under three million to nearly thirteen million dollars.

After this final surge, The Departed had exhausted its North American market potential.

To date, the film had grossed two hundred twenty-one million two hundred twenty thousand dollars domestically and one hundred ninety-one million seven hundred eighty thousand dollars overseas, with the Oscar effect continuing to drive growth.

With a global box office exceeding four hundred million dollars, Relativity Entertainment had recouped all its investments in The Departed. Even after paying out backend profits to Martin Scorsese, Tom Cruise, Will Smith, and the rest of the principal cast and crew, including Ronan, the studio still turned a modest profit.

But the film’s ancillary revenue streams were just beginning.

The North American first-run television rights alone brought in sixteen million five hundred thousand dollars for The Departed. As the winner of Best Actor, Best Director, and Best Picture, among other major awards, Embassy Pictures planned to release an Oscar Special Edition DVD, documenting the film’s awards campaign.

In this era, a film’s quality mattered less than its DVD sales. With Netflix’s supercharged DVD rental and sales platform, Relativity’s DVD business was booming. Ronan didn’t mind turning the company into a DVD powerhouse when the time was right.

After all, who among the Chinese millennials of the eighties didn’t have rich experiences with DVDs? When you approached a DVD seller with a specific request, only to find they didn’t have what you wanted, their disappointment was palpable. But then, like magic, they’d pull out a colorful disc from a tattered bag, an inner jacket, or even their pants—emptying your wallet in the process.

And so, the world met Xu Ke, Ren Laoshi, Li Laoshi, Shu Laoshi, and Ye Laoshi. For many, these were cherished memories.

The Departed’s triumph at the Oscars translated seamlessly into commercial success, generating real revenue for Relativity Entertainment. An Oscar statuette that didn’t bring in money was meaningless to a film studio.

Over the past three years, Relativity had claimed the biggest prize at the Oscars. Ronan wasn’t one to brag or downplay his achievements. He would continue pushing for awards in the coming years.

Shai Entertainment had greenlit multiple projects, and he wasn’t about to give up on potential profits.

By March, Hollywood had finally settled down from the awards season frenzy. With the Oscars over, the media milked the last of the hype before Hollywood returned to its usual quiet. The agents who had been scurrying between Burbank and Beverly Hills disappeared. PR firms entered a dormant phase, and stars continued their glamorous, hectic lives, biding their time until the next awards season.

Relativity’s next awards contender, Slumdog Millionaire, had completed all filming and post-production. Starting with the Cannes Film Festival, it would embark on its long awards campaign. Additionally, David Finch’s Sunshine Girl would also make a run for the awards season, though Ronan knew its subject matter and content made it unlikely to achieve much at the Oscars.

Meanwhile, Christopher Nolan, having wrapped up The Dark Knight for Warner Bros, broke free from their promotional machine and resumed his collaboration with Shai Entertainment, officially beginning pre-production on Inception.

Due to Heath Ledger’s passing and Warner Bros’ deification marketing strategy, Nolan had been heavily involved in The Dark Knight’s promotion, delaying the formation of the Inception team, originally planned for February, until now.

With Warner Bros’ relentless deification campaign, even though The Dark Knight hadn’t premiered yet, the promotional materials and character videos had already elevated Heath Ledger and the Joker to near-mythic status.

Ronan had seen the final cut of The Dark Knight and was well aware of the film’s quality and the Joker’s exceptional performance. There was no doubt that once The Dark Knight hit theaters, Heath Ledger and the Joker would be immortalized in the hearts of fans.

With Nolan shifting to his new project, the Inception team was officially assembled. This sci-fi tentpole had a projected budget of one hundred fifty million dollars. Nolan had already done extensive pre-production work, with filming scheduled to begin in October and wrap by September of the following year.

As a major commercial project, Embassy Pictures had secured a holiday release slot for Inception in 2008.

On the casting front, before the Oscars, Tom Cruise had met with Nolan several times to discuss the project, and both parties had reached a consensus. Stars wanted to work with great directors, and great directors wanted to work with stars who could draw crowds. It was a mutually beneficial arrangement.

Tom Cruise would play the male lead in Inception. For the other key male roles, Nolan, after consulting with Ronan, planned to cast British actors. Ronan had no objections. Apart from rare exceptions like the little devil, Hollywood had no shortage of actors suitable for any role.

Additionally, Nolan had been impressed by Ellen Page’s performance in Juno and intended to cast her in a crucial supporting female role.

Ronan had only two requirements regarding casting: first, avoid box office poison like Nicole Kidman and Colin Farrell, and second, keep the actors’ salaries in check.

Tom Cruise would undoubtedly command a twenty-million-dollar base salary plus a percentage of the backend profits. The combined salaries of all other actors would not exceed Cruise’s alone. Superstars and regular stars were entirely different beasts.

After finalizing some of the casting, Ronan received an invitation from Tom Cruise. Having won the Best Actor Oscar, Cruise decided to host a small celebration party.

Chapter 1005: Relentlessly Dredged Up Again

As one of the Oscar winners, Tom Cruise’s celebration could be described as fashionably late. According to Ronan’s information, after winning the award, Tom Cruise first went to the headquarters of Scientology and stayed there for several days before returning to Los Angeles.

Ronan wasn’t clear on what exactly happened, only knowing that Tom Cruise’s status in Scientology had risen again, seemingly becoming one of the most powerful figures within the organization.

As Will Smith put it, Tom Cruise had been lured into Scientology, but now he was on the verge of becoming its master.

The celebration party was held at Tom Cruise’s mansion in Beverly Hills. Since Ronan lived nearby, Tom Cruise, who had once considered selling the mansion after his divorce, had not only kept it but continued to live there all these years.

As dusk fell, Ronan’s car stopped in front of Tom Cruise’s mansion.

Entertainment reporters in Los Angeles were always well-informed. Probably, the news of Tom Cruise’s Oscar celebration party had already spread, as dozens of entertainment reporters gathered at the entrance.

Ronan, of course, paid no attention to these reporters. Amidst the incessant flashing of cameras, he entered Tom Cruise’s mansion.

The party was held in the banquet hall. As soon as Ronan arrived at the entrance, he saw Tom Cruise. He had Finch hand over the gift he brought to Tom Cruise’s butler and exchanged a hug with Tom Cruise, who came forward with open arms.

“How does it feel to be an Oscar-winning actor?” Ronan teased.

“Fantastic!” Tom Cruise deliberately said, “Do you want to try it? It’s really fantastic!”

Ronan spread his hands and said, “I think I’ll pass. Behind the scenes suits me better.”

Although he had a small cameo in The Departed, it barely attracted any attention. Ronan knew his strengths.

At his stage, an occasional cameo was fine, but it was impossible for him to step in front of the camera as an actor.

More guests entered the banquet hall. Ronan smiled and went straight inside.

He and Tom Cruise had been friends for many years, so there was no need for formalities.

There were many people in the banquet hall, clearly divided into two groups. On the left were fewer people who looked unfamiliar, but faintly visible were the emblems of Scientology they wore.

On the right were mostly Hollywood industry professionals. Many of them came over to greet Ronan when they saw him.

Ronan responded to each of them one by one. To avoid trouble, he quickly found an empty spot and went to the corner where Will Smith was sitting. He signaled a server to bring a glass of water and sat across from Will Smith.

“What’s wrong?” Ronan looked at Will Smith’s dark face. “Having trouble?”

Will Smith was usually a lively person, but today he sat alone here, with frustration written all over his face. “Don’t even ask. I met a super jerk who’s driving me crazy.”

Ronan curiously asked, “Is there someone who can annoy you?”

Will Smith said helplessly, “Do you know Charlize Theron’s boyfriend?”

Ronan slightly nodded. “Stuart Townsend. I met him once on the set of Hitch.”

“I used to think he was a good guy,” Will Smith shook his head. “But now he’s turned into a lunatic.”

Ronan was even more curious. “What happened?”

Will Smith briefly explained, “I’m filming Hancock with Charlize Theron, right? Somehow, Stuart Townsend thinks I’m having an affair with Charlize Theron. He came to the set to cause trouble for me. It’s driving me nuts.”

Hearing this, Ronan could roughly guess what was going on. After all, Will Smith had quite a reputation.

Ronan said, “Don’t take such trivial matters to heart.”

Will Smith sighed and said, “If it were true, and Stuart Townsend came to the set to openly cause trouble for me, I wouldn’t have much to say. The problem is, I have nothing going on with Charlize Theron. I’ve known Charlize Theron for at least ten years. If there were something, it wouldn’t have waited until now.”

Ronan thought Will Smith was telling the truth. “Charlize Theron doesn’t fit your taste.”

Will Smith didn’t deny it. “She really doesn’t fit my taste.”

Ronan added, “You prefer the Williams sisters type.”

Will Smith was instantly speechless, then laughed. “My taste is quite diverse, not as singular as yours.” He bluntly said, “Charlize, how should I put it? She was fine in the early years, but now, how many normal men would be interested in her in that way?”

Ronan understood what Will Smith meant. Before winning the Best Actress Oscar, Charlize Theron’s image could be described as the Hollywood standard of a blonde, sweet, and innocent girl. Perhaps due to gaining weight for Monster and then drastically losing weight, this severe violation of natural laws directly affected Charlize Theron’s appearance.

Charlize Theron’s facial collagen loss was severe. The plump apple muscles from her sweet and innocent days had almost completely disappeared, making her facial contours more three-dimensional.

Moreover, Charlize Theron’s bone structure was significantly larger than that of the average woman, making her face appear smaller. After the severe collagen loss, her facial muscles clung tightly to the bones. Combined with makeup, she looked extremely angular and cold, giving off a natural aloofness.

But this wasn’t necessarily a bad thing.

Most white women’s looks declined sharply or visibly aged after thirty, but among women of the same age, Charlize Theron’s looks were among the most enduring, even without makeup.

It was said that Warner Bros once invited Charlize Theron to play Wonder Woman, but she declined.

Many people probably thought this was a wise decision by Warner Bros, but one should never underestimate the likelihood of Warner Bros making questionable decisions when adapting DC Comics into films.

They invited Charlize Theron to play Hippolyta.

Perhaps age-wise it was fine, but if a situation like Snow White and the Huntsman occurred, it would be too ridiculous.

Ronan and Will Smith chatted idly, and soon, Tom Cruise, as the host, came over to sit with them after the party began.

“My agent has basically finalized the deal with Shai Entertainment,” Tom Cruise said. His current agent was his sister. “We might sign the contract as early as next Monday.”

Will Smith interjected, “Is it that sci-fi film about dreams?”

Ronan said, “Yes, a tentpole directed by Christopher Nolan.”

Tom Cruise smiled helplessly. “To be honest, I didn’t understand the script for Inception. The fragmented plot is hard to piece together.”

Compared to the intuitive film images, the script written by Jonathan Nolan was somewhat abstruse and difficult to understand. Ronan had read the script, so he was aware of this. He had also discussed it carefully with Christopher Nolan, who had assured him that the filmed movie would be simple and clear.

Being abstruse and difficult to understand was absolutely a super weapon to kill a movie.

In fact, since embarking on the path of commercialization, Christopher Nolan’s films had never been associated with the term ‘profound and mysterious.’

Even if they were, it was the brain-dead fans of Nolan who forcibly attached that label.

Ronan said, “Discuss more with Director Nolan and listen to his guidance during filming.”

Tom Cruise nodded. “I will.”

He wasn’t highly educated and had severe reading disabilities when he was young, so he wasn’t particularly concerned about not understanding the script. This wasn’t the first time he had encountered a script he couldn’t understand.

Will Smith then said, “We all watched the preview of The Dark Knight with Ronan before. Christopher Nolan is not an ordinary director.”

Tom Cruise smiled and said, “Can any director Ronan values be ordinary?” He changed the subject and asked, “Ronan, I heard you and George Lucas and others are organizing a gathering next week?”

Ronan didn’t hide it and directly said, “It’s not me organizing it. It’s the USC School of Cinematic Arts alumni association. We basically have a gathering every year, and this year it’s next weekend.”

“Too bad…” Tom Cruise sighed. “I don’t qualify to attend.”

To get in, one must have studied at the USC School of Cinematic Arts and have a corresponding male or female companion.

Will Smith suddenly reminded, “Tom, more guests are arriving.”

Tom Cruise turned his head towards the entrance of the banquet hall. His originally smiling face instantly darkened.

Ronan also looked over. Only one guest had entered—a woman so pale she seemed to glow—Nicole Kidman!

As the host of the evening, Tom Cruise, no matter how unwilling, had to get up and go over.

“Poor Tom,” Will Smith genuinely sympathized. “He’ll probably be the entertainment headline tomorrow, together with Nicole Kidman.”

Ronan looked at Tom Cruise’s side. Tom Cruise looked as if he had eaten moldy bread, feeling extremely uncomfortable.

With so many reporters outside, it was obvious what tomorrow’s entertainment headlines would be.

Ronan shook his head, his resolve to not get overly involved with female stars becoming even firmer.

“Find an opportunity,” Ronan softly said to Will Smith. “Go help Tom out.”

Will Smith was reliable in this regard and said, “I’ll go right now.”

Both Tom Cruise and Nicole Kidman were involved in their divorce case. Perhaps Tom Cruise’s actions were more blameworthy, but after so many years of divorce, being constantly dragged out and relentlessly dredged up was unpleasant for anyone.

This time, Nicole Kidman’s uninvited appearance was clearly an attempt to ride on the coattails of the new Best Actor Oscar winner.

Ronan didn’t stay long. After seeing Will Smith successfully intervene, he bid farewell and left. Tomorrow, he had to go to the airport to pick someone up.

The next morning, the Fast & Furious 4 crew returned to Los Angeles by chartered plane. Ronan took Jessica Felton home and invited her to be his companion at the alumni gathering.

Jessica Felton was a graduate of the USC School of Cinematic Arts and had already received an invitation, so she readily agreed.

Chapter 1006: Startled

The sun had shifted to the west, gradually approaching the horizon, when the lights at the entrance of the Beverly Hills club suddenly flickered on. A black sedan pulled up in front of the club, and Ronan was the first to step out, then extended his hand to help Jessica Felton out.

“Good evening, Mr. Anderson.”

A staff member responsible for the event immediately greeted them: “Good evening, Miss Felton.”

Ronan nodded slightly, waiting for Jessica Felton to adjust her clothes before saying, “Let’s go inside.”

Jessica Felton wore a simple women’s suit, entering the club alongside Ronan.

“You seem to have agreed to be my date tonight,” Ronan remarked as they approached the grand banquet hall, glancing at Jessica Felton. “This doesn’t quite fit.”

Jessica Felton, lightly made up, her naturally striking features accentuated by a professional woman’s poise, asked, “Aren’t we together?”

Ronan raised his arm, gesturing with his eyes. Without overthinking, Jessica Felton naturally took his arm.

The two entered the banquet hall hand in hand.

This was a USC School of Cinematic Arts alumni gathering, and many had already arrived.

Like George Lucas, Ronan was an absolute core figure in the alumni association. Even Jessica Felton, with her past successes as a producer, was highly regarded among the USC School of Cinematic Arts alumni.

Even at this level of alumni gathering, some familiar traits were unavoidable—the status of individuals among the alumni was closely tied to their career success.

This was a commercial society, and the film industry was a very pragmatic circle.

Not to mention anything else, many of the attendees tonight were employees of Relativity Entertainment, meaning they were Ronan’s staff.

Ronan approached the front tables, where old friends like Ron Howard and Robert Zemeckis were seated.

The latter had come alone, while the former was accompanied by his actress daughter.

“Hey, Ronan. Hey, Jesse.”

Several people greeted Ronan and Jessica in turn. From a distance, Bryce Dallas Howard noticed Jessica Felton’s hand on Ronan’s arm and couldn’t suppress the burning gossip in her heart. She lowered her voice and asked Ron Howard, “Are these two together now?”

Ron Howard whispered back, “Haven’t heard anything…”

But he had seen the two of them together at alumni gatherings several times before, their relationship clearly unusual. Now, arriving arm in arm, it was easy to draw conclusions.

Bryce Dallas Howard glanced at the tall, beautiful, and undeniably sexy Jessica Felton, muttering, “I was thinking of giving it a shot, but now I can forget about it.”

This was more of a self-deprecating joke, but there was no denying that being Ronan Anderson’s official girlfriend or wife could save someone a lifetime of struggle.

Jessica Felton, as usual, greeted each person individually, exchanging a few pleasantries.

Those unfamiliar with them might see Jessica Felton as a decorative presence by the super-rich Ronan’s side, but people like Robert Zemeckis knew better. They were well aware that this stunning woman possessed abilities that matched her appearance.

“Last year’s Juno was excellent,” Robert Zemeckis said to Jessica Felton with a smile. “Jesse, you discovered a masterpiece.”

Jessica Felton smiled and replied, “Thank you, it was mainly because Ronan was willing to support it.”

Ronan had just finished chatting with Ron Howard and turned back to say, “Apart from agreeing to buy the script, I didn’t do anything else for this project.”

Someone suddenly interjected, “Often, buying the script is the most important part.”

Ronan followed the voice and saw David Ellison, with a girl who looked no older than twenty behind him.

“Good evening, Ronan,” David Ellison introduced with a smile. “This is my sister, Megan…”

All graduates of the USC School of Cinematic Arts, they quickly introduced themselves and became acquainted.

Before long, Steven Spielberg, the number one non-alumni member of the alumni association, arrived.

Meanwhile, the core member of the alumni association, George Lucas, had yet to appear.

During the small talk, Megan Ellison approached Jessica Felton. Larry Ellison’s daughter was currently studying at the USC School of Cinematic Arts, aiming for a future in Hollywood, and was very curious about female producers. She asked Jessica Felton many questions.

Female producers were rare in Hollywood, and those who achieved great success could be described as exceptional.

George Lucas arrived late, entering the banquet hall nearly ten minutes after the cocktail party had begun.

“Sorry, I’m late,” George Lucas said as he joined Ronan’s table. “I ran into some trouble on the way.”

Ronan asked with concern, “What happened?”

Jessica Felton noticed George Lucas was still shaken and poured him a glass of water.

George Lucas took the glass, drank a sip, and nodded at Jessica Felton. “Thanks, Jesse.” Then he answered Ronan’s question: “I took a helicopter from San Francisco, and we hit a sudden gust of wind. Almost had an accident.”

Ronan said, “Glad you’re okay.”

Steven Spielberg suggested, “Next time, take a private jet.”

George Lucas nodded. “My old helicopter should be retired.”

Ronan added, “Safety first.”

He was extremely cautious about safety. Regarding helicopters, he had considered buying one several times and even prepared to place an order, but ultimately gave up each time.

For short distances, he could take a car; for long distances, there were private jets.

The main purpose of such alumni gatherings was to weave a network of relationships, strengthening the cohesion of this loose organization. Not long after the cocktail party began, people started mingling.

David Ellison pulled his sister over to Jessica Felton and specifically said, “Jesse, you’re the best female producer in the industry. Megan also wants to pursue this path, and she has many questions she’d like to ask you.”

Jessica Felton responded graciously, “We just had a very pleasant conversation.”

Megan Ellison chimed in, “Jesse gave me a lot of inspiration.”

The two women soon went to a quieter spot.

Ronan naturally gravitated back to George Lucas, who had clearly been startled by his journey. He remained quiet throughout the evening.

“Getting old,” George Lucas said, sipping his water. “Can’t handle things like I used to.”

Ronan smiled. “Safety is no small matter. In situations like that, I’d be more scared than you.”

When faced with danger, he was more cautious than anyone, even willing to be “cowardly”!

In matters of life and death, being “cowardly” was never a problem.

George Lucas forced a smile. “I’ve realized that sometimes you can’t fight aging.” He sighed. “My mindset isn’t as stable, and my energy isn’t what it used to be.”

Ronan deliberately asked, “You’re not thinking of retiring, are you?”

They had discussed this topic before, and George Lucas replied directly, “I’ve seriously considered it. I might not last much longer.” After a moment’s thought, he added, “Once Steven and I finish Indiana Jones 4, I’ll seriously consider retirement.”

“If you retire…” Ronan sincerely said, “it would be a loss for the entire film industry.”

Although George Lucas hadn’t directed many films himself, his technological influence had profoundly shaped Hollywood’s film industry.

“The future is yours,” George Lucas replied.

Later, Ronan spoke with many more USC alumni. This was a significant force in Hollywood, and Relativity Entertainment’s recent string of Oscar successes could partly be attributed to the support of the alumni association.

Additionally, many USC School of Cinematic Arts graduates joined Relativity Entertainment after graduation. These professionally trained individuals could adapt to their roles more quickly than those from non-traditional backgrounds.

Approaching ten o’clock, Ronan and Jessica Felton left together.

They got into the black Rolls-Royce, which, after starting, headed toward Jessica Felton’s home.

“What were you and Megan Ellison talking about?” Ronan asked curiously. “You talked all evening.”

Jessica Felton smiled. “Some production-related matters. She’s currently studying at the USC School of Cinematic Arts and wants to enter Hollywood in the future.”

Ronan understood. “Asking for your advice?”

“Not exactly,” Jessica Felton said. “We just discussed things. Actually, we have very different core ideas about film. I focus on commercial films, while Megan Ellison is more interested in art films.”

The car drove into the outskirts of Beverly Hills, gradually approaching Jessica Felton’s small villa.

Suddenly, Ronan said, “Jesse, would you walk with me?”

Jessica Felton was puzzled, not quite understanding Ronan’s meaning. After a slight hesitation, she said, “Sure.”

The Rolls-Royce stopped by the roadside, and Ronan and Jessica Felton got out one after the other. They walked along the sidewalk lined with tall palm trees.

Ronan walked slowly, and Jessica Felton kept pace beside him.

They had been friends for many years, and Jessica Felton looked at Ronan, asking, “Is something wrong?”

Ronan stopped, looking at Jessica Felton. His intense gaze carried a subtle aggressiveness, but more than that, it was decisive.

He was never one to hesitate or be indecisive. In both work and life, he had always made decisions swiftly.

Moreover, neither Ronan nor Jessica Felton were young. They had rich life experiences and social savvy.

Ronan said very seriously, “Jesse, be my girlfriend.”

“What… what?” Jessica Felton couldn’t believe her ears. “Ronan, what did you say? Are you joking?”

“Jesse!” Ronan didn’t hesitate for a moment, repeating, “Will you be my girlfriend?”

This time, Jessica Felton heard clearly and confirmed that Ronan wasn’t joking. She was momentarily stunned.

Chapter 1007: I Do

In an instant, Jessica Felton snapped out of her daze. Though she had almost no experience in handling such matters, she was an adult with a clear mind and extensive social experience.

Was this sudden? After thinking it over, Jessica realized it wasn’t sudden at all.

Recalling the past year, she noticed that Ronan’s connection with her had grown much closer. He had visited the Latin American film set multiple times, and they spoke on the phone every three days at the shortest. After months of this, she had grown accustomed to their frequent contact.

Looking back, Jessica felt an urge to call herself an idiot.

She had never considered this possibility.

Jessica didn’t look at Ronan’s expectant gaze. Instead, she turned and walked toward her home, her pace slow, matching her current state of mind.

Ronan followed slowly, not saying anything more, giving Jessica enough time and space.

After walking in silence for a while, Jessica suddenly asked, “Have you been thinking about this for a long time?”

“Yeah,” Ronan admitted without hesitation. “Since last year.”

Jessica was intelligent and decisive. She quickly made some guesses but didn’t voice them. Instead, she said, “Ronan, I’ve thought about the development of editing technology, the future of filmmaking, and my career, but I’ve never considered this.”

Ronan took Jessica’s hand. Thanks to his mixed heritage, his hands bore no calluses from years of work. Instead, his long fingers were as smooth and supple as premium chocolate.

Jessica struggled briefly but didn’t pull away, giving up the struggle naturally.

Ronan held Jessica’s hand with a gentle but firm grip and said, “Jesse, it’s not too late to think about it now. We’re both adults; it’s time we considered these things more.”

Jessica smiled. “Sometimes you think too much.”

Ronan replied, “Since last year, you’re the only one I’ve been thinking about.”

Jessica fell silent. As a powerful producer, she knew the industry well. Some things couldn’t be judged by the past but by the present and future.

Take Charlize Theron, who had won an Oscar for Best Actress. Many in the industry knew she had once traded certain favors for roles and opportunities early in her career. But now, she was undoubtedly a devoted and loving woman who had sacrificed much for love.

The walk wasn’t long. They soon arrived at the gate of Jessica’s small villa.

“I really never thought about this,” Jessica said seriously. “Ronan, I need to think it over.”

Ronan held Jessica’s hand. “I’ve never been as serious as I am tonight.”

Jessica nodded slightly. “We’ve known each other for ten years. You know me, and I know you. I know you’re sincere.”

She gently pulled her hand away, took out her keys, turned to open the door, then looked back at Ronan. “It’s been a long time since I cleaned the house. I won’t invite you in.”

Hearing this, Ronan suddenly remembered the first time he met Jessica. That wasn’t a pleasant memory.

Fortunately, with their abilities, they would never have to clean a room themselves in the future. Otherwise, it would be a disaster of apocalyptic proportions.

Ronan glanced at the car parked by the roadside and nodded slightly at Jessica. “Jesse, get some rest.”

Jessica stood by the door, smiled, and said, “Goodnight, Ronan.”

“You go in first,” Ronan waved at Jessica.

Jessica remembered something else. It seemed that every time Ronan dropped her off, he would only leave after the lights were on.

As she walked through the small courtyard toward the villa, she cursed herself in her mind for being so clueless about relationships. Her sensitivity to such matters was practically negative.

But thinking back, Jessica realized she had always focused on work and film technology, relying on her skills and abilities to make her way. She had never spared even a bit of energy for relationships.

Naturally, she hadn’t considered it, so she hadn’t paid attention to it.

Opening the villa door and stepping inside, Jessica looked at the messy room and couldn’t help but slap her forehead. She couldn’t let Ronan see this!

Even though the car outside had already left, she quickly tidied up the room.

Thankfully, over the years, she had changed many habits. Otherwise, she really wouldn’t have the face to see anyone.

Sitting on the sofa, Jessica thought about the past, her face slightly flushed. It seemed she had never paid attention to these things in front of Ronan before.

She remembered when they first met—her messy room, her greasy self—she had appeared like that in front of Ronan more than once.

Jessica sighed. I must have been out of my mind!

A woman must pay attention to her image!

After cleaning, she took a shower. Sitting in her bedroom, Jessica had no sleepiness at all. Her mind was still in turmoil.

Jessica shook her head, picked up her phone, and dialed her good friend Lindsay Bill. Lindsay was in Los Angeles preparing for a new film project, and they quickly arranged to meet in half an hour at a café on Rodeo Drive.

After changing clothes, Jessica left the house and drove to the agreed-upon café.

She felt she had no opinion on this matter. Maybe her friend could give some advice.

More than twenty minutes later, Jessica met Lindsay, who had rushed to the café, at the coffee shop.

“So late, what’s the emergency?” Lindsay ordered two coffees.

Jessica said, “It’s very important. It directly concerns my future life.”

Lindsay casually said, “You’re not thinking of finding a boyfriend, are you?”

“Something like that,” Jessica replied.

Clatter—

Lindsay’s coffee spoon fell onto the table. She stared blankly at Jessica. “Jesse, are you sure you’re not joking?”

Jessica said, “I’m very serious.”

Lindsay rubbed her face, which had stiffened from the shock. “This isn’t scientific!”

Jessica didn’t know what to say and remained silent.

“Really?” Lindsay came to her senses. “Jesse, haven’t you never considered relationships?”

Jessica spread her hands. “I haven’t, but someone has considered me. He confessed to me tonight.”

“Just reject him,” Lindsay gave this straightforward answer.

“I…” Jessica said, “I don’t know how to respond to him.”

Lindsay had known Jessica for more than a year and understood her personality. She immediately realized, “Who is he?”

Jessica softly said, “Ronan.”

Lindsay was instantly speechless. After a long silence, she said, “He… Ronan is serious?”

Jessica said, “He should be. So, I’m a bit confused…”

Lindsay adjusted her glasses and asked, “Tell me the details first.”

Jessica was never one to beat around the bush. She straightforwardly recounted tonight’s events and the increasingly close contact between her and Ronan over the past six months.

Lindsay had known Ronan for many years and quickly made a judgment. Ronan was planning to settle down.

The problem was, why should a playboy like him be allowed to have a good woman like Jessica pick up the pieces?

But after carefully listening to Jessica, Lindsay had a hidden guess. She couldn’t say such things. Jessica was a very decisive woman. In fact, from the moment she didn’t immediately reject Ronan, she had already made her choice. She just lacked experience in handling such matters, and her thoughts were a bit chaotic.

Lindsay and Jessica had been friends for many years. She subtly reminded, “Jesse, you need to understand one thing. Ronan faces too many temptations.”

Jessica nodded slightly. “Ronan has assured me. He’s always been a man of his word. We’ve known him for years; you know this too.”

Lindsay said, “He must cut off all those messy relationships from the past.”

“Of course, that’s a prerequisite,” Jessica said. “In fact, he started half a year ago.”

Hearing these words that completely missed the point, Lindsay’s guess became a reality. She couldn’t help but tease, “Jesse, you’ve clearly already made your choice. Why bother asking me to convince you?”

Jessica slightly furrowed her brows and carefully considered these words.

Lindsay added, “Jesse, when it comes to relationships, others can’t say much. You just need to follow your heart. If you like him, go love him; if you don’t, break up.”

This was the typical American view of love. Both Lindsay and Jessica had grown up in such an environment and were somewhat influenced by it.

Jessica smiled. “I understand. Lindsay, thank you for coming out so late to listen to my troubles.”

Lindsay smiled. “We’re friends. Helping each other is what we do.”

She could see that Jessica had already made her choice.

With Jessica’s personality, she wouldn’t drag this out. With Lindsay’s reminder, she quickly sorted out her thoughts.

Lindsay said, “Relax, don’t be so tense.”

“I’ll handle this tonight,” Jessica softly said. “Otherwise, I won’t be able to sleep.”

They chatted a bit more about private matters before parting ways.

Jessica drove back home and sat quietly in her bedroom for a while, considering various ways to phrase her response. In the end, she decided on the simplest approach.

She took out her phone, typed a message, and sent it to Ronan.

The message read—I do!

Then, her phone rang. Jessica answered and heard the familiar voice on the other end, a smile spreading across her face.

That night, she slept exceptionally well.

Chapter 1008: Love and Family

These past few days, Connie noticed that Ronan was in an excellent mood, and his interactions with Jessica Felton, who had just returned from Latin America, had grown increasingly close. Whenever both were at Relativity Tower, they would always have lunch together, and in the afternoons, they would leave in the same car.

Connie quickly realized that Ronan and Jessica Felton were now in a relationship.

And Ronan was serious about it.

He even stopped taking calls from Anne Hathaway and Scarlett Johansson, leaving it to Connie, his assistant, to make excuses and turn them down.

Connie was a clever woman. No matter what choices her boss made, she wisely remained silent.

Ronan was devoted to Jessica Felton, but his work life couldn’t revolve entirely around a woman.

In early March, Princess Animation Studio completed its first project since joining Relativity Entertainment—a short animated film titled The Snow Queen.

This short film, less than twenty minutes long, had been in development since July of the previous year, when the team traveled to Northern Europe for research. Due to multiple revisions of the new princess’s personality and actions, it took over eight months to meet Ronan’s standards.

The musical short retained many of the excellent traditions of Disney animation.

The eight-month production process of The Snow Queen allowed Chris Buck’s team to truly grasp the concept of the new princess films.

Practice makes perfect. No amount of discussion could compare to hands-on experience.

In the small conference room of Princess Animation Studio, Ronan gathered several core leaders for a meeting. The main topic was the studio’s first animated feature.

“After training and guidance from Pixar,” Chris Buck, no longer the hesitant man he was when he left Disney, spoke with newfound confidence, “especially with the production of The Snow Queen short, we’ve learned a great deal. The first animated feature under the new concept is ready to begin preparations.”

Byron Howard added, “I think the time is right.”

The others, including Rich Moore, all turned their gazes toward Ronan.

Ronan was cautious but felt that Princess Animation Studio was ready to begin preparations. Thinking of how these people had been practically swept out by Disney, he said, “There’s something I need to inform everyone. I’ve received confirmed news that Disney Animation Studio is also interested in adapting The Snow Queen.”

Those present had all been abandoned by Disney, some even directly dismissed when Disney phased out hand-drawn animation. Hearing that Disney was also eyeing this project, their expressions varied.

The source of this news was reliable—Ronan had heard it from David Ellison.

Chris Buck wasn’t surprised. “Disney does have plans in that direction,” he said simply. “In fact, as early as the 1930s, Walt Disney considered adapting The Snow Queen, but the story isn’t a conventional fairy tale—it’s rather peculiar, making adaptation difficult. Disney had to abandon the idea. During Disney’s revival in 1990, the adaptation was reconsidered, but several attempts failed, and by the late 1990s, Disney completely scrapped the project, leaving it only on paper.”

Chris Buck had mentioned these details to Ronan before. Disney Animation Studio had considered adapting many literary works, and The Snow Queen was just one of dozens that had been planned and then abandoned.

Those present knew Disney well and weren’t surprised.

Chris Buck added, “From what I know, Disney Animation Studio plans to restart The Snow Queen, possibly as early as next year, with Megan Molari likely in charge.”

Rich Moore chimed in, “We’re already ahead.”

Ronan raised a hand to stop further discussion. “Regardless of what Walt Disney and Disney Animation Studio do, we’ll focus on ourselves. This project must proceed steadily.”

He turned to Chris Buck. “You’ve had the script since last year. Share your thoughts and plans.”

Everyone, including Chris Buck, knew that this seemingly simple question was actually a test. If they failed, Princess Animation Studio’s first animated feature would undoubtedly be delayed.

After several discussions, Chris Buck’s team had developed a project plan based on the themes and concepts of the short film.

“Our trip to Northern Europe last year gave us many insights,” Byron Howard began. “Our production team visited Quebec’s famous ice and snow hotels to study how light creates unique beauty on ice and snow, which will help in designing the Snow Queen’s castle.”

He paused, then continued, “We want to create a warm, familiar world with a charming, lively backdrop that transcends time—something recognizable even generations later. Norway offers a cultural setting we’ve never explored before. We thought, ‘Wouldn’t it be amazing to blend its dramatic landscapes, architecture, and fashion aesthetics?’ It’s like a world straight out of a classic film, yet entirely new.”

Ronan nodded slowly, reminding them, “Don’t forget, this is a Hollywood film.”

Hollywood had never accepted the idea that what was national could be universal. Chris Buck understood this clearly. “The Northern European setting is just the foundation of our creation. We don’t need to build a realistic world—just a believable one. So our story isn’t a complete copy of Norway. We want to slightly distort and adapt it, turning it into our own environment—one that feels familiar to audiences while providing the most suitable backdrop for our characters.”

Ronan said, “The project has a budget of one hundred and fifty million dollars, which means the film must be mainstream and international.”

They then discussed the script’s characters in greater detail.

Unlike previous films, in Frozen, the female lead was technically Anna, while the more popular Elsa was the supporting character.

In the sequel, due to Elsa’s overwhelming popularity, she became the absolute protagonist, leaving Anna in the background.

Shai Entertainment’s scriptwriting department, following Ronan’s instructions, had crafted a dual-protagonist setup for Anna and Elsa, with Elsa slightly more prominent for commercial appeal.

Ronan directly requested that during production, they design at least two additional outfits for Anna and Elsa—beautiful enough to capture the hearts of young girls.

In the two Frozen films, Disney had gone to extreme lengths with Elsa’s costume designs to sell merchandise.

The second film, in particular, was practically an Elsa fashion show.

And the results spoke for themselves—Disney reaped enormous profits.

A single film could generate billions in revenue just from selling a character’s clothing, making it a true oddity in the film industry.

Elsa wasn’t just the Snow Queen; she was a walking clothing advertisement.

As for the music, Ronan repeatedly emphasized that it was another key to Frozen’s success.

“The film’s theme is simple: love and family!” Chris Buck focused on Elsa. “In the original story, the Snow Queen was just a symbolic character, but in this film, she needs to speak for herself to resonate with modern audiences.”

The team at Princess Animation Studio fell silent, letting Chris Buck continue alone. “She represents many girls who grew up with us. We can see her as a modern hero—strong and brave, but with flaws. She’s far from perfect, but that’s why we love her. She grows throughout the journey, becoming the person she wants to be—full of energy, with her own unique sense of humor.”

“As for the plot,” Chris Buck said after a moment’s thought, “it should be fun, heartwarming, and full of unexpected twists.”

Ronan nodded in approval. “I want this film to be both timely and timeless.”

Chris Buck knew Ronan had high expectations for Princess Animation Studio. “Ronan, we won’t let you or Relativity Entertainment down.”

Ronan smiled. “I believe that.” He made a quick decision. “I’m naming this project Frozen. Today, it’s officially greenlit at Princess Animation Studio.”

Chris Buck and the other executives at Princess Animation Studio all breathed a sigh of relief.

Since joining Relativity Entertainment, they had felt the pressure of competition. The original Shai Entertainment Animation Studio continued to achieve success, while Pixar, which joined at the same time, maintained its brilliance. Only Princess Animation Studio remained silent, needing to prove its existence and importance through performance.

This was a commercial conglomerate. Without impressive results, words meant nothing.

Princess Animation Studio could only prove itself through an animated feature.

The meeting lasted most of the afternoon, resolving the key issues for Frozen’s greenlight. According to the plan, Frozen had a budget of one hundred and fifty million dollars and was expected to release in the winter of 2009.

Afterward, Ronan visited Shai Entertainment’s scriptwriting department, instructing them to complete two new animation project scripts and register the copyrights as soon as possible.

One of the scripts was a typical princess story, set in the ocean and among islands.

The other was about an animal utopia.

As for Big Hero 6, which had been intended for Princess Animation Studio, it was originally a Marvel Comics property, with the copyright fully controlled by Marvel Entertainment, so there was no rush.

Before Frozen’s preparations were fully underway, Princess Animation Studio wouldn’t start a second animated feature.

Big Hero 6 wouldn’t be on the agenda until next year at the earliest.

Animated films and series would be the future revenue focus for Relativity Entertainment. The income from merchandise alone surpassed what most live-action films could achieve. Relativity Entertainment also had multiple animated features scheduled for release this year.

Chapter 1009: Cop and Criminal Theme

Princess Studio had only been established for a short time, and even though Frozen had been officially greenlit, it would not produce an animated feature in the short term. However, both Pixar and Shai Entertainment Animation Studio had completed animated features.

According to Embassy Pictures’ plan, Pixar would release two animated features this year: Ratatouille and Cars. The latter was the focus, and Embassy Pictures had already done extensive preparatory work, with a promotional and distribution budget of up to one hundred and twenty million dollars.

Cars was also one of the key profit projects for Relativity Entertainment in the future. Its investment priority was even much higher than Ratatouille and WALL-E, which was still in production.

At Ronan’s request, the budget for WALL-E had been compressed as much as possible. Embassy Pictures had also done a lot of targeted work, believing that the development of merchandise for this animated feature was not optimistic. At least it was not as good as Cars by more than three levels.

Shai Entertainment Animation Studio was making steady progress. Last year, Minions was a huge market success, and Despicable Me 2 was not yet completed. This year, Kung Fu Panda was being pushed into the market. Although it used many Eastern elements such as pandas, in every aspect, it was a Hollywood-style animated film dressed in Eastern clothing.

Completely different from Pixar’s style, Kung Fu Panda was a simple and relaxed animated feature. Additionally, when Kung Fu Panda was completed, China Film Group actively requested to introduce it and passed the censorship without any cuts. This was quite rare for Hollywood films nowadays.

Then there was Peppa Pig. Shai Entertainment Animation Studio continued to release one season per year. The broadcast of the series itself did not generate much income, but the merchandise channels had been generating total annual revenues of over five hundred million dollars in recent years, with an annual growth rate exceeding fifteen percent.

Shai Entertainment was also planning to produce other animated series and was collecting materials from around the world.

After leaving Shai Entertainment, Ronan did not return to the office. He left Relativity Tower and went to the nearby Pacific Investment Foundation, where he received the visiting Swedish Silverada Investment Group. After a brief meeting, he specially hosted a banquet for them.

The Swedish Silverada Investment Group was interested in cooperating with the Pacific Investment Foundation, with an initial investment possibly exceeding five hundred million dollars. The main reason they were able to attract this large Northern European investment group was that Netflix was preparing to raise funds and expand its shares this year. Relying on the advantages of Relativity Entertainment, the Pacific Investment Foundation had already obtained the opportunity to invest in Netflix. Netflix’s continuously rising market value had attracted investors from all over the world.

However, the investment threshold for Netflix was extremely high. With the financing and share expansion, Relativity Entertainment’s shares would inevitably be diluted, but it still held an absolute controlling stake. Moreover, the entry of the Pacific Investment Foundation was also beneficial for Relativity Entertainment to continue controlling the situation.

Frankly speaking, Netflix’s financing and share expansion was also because it was burning money too fiercely. Last year, Netflix spent nearly one billion dollars on exclusive drama productions alone. There were also various promotional activities to attract customers.

Netflix’s stock price was indeed rising, but the fact that it was burning money fiercely was also true. If Netflix relied solely on Relativity Entertainment, it would not only drag Relativity Entertainment down but would definitely greatly hinder Relativity Entertainment’s development speed.

Now, multiple shareholders were jointly supporting Netflix’s high stock price, and it was about to create a superstar company with a total market value of one hundred billion dollars. Relativity Entertainment, with its strong production and promotional capabilities, had benefited greatly from Netflix’s development. All of Netflix’s exclusive dramas came from Shai Entertainment.

The Swedish Silverada Investment Group and the Pacific Investment Foundation were both interested in cooperating, and the banquet was also harmonious. Both parties reached a preliminary cooperation intention. The specific details would be discussed later by Scott Swift with the other party.

After the banquet ended, as Ronan was leaving the hotel, he saw Taylor Swift driving to pick up Scott.

“Good evening, Uncle Anderson,” Taylor Swift greeted Ronan politely as she got out of the car, pointing to her Mercedes. “Would you like a ride?”

Ronan politely declined, “No need, my car is coming soon.”

Taylor Swift didn’t say much more, waving her hand, “Goodbye, Uncle Anderson.”

Scott also waved and got into the car with Taylor. Taylor Swift skillfully drove away, and a black Rolls-Royce Phantom pulled up in front of Ronan.

Ronan got into the car, checked the time, and dialed the top contact on his phone. “Where are you now?”

Jessica Felton’s voice came through the receiver, “Working late at the company.”

Ronan asked, “Almost done? I’ll come pick you up.”

The sound of keyboard typing came through the receiver, followed by Jessica Felton’s voice, “I’ll leave as soon as I finish this manuscript. Where are you?”

Ronan said, “Just left the hotel.”

“Hmm, I should be faster than you. I’ll wait for you at the company entrance. Alright, see you then, I’ll hurry.”

Ronan responded, hung up the phone, and said to David, “To the company.”

Ten minutes later, Ronan returned to the entrance of Relativity Tower and picked up Jessica Felton. Jessica Felton got into the car with a large document bag.

Finch, in the passenger seat, discreetly raised the partition. Ronan took the document bag, placed it on the armrest in the middle of the back seat, took Jessica Felton’s hand, and kissed it lightly. “Working so late?”

Jessica Felton, being of Latino descent, had a naturally passionate and unrestrained personality. In the past, her energy hadn’t been directed this way, but recently, it had gradually been released.

She didn’t mind the faint smell of alcohol on Ronan and leaned in to kiss him forcefully. “A few friends passed me some scripts. I had to work on the post-production of Fast & Furious 4 during the day, so I could only look at them in the evening.”

“Found any good ones?” Ronan asked.

Jessica Felton took the document bag, opened it, and handed Ronan the script copies inside. “Remember what I told you? Lindsey and I once participated in a feminist organization. This was passed to me by one of the senior members. She thinks this script embodies the spirit of feminism to some extent.”

The two of them sitting together discussing work was a very natural interaction for both Ronan and Jessica Felton. Over the past ten years, this was how they had always interacted. In reality, apart from their relationship deepening, their daily interactions hadn’t changed much.

Ronan opened the script and quickly browsed through the first ten pages. Jessica Felton continued, “The scriptwriter is a young female screenwriter named Katie Dipold. This is her first independently completed script, written about two years ago, but she has never found a buyer.”

This was the most common situation in Hollywood. Very few new screenwriters could sell their first works.

Ronan flipped through the pages quickly, swiftly identifying several points: “Cop and criminal theme, leaning towards comedy, drug enforcement type, with Russian antagonists.”

“The protagonists are two female police officers,” Jessica Felton had already read the script carefully. “It’s a cop and criminal type with a comedic touch. Whether it’s the plot theme or character settings, it fits Hollywood’s consistent successful model.”

She thought for a moment and added, “I spoke with Katie Dipold on the phone. According to her, she got the idea for this script after watching Michael Mann’s Heat.”

Ronan thought of Heat and said, “That film not only had robbers using it as a textbook to imitate and rob banks but also inspired a large number of people in the film industry.”

Jessica Felton laughed, “Katie Dipold is different. She couldn’t stand the gloomy atmosphere of Heat, the slow pace, and the boring seriousness of the two old men. She was determined to write a cop and criminal script with a completely opposite style, which is how this script came about.”

Ronan nodded, “Two female police partners, a foul-mouthed fat female cop and her serious partner creating a comedic atmosphere through their contrasting styles, with a fast pace. Just looking at the script, it’s completely different from Heat.”

Frankly speaking, apart from that realistic classical gunfight scene, the long dialogue scenes in Heat could make people fall asleep from boredom. This script, compared to Heat’s complex content, was much simpler. It was just two policewomen with contrasting styles going after a Russian drug lord.

Jessica Felton asked, “What do you think?”

This was within Ronan’s authority. After a moment’s thought, he returned the script to Jessica Felton and said, “The script can be bought. This theme fits the current social development trend and should have a certain market. However, Jesse, make sure to control the costs. Keep the production budget under thirty million dollars if possible.”

Jessica Felton put away the script and said, “I understand.”

The Rolls-Royce Phantom slowly came to a stop. Jessica Felton got out of the car first, followed by Ronan.

Ronan looked at Jessica Felton’s small villa and said, “Aren’t you going to invite me in?”

Jessica Felton, holding the document bag, tilted her head and looked at Ronan, finally nodding slowly, “Come in.”

She opened the door and walked ahead, with Ronan following behind. Entering the small villa, Jessica Felton turned on the lights, and the bright light illuminated the living room. Ronan was a bit surprised. The living room was neat and orderly, completely different from the impression he had of Jessica Felton’s home.

“What’s wrong?” Jessica Felton asked.

Ronan smiled and said, “I was thinking about the first time we met…”

“Stop!” Their relationship was different now, and Jessica Felton had an urge to cover her face. “Ronan, don’t bring up those things again, okay?”

Ronan followed her words and said, “I was going to say, the first time we met, I thought you were different from everyone else. You left a lasting impression on me.”

Jessica Felton didn’t believe him, but everyone liked to hear such words. “Really?”

“Of course.” Ronan walked up to her. “If you don’t believe me, I can swear on my chest.”

Jessica Felton suddenly widened her eyes, “Hey, what are you doing touching my chest…”

Chapter 1010: Revival

At the first light of dawn the next day, Ronan jolted awake, gasping for breath. Jessica Felton’s mountainous form was pressing down on his chest, a weight he had never experienced before, making it difficult to breathe.

As Ronan stirred, Jessica Felton also woke up. She shifted slightly, gazing at him with ease, and gave his arm a firm squeeze. “You look thin, but your muscles are quite developed.”

Ronan pulled her closer. “I work out.”

Jessica Felton, raised in the United States and of Latino descent, was a mature adult. Even after their intimate encounter, she remained composed. She hugged Ronan back and asked, “Won’t you get into trouble for not coming home all night?”

“What trouble?” Ronan reached out and gently pinched her high, straight nose. “Don’t overthink it. I’ll keep my word.”

Both were intelligent; some things didn’t need to be said. Jessica Felton found a comfortable position and leaned back against Ronan. “I believe you, just like before.”

Ronan’s eyes, however, were fixed on Jessica Felton. How could her chest be so large, yet her back so slender, with such beautiful lines?

“What time is it?” Jessica Felton mumbled.

“Not late.” Ronan gently caressed her. “Sleep a little longer.”

Jessica Felton said, “I won’t sleep. Let me lean on you for a while, then I’ll get up and buy breakfast.”

Ronan was surprised. “Buy?”

At a time like this, wasn’t cooking breakfast the romantic thing to do?

Jessica Felton naturally replied, “I can’t cook.”

Ronan thought of the stacks of takeout containers two feet high and found her words reasonable.

“Forget it, I’ll have someone deliver it.” Ronan reminded her, “Can you walk comfortably?”

Jessica Felton moved a little. “It’s fine, doesn’t affect normal life.” She rolled over to look for her clothes. “Are you going straight to the company later?”

Ronan pointed to the pitiful state of his men’s clothing on the floor. “I’ll go home first. Jesse, I didn’t expect you to be so wild; you’ve torn my clothes to pieces.”

Jessica Felton put on her sleepwear and headed to the bathroom. “Since I’ve set my sights on you, why hold back?”

After freshening up, the bodyguard who had waited outside the gate all night had already delivered breakfast to the villa’s doorstep.

During breakfast, Ronan thought of something and suggested, “Jesse, why don’t you move in with me?”

Jessica Felton thought seriously for a moment. “Let’s wait a while. I need to finish Fast & Furious 4. I can’t afford to be too distracted right now.”

Ronan didn’t press her. “Alright, we’ll talk about it later.”

After breakfast, Jessica Felton wanted to drive herself to Relativity Tower, but Ronan wasn’t comfortable with that, given last night’s events. He had David drive her over instead.

After seeing Jessica Felton off, Ronan got into another car with his bodyguard and returned to Future World Estate.

Back home, Housekeeper Nikita saw Ronan’s wrinkled and torn clothes and asked with concern, “What happened?”

Ronan waved it off. “Nothing.”

It wasn’t that Jessica Felton was particularly strong. Although she had unexpectedly revealed her fiery Latino passion last night, the clothes’ design also played a part. Many high-end garments weren’t designed for repeated wear.

Today, he still had to meet with the Swedish Silverada Investment Group. Ronan changed into another suit and called Nikita downstairs.

Standing by the window in the foyer, Ronan said, “Everything alright at the estate?”

Nikita, a competent housekeeper, immediately replied, “The estate is running smoothly in all aspects.”

“Just giving you a heads-up,” Ronan said calmly. “There will soon be a lady of the house here. Make some preparations and let the staff know.”

Although surprised, Nikita maintained her composure. “Understood. I’ll make the necessary preparations.”

A lady of the house? Nikita couldn’t help but speculate, quickly ruling out Gianna Quan, Scarlett Johansson, and Anne Hathaway. None of them were possibilities.

Ronan added, “You know her. Jesse.”

Nikita asked, “Miss Jessica Felton?”

Seeing Ronan nod slightly, Nikita felt relieved. She was somewhat familiar with Jessica Felton and knew her character. She wasn’t the difficult type.

Ronan glanced at his wristwatch. “Alright, Nikita, contact someone to tidy up the estate over the next two months.”

“Understood.” Nikita said, “I’ll get it done as soon as possible.”

She could sense Ronan’s regard for Jessica Felton.

Ronan didn’t go to Relativity Tower but headed straight to the Pacific Investment Foundation. Since the investment involved Netflix’s financing, Scott Swift couldn’t prepare everything. He needed to participate in the first formal negotiations between the two parties.

He and Alfred Ferguson, the CEO of the Swedish Silverada Investment Group, quickly reached an agreement on major issues. The remaining details would be handled by Scott Swift.

At noon, the Swedish Silverada Investment Group invited Ronan and the Pacific Investment Foundation to a luncheon. Since Alfred Ferguson’s daughter, Rebecca Ferguson, was also attending, Scott temporarily called his daughter, Taylor Swift, to join them.

This was a reciprocal gesture.

Taylor Swift, though young, had navigated the complex Hollywood scene for years. Handling a twenty-something Nordic woman wasn’t a problem.

After the luncheon, Ronan prepared to return to Relativity Tower. Taylor Swift hurried over and said, “Uncle Anderson, can I catch a ride with you?”

Ronan asked, “Are you going to Shai Entertainment?”

Taylor Swift nodded. “I need to discuss the voice acting for the new season of Peppa Pig. Someone dropped me off before the luncheon, and now I don’t have a car.”

Ronan beckoned. “Let’s go.”

Taylor Swift quickly got into the car. After settling in, she muttered, “That unreliable jerk. I’ll break up with him when I get back.”

Ronan pretended not to hear and asked, “Is Shai Entertainment planning to have you continue voicing Peppa?”

“Yes, they say the audience is used to my voice.” Taylor Swift knew Ronan no longer oversaw the details of this animation project and simply said, “Chris Renaud says my voice hasn’t changed much. Voicing Peppa for a few more years won’t be a problem.”

Speaking of voice acting, Ronan remembered something. “Taylor, Princess Animation Studio has a musical adventure animated feature with a princess as the female lead. She’ll have a lot of singing. If you’re interested, have your agent talk to Princess Animation Studio.”

Taylor Swift curiously asked, “Is the female lead a princess?”

Ronan told the truth. “She starts as a princess but quickly becomes a queen.”

“That sounds great. I’m interested now.” Taylor Swift eagerly said, “I’ll go to Princess Animation Studio this afternoon if I have time. I have an advantage! I can write songs!”

Ronan told Finch in the passenger seat, “Contact Connie and have her give Princess Animation Studio a heads-up.”

Currently, Taylor Swift was the most suitable person to voice Elsa.

In terms of voice acting, Taylor Swift had years of experience voicing Peppa Pig and starring in the musical sitcom Hannah Montana. She was quite experienced. Moreover, she had an advantage most voice actors lacked: professional-level music composition and singing skills.

Taylor Swift already had considerable influence among young people, which would also boost the film’s promotional effect. Besides, Frozen wouldn’t premiere for at least another two and a half years. By then, Taylor Swift’s influence would be even greater.

Taylor Swift became interested in the princess animated feature and asked Ronan many questions. Ronan answered what he could.

“How are the sales of your first album?” Ronan asked.

Taylor Swift said with a hint of pride, “The Recording Industry Association has certified it seven times platinum! It might even reach diamond.”

Ronan smiled. “You’re very popular.”

In the Eastern markets, a few tens of thousands of records sold could be considered platinum. For example, in Hong Kong, selling fifty thousand records was platinum. But the North American market was vast, with platinum records requiring one million sales per platinum, and ten million for diamond.

In other words, Taylor Swift’s debut album had already sold over seven million copies.

Ronan vaguely remembered that the original Taylor Swift had also exploded in popularity with her first album, quickly becoming the country music princess in the eyes of fans and media. This girl had unlimited potential. As long as she didn’t self-destruct, she might even become a pop diva.

Actually, North America had seen many talented singers in the past, but most ended up ruining themselves. As for Taylor Swift, apart from changing boyfriends quickly, she didn’t seem to have any major issues.

As the car approached Relativity Tower, Taylor Swift suddenly said, “Oh, the company requires us to attend the premiere of Hairspray next week to support that Adele.”

Ronan said, “You’re from the same company. It’s the right thing to do.”

Taylor Swift, even if she had a hundred unwillingness in her heart, didn’t dare to say more in front of Ronan. In fact, the other three singers from the big machine company weren’t very willing either. The rivalry and competition among singers often exceeded that of actors.

Returning to Relativity Tower, Connie had already notified Princess Animation Studio. Ronan checked next week’s schedule and confirmed that Embassy Pictures would indeed hold the premiere of Hairspray next week.

In recent years, the market prospects for outstanding musical films had always been good, and North America had seen a not-too-long revival of musical films.

Chapter 1011: Movies Aren’t Medicine

Given its success as a stage musical, Hairspray already had a solid audience base, and Embassy Pictures had put in considerable effort in its promotion.

For instance, they had capitalized on John Waters’ name as much as possible.

Known as the “Pope of Trash” in North American cinema, John Waters had some degree of fame among film enthusiasts, especially for Pink Flamingos, a film that only grew more intriguing the more it was banned.

A musical film directed by the man behind Pink Flamingos? This gimmick had certainly piqued the interest of many casual viewers.

Those unfamiliar with the Hairspray musical would naturally wonder how Pink Flamingos and Hairspray could possibly share the same director, given their vastly different styles.

Ronan had initially greenlit Hairspray for three reasons: the musical itself had significant influence, musical films were experiencing a brief resurgence, and the twenty-million-dollar investment wasn’t particularly high.

But to say he had high expectations for the film would be an overstatement—Ronan couldn’t recall any details about Hairspray at all.

The internal screening of Hairspray had exceeded Ronan’s expectations, earning a nine out of ten from him.

This score was purely from a commercial market perspective and had little to do with the film’s artistic merit.

The film’s theme aligned with the growing Black civil rights movement, and its dazzling musical scenes and energetic performances didn’t weigh the film down—instead, they filled the audience with joy.

Black people in America had once been slaves, and while racial issues persisted, the situation had improved dramatically since then.

The civil rights movement of the 1960s had been a tumultuous era of rebellion, with countless movements that continued to influence society today.

The female lead being a plus-sized character was also a unique choice. Fat was often considered unattractive, and women’s conversations often revolved around weight loss, even when most women were healthy and proportionate.

Another point worth noting was that while Adele’s acting might have been mediocre, the film’s heavy emphasis on musical numbers played to her strengths as a professional singer.

The plot itself was downplayed in favor of the musical performances. In fact, Hairspray was essentially a large-scale music video strung together by twenty songs, with the cast delivering high-quality musical performances.

Adele’s singing segments were particularly outstanding, adding immense value to the film.

The musical numbers were the main course, but the supporting elements were also well-executed.

Floral shirts, Elvis-style hair, sequined evening gowns, frilly princess dresses—the 1960s in America was a treasure trove for fashion enthusiasts.

As a musical film, visual spectacle was paramount, so Hairspray wisely downplayed the realism of its plot. Sensitive topics like “obesity” and “race” were also softened.

After all, commercial musicals were meant to be entertaining. Why sour the audience’s mood?

The final cut exceeded the expectations of many at Relativity Entertainment, including Ronan, who believed the film would perform well in the March North American box office.

Though Ronan hadn’t attended the premiere of Hairspray, he had been closely monitoring its market performance.

The story of Hairspray was far from original. It followed the perspective of a white, plus-sized girl dreaming of stardom as she navigated the civil rights movement, all wrapped in a lighthearted and joyful setting.

Throughout the film, it constantly explored the concept of “beauty.” Adele’s character, a plus-sized girl who seemed destined for failure, ultimately won a TV talent show and helped a Black girl claim a championship previously reserved only for white contestants.

This ending perfectly aligned with the social climate of the time.

Hairspray wasn’t a shit, piss, fart comedy, and it didn’t rely on forced humor. Instead, it was a machine that kept smiles on the audience’s faces from start to finish.

Even those uninterested in the plot could appreciate the film’s songs and dances.

Naturally, Hairspray achieved success beyond external expectations.

On its first day in North America, the film grossed fourteen million three hundred thirty thousand dollars across three thousand seven hundred eighty theaters, surprising many.

The film’s greatest strength was its ability to balance the serious theme of civil rights with the levity of musical numbers, allowing the audience to experience joy rather than heaviness.

Movies weren’t medicine—they couldn’t solve anyone’s problems.

But they could serve as a spiritual anchor, sometimes even as spiritual sustenance, filling the void in the audience’s hearts.

A good movie didn’t necessarily make people feel at ease, but a popular one could bring joy to both body and mind. Hairspray was undoubtedly the latter.

In its opening weekend in North America, Hairspray earned thirty-four million six hundred ninety thousand dollars across three thousand seven hundred eighty theaters, outperforming Shooter, which opened the same weekend, and securing the top spot on the North American box office chart.

Produced and distributed by Paramount, Shooter starred Mark Wahlberg but still followed the recent trend of underperforming sniper films, earning only fourteen million two hundred fifty thousand dollars in its North American opening weekend.

Compared to its sixty-five-million-dollar production budget, Paramount had a long road ahead to recoup its costs.

In recent years, films about snipers and aerial combat had fared almost as poorly as war epics, with very few successes.

The once-popular war films of the 1990s couldn’t even match the brief resurgence of musicals in terms of market response.

In its first weekend in North America, Hairspray had already surpassed its production budget, bringing a pleasant surprise to Relativity Entertainment.

The film’s box office success also boosted John Waters’ confidence. He brought a friend he had met in Europe, someone who shared his interests, to Ronan’s office in Relativity Tower.

In the reception room on the top floor, John Waters made the introductions: “Tom, this is Mr. Ronan Anderson, the head of Relativity Media. Mr. Anderson, this is Tom Six, a director, screenwriter, and producer from the Netherlands.”

The name was unfamiliar, and as Ronan shook his hand, he took a good look at the man.

Tom Six wore a beige casual suit and a matching cowboy hat, appearing to be around thirty years old.

“Nice to meet you, Mr. Anderson,” Tom Six said politely. “It’s an honor.”

Ronan nodded courteously and gestured for them to sit. “Director Six, are you new to North America, or have you been working in Hollywood for a while?”

Tom Six quickly replied, “I just arrived at the beginning of this year.” He glanced at John Waters and added, “I met John in Europe a couple of years ago. Our shared interests made us good friends, and John has been encouraging me to come to Hollywood. I finally made up my mind this year.”

John Waters chimed in, “Hollywood is competitive, but the opportunities are endless.”

Ronan didn’t know much about European directors, but he was aware that many, except for the most stubbornly artistic ones, aspired to work in Hollywood.

For one thing, funding a film in Europe could take years—some well-known European directors had even spent twenty years, from father to son, raising money to make their artistic films.

Such dedication was admirable, but the resulting films often lacked an audience.

John Waters then said, “Mr. Anderson, Tom has brought a script he wrote from the Netherlands.”

Tom Six opened his briefcase and took out a file. “I hope to have the opportunity to turn this script into a film.”

Ronan nodded slightly. “May I take a look at the script?”

John Waters gave Tom Six a meaningful glance, and the latter opened the file, taking out a bound copy of the script and handing it to Ronan.

Ronan accepted it without hesitation and quickly browsed through the pages.

The stack of papers wasn’t just a script—there were also a few concept sketches on top. The sketches were simple and not very clear, but they depicted several human figures lying on the ground, connected to one another.

Tom Six took the opportunity to explain, “It’s a horror film.”

Ronan frowned slightly as he looked at the sketches. Three human figures lay on the ground, tightly connected. The face of the person at the back seemed to be pressed against the buttocks of the person in front.

He set the sketches aside and turned to the script. The story began with a typical American teen adventure—two American girls driving across Europe, where they encountered a deranged retired surgeon.

This surgeon specialized in separating conjoined twins, but this time, he planned to do the exact opposite with his three “patients,” including the two girls. Through a horrifying surgical procedure, he intended to connect their bodies by stitching their internal cavities and digestive systems together, one after another, to fulfill his insane and twisted “lifelong dream”—a human centipede.

Ronan had seen the first film in this series, which was infamous in certain circles, and he knew it had been made into a trilogy, though he hadn’t watched the sequels.

Given the usual style of Western horror films, the sequels were bound to be even more absurd and grotesque than the first.

The first film had only three people in the human centipede, but the next two would probably feature a dozen or more.

Ronan looked up at Tom Six, then at John Waters.

The former had directed Pink Flamingos, and the latter, though unfamiliar, was likely the creator of The Human Centipede.

All he could say was that even separated by the Atlantic Ocean, these two had a lot in common.

“Human centipede?” Ronan murmured.

Tom Six responded, “Actually, I plan to title this project The Human Centipede.”

Chapter 1012: Feminism Incarnate

From what he had seen before, The Human Centipede wasn’t so much terrifying as it was disgusting. Those horrifying scenes that sent shivers down Western audiences’ spines left Eastern viewers feeling nauseous first, possibly triggering all sorts of secondary reactions like gagging and vomiting.

Tom Six’s first encounter with Ronan wasn’t the right moment to ask directly, so he turned his pleading gaze toward John Woster.

John Woster immediately asked, “Mr. Anderson, what about this script?”

Ronan set down the script and said, “Director Six, the subject matter you’ve chosen is truly bold.”

Tom Six smiled and replied, “I think everyone feels a wave of disgust the first time they hear the premise of The Human Centipede, but they can’t help being curious and wanting to explore it further.”

He knew opportunities for newcomers were rare. If he missed this one, securing funding would become even harder. Gritting his teeth, he added, “From the moment I started writing the script, I believed this interesting chain reaction could create a special effect—the more terrifying and perverse it is, the more it stirs people’s morbid curiosity.”

As a potential investor, Ronan voiced his concerns: “Your script establishes a premise that easily makes people uncomfortable, then describes it in a realistic and unsettling way. The visual stimulation is something even those with slightly weaker hearts can’t endure. That’s the biggest threat to the market prospects of a horror film.”

Tom Six’s heart sank at these words. After a moment of hesitation, he continued, “Mr. Anderson, have you noticed a trend in Hollywood horror films?”

Ronan looked at him. “Go on.”

Tom Six exhaled lightly, adjusting his tan cowboy hat. “Dismemberment has become commonplace in horror films, so we have to challenge a whole new level… The horror elements related to The Human Centipede aren’t just about creating a nerve-shocking impact; they also constantly push the limits of what people can endure. When viewers experience discomfort while watching, they can’t help but wonder if their friends feel the same way. To me, this is a clever psychological cycle with a suggestive effect.”

Ronan knew this. Overall, traditional American gory horror films were in decline. Even new ones, like Saw, had to be repackaged.

The most typical example was the new Texas Chainsaw Massacre films—no matter how they were made, they followed the same old formula, and each sequel performed worse than the last.

Tom Six continued, “As a filmmaker, especially when it comes to horror, the most interesting part is that what you film can genuinely scare people. I think I’ve seen the best audience reaction I could imagine. I’ve always known this basic concept would provoke backlash, but the audience’s reactions will be different. I believe it can also create a huge impact.”

“Director Six, your idea is quite unique,” Ronan mused. “Most people wouldn’t think of this.”

Tom Six adjusted his hat again. “Actually, the idea came from a joke with my friends. I remember we were watching TV, and there was news about a child molester. I joked that we should sew his mouth to a fat truck driver’s butt as punishment for his crimes.”

He laughed awkwardly. “Undoubtedly, it was a disgusting joke. My friends said the idea was too evil, but then it hit me—what a perfect concept and material for a horror film. So I started developing a full story from there.”

Ronan nodded slowly. “Director Six, Relativity Entertainment can take on your project.”

Hearing this, Tom Six couldn’t help but breathe a sigh of relief, a smile unconsciously spreading across his face. After all, for a director with no prior success, this first opportunity was precious.

“There are two prerequisites,” Ronan said. Tom Six’s resume held no weight, so Ronan had to be responsible for the investment. “First, you need to shoot a short test footage; second, given the subject matter, your production budget won’t exceed three hundred thousand dollars.”

This put Tom Six in a difficult position, but he knew his own limitations. He wasn’t the type to believe his talent alone would make people bow down. After a moment’s thought, he gritted his teeth and agreed, “No problem, I can accept that.”

Overall, Ronan was quite cautious. The Human Centipede was undoubtedly a niche subject. High investment meant enormous risk, possibly even failing to recoup costs.

A low-budget B-movie was necessary.

Ronan returned the script to Tom Six. “You can go to Shai Entertainment anytime to discuss the specifics.”

Tom Six put away the script. “Can I go now?”

“Of course.” Ronan watched Tom Six put the script into his document bag and suddenly remembered something. “Oh, you should revise the script and set the story in the United States.”

Tom Six thought for a moment. “The United States works too. I was in the Netherlands when I wrote the script, so I unconsciously set it in Europe.”

Ronan said, “American audiences generally care more about stories that happen in the United States.”

John Waters chimed in, “In Americans’ minds, Americans are the most perverted.”

Ronan couldn’t help but laugh. “John’s description is spot on.”

In Hollywood directors’ lenses, America—from wilderness to countryside to cities—was filled with all kinds of perverts.

Tom Six and John Woster soon left for Shai Entertainment, located in the same building.

Ronan also had someone call Shai Entertainment. This was a small project and wouldn’t be particularly valued. If they wanted to profit, they’d have to rely more on the offline DVD market.

Relativity Entertainment had performed exceptionally well in the DVD horror rental and sales market in recent years. With films like The Purge, Final Destination, Deadly Curve, and Saw, they firmly held the top spot in this market segment.

“Relativity is just average in the non-theatrical horror DVD market.”

At lunchtime, Ronan and Jessica Felton ate together, discussing this. “Shai Entertainment started with this type of film.”

Jessica Felton carefully ate her steak, afraid of dropping anything. Given her stature, if any food fell, it would land on the most conspicuous part of her chest.

She hadn’t minded this before, but now she was very conscious of Ronan seeing such an embarrassing situation.

Their interaction hadn’t changed much, but their mindset had.

Jessica Felton swallowed her steak before saying, “I remember Anchor Bay Entertainment has always done well in this area.”

Ronan took a sip of water. “That position has long been held by Anchor Bay Entertainment. This small film company is known for producing B-movie cult films and gory horror films.”

He set down his glass and casually mentioned, “I heard Anchor Bay Entertainment is planning to remake I Spit on Your Grave.”

“That movie?” Jessica Felton said, “It’s too unfriendly to women.”

Ronan replied, “In some ways, it’s also a feminist film.”

Jessica Felton thought carefully. “It seems so. The female lead suffers a tragedy but doesn’t rely on others; she completes her revenge alone, making each of her assailants pay a heavy price.”

In front of Jessica Felton, Ronan didn’t hide his thoughts. “As long as we play the feminism card well, the film should perform well offline.”

He vaguely remembered that the remake had a trilogy, indicating Anchor Bay Entertainment must have made money.

After talking about horror films, Ronan changed the subject. “How’s that script you mentioned a few days ago?”

Jessica Felton said, “Shai Entertainment has basically reached an agreement with Katie DiPold. This is Katie DiPold’s first script; she’s not a member of the Writers Guild, so the copyright should be available for less than thirty thousand dollars.”

Ronan asked, “Are you planning to produce this project?”

“Yes, but I’ll have to wait until post-production for Fast & Furious 4 is complete.” Jessica Felton briefly explained, “I’ll make a plan and submit it to the company.”

Although their relationship had changed, the company’s procedures hadn’t, and Jessica Felton conscientiously followed them.

In reality, Jessica Felton was very clear-headed. Ronan wouldn’t give her any special privileges in this regard, and she wouldn’t ask for any.

That would only harm their relationship.

After lunch, Jessica Felton checked the time. “I should go back.” Before leaving, she added, “I need to finalize some of the score tonight. I’ll be working late, so don’t wait for me. Go ahead.”

Ronan nodded. “Give me your keys. I’ll wait for you at your place.”

Jessica Felton helplessly opened her handbag and searched for the keys, handing them to Ronan. Since they were already in that kind of relationship, there was nothing to hide. She said openly, “There’s a spare key at home. Remind me to give you one later.”

Ronan waved his hand. “I remember. You go ahead and get busy.”

After putting away the keys, Ronan returned to his office. In the afternoon, he had a meeting with Marvel Entertainment’s Kevin Feige to further discuss the next phase of the Avengers Initiative.

Marvel Entertainment had two films releasing this year: The Hulk in the summer season and Thor in the holiday movie season.

Chapter 1013: Regarding Marvel

In the office of Relativity Tower, Ronan and Kevin Feige were discussing Marvel Entertainment’s film plans.

After Avi Arad’s term ended, Ike Perlmutter, who had previously served as Chief Creative Officer and Chief Operating Officer, took over as Chief Executive Officer of Marvel Entertainment, ensuring a smooth transition of power.

In the new Marvel management structure, Kevin Feige, serving as President, oversaw Marvel’s film and television production.

Kevin Feige first reported to Ronan on the current progress of Marvel’s films: “The Hulk has undergone three internal screenings. Director Joss Whedon made some minor adjustments based on various suggestions. In the final internal screening, it received a comprehensive score of 9. However, since the previous Hulk film failed not long ago, this one’s market response won’t be as good as Iron Man.”

Ronan said, “From the market response, Iron Man will become the most popular superhero among the Avengers.”

His goal was clear: as long as The Hulk could recover its investment through various online and offline operations, it would be sufficient.

These standalone superhero films were more about paving the way for the future.

However, the Hulk directed by Joss Whedon had received positive feedback in the screenings, and there was a good chance it would perform well at the box office.

Kevin Feige continued, “Jon Favreau has already started preparing for Iron Man 2. Although he is very interested in directing Captain America, time-wise, it’s too late.”

Ronan thought for a moment and said, “Do you remember the Russo brothers I asked you to keep an eye on? Contact them.”

Over the past two years, Relativity Entertainment had been keeping a close watch on the Russo brothers. They had grown rapidly, directing and writing two TV series, gaining considerable work experience.

Kevin Feige nodded, “I’ll have someone contact them soon.” He then said, “The post-production of Thor is in the latter half. All production will be completed before October, ensuring it doesn’t delay the holiday movie season release.”

“The Hulk, Thor, Iron Man 2, and Captain America…” Ronan murmured, “Then it’s The Avengers.”

Kevin Feige asked, “Have you considered the director?”

Ronan directly said, “Kevin, what do you think of Joss Whedon?”

“Hmm…” Kevin Feige thought for a while and said, “Not bad, he can be considered as a director candidate.”

Ronan said, “The Avengers Initiative is under your direct responsibility. Consider it comprehensively. My opinion is to prioritize directors who have directed Marvel superhero films. They are, after all, familiar with the series.”

Kevin Feige, burdened with responsibility, was also very cautious: “I understand.” He mentioned a key point: “Regarding the budget…”

Ronan said, “Don’t worry, the budget isn’t a problem. The Pacific Investment Foundation can provide sufficient production funds for Marvel Entertainment at any time.”

In fact, the early stages of the Marvel Avengers Initiative also required a significant investment to reap substantial rewards in the future.

The series truly began generating massive profits starting with The Avengers.

Ronan reminded, “Kevin, while preparing for The Avengers, you should also consider the second phase.”

Kevin Feige responded, “I will draft a detailed plan and submit it to you once completed.” In this regard, Ronan and he had some discussions. Kevin Feige reminded, “The copyright for Scarlet Witch is still with 20th Century Fox.”

Scarlet Witch was part of the extensive X-Men copyright. In the comics, she is Magneto’s daughter. The film and television rights for X-Men sold by Marvel Comics naturally included this female mutant.

Previously, Walt Disney and 20th Century Fox had reached an agreement to split the use of Scarlet Witch and Quicksilver. Therefore, in Marvel’s series of films, Scarlet Witch’s name was never mentioned, always referred to as Wanda.

Given the current relationship between Relativity Entertainment and 20th Century Fox, reaching such an agreement was virtually impossible.

But Ronan’s ambitions were much greater, far exceeding those of Walt Disney at the time.

Ronan thought for a moment and still said, “Don’t rush the copyright issue. I will find a way to resolve it. Prepare an alternative plan. Even without Scarlet Witch, don’t let it affect the second phase plan.”

“Okay,” Kevin Feige said, “She isn’t a core key character.”

The box office success of Iron Man not only made Tony Stark instantly popular but also brought significant attention to Black Widow, turning her into a star character who would undoubtedly be the core female character in the Avengers Initiative for a long time.

This core position might continue for quite some time.

Even Marvel Entertainment was already planning a standalone Black Widow film.

This was determined by market response.

But Ronan and Kevin Feige were equally cautious. The previous two female superhero films, Catwoman and Elektra, had both failed miserably.

If you asked industry companies whether a female character could independently carry a major superhero film, almost all answers would be negative.

Ronan couldn’t help but think of Wonder Woman from the neighboring DC Comics. As one of the Justice Trinity and the first female superhero in history, Wonder Woman had higher recognition and always carried the banner of feminism. If adapted into a film, the chances of success seemed greater.

The Justice Trinity was the core of DC Comics, and the copyright was out of the question…

However, thinking of The Dark Knight, Ronan felt that after the film’s release, when Warner Bros and DC Comics came to discuss sequel copyrights, he might give it a try.

Anyway, even if it failed, there would be no loss.

If it succeeded, it would be a huge gain.

It seemed that the long-legged actress was about to collaborate with Relativity Entertainment. She had participated in the first round of screenings for The Hunger Games and successfully advanced to the second round.

For Wonder Woman, the biggest flaw of that Israeli star was her small chest.

Regarding the copyright and investment issues of The Dark Knight and its sequels, Ronan was not in a hurry. At this stage of the project, Warner Bros was the one in a hurry. The late Heath Ledger and the Joker, crafted by Warner Bros as the last role of his life, were about to be immortalized with the film’s release, which would also immortalize the film itself.

At that time, with the film’s box office success and various incomes soaring, Warner Bros would automatically come to discuss the investment for The Dark Knight Rises without Ronan’s reminder.

In fact, Warner Bros and DC Comics had not been without contact with Shai Entertainment recently. George Clint, following Ronan’s instructions, had been delaying.

Time was on the side of Relativity Entertainment; time would also push Warner Bros to make a real decision.

Warner Bros and DC Comics’ superhero film plans were also progressing steadily. Green Lantern had already started preparations. Ronan’s latest information was that Warner Bros, learning from 20th Century Fox, was poaching talent from Relativity Entertainment, offering a hefty sum to invite Blake Lively, the S Queen from Gossip Girl, to sign on as the female lead in Green Lantern.

Blake Lively only had a TV series contract with Relativity Entertainment, so appearing in other films was not restricted.

Regarding the male lead, Ronan had also inquired. Among the many candidates, there was an actor named Ryan Reynolds.

It wasn’t until near the end of the workday that Kevin Feige bid farewell and left.

Ronan handled some document-related work. After work, instead of returning to Future World Estate, he went directly to Jessica Felton’s residence.

Recently, he had been staying there every night.

Climbing to the peak was addictive. The high altitude, the beautiful scenery, made one linger.

Facing two directors and screenwriters with almost blank resumes, Shai Entertainment held an absolute dominant position, and the copyright negotiations progressed rapidly.

The young screenwriter Katie DiPold was the first to sign the contract, selling the script copyright to Shai Entertainment for twenty-two thousand five hundred dollars.

The official name of this project was Hot Pursuit.

The project would be fully managed by Jessica Felton after she completed Fast & Furious 4. The initial estimated production budget was thirty million dollars.

Subsequently, Tom Six also formally signed with Shai Entertainment, selling the script for a symbolic one dollar to gain more power in production.

Under Ronan’s guidance, Shai Entertainment directly appointed Tom Six as the director and producer of The Human Centipede.

The production budget for this project was only two hundred fifty thousand dollars. Due to the special nature of the subject and content, Ronan didn’t want the company to be directly involved. While ensuring financial supervision, he let Tom Six freely express himself.

In Tom Six’s words, he wanted to use The Human Centipede to explore the deepest fears buried in human nature through a biological structure and anatomical approach, creating scenes of terror beyond human expectations.

Anyway, with only two hundred fifty thousand dollars, Ronan let Tom Six do as he pleased. As long as the film was made bizarre enough, with Relativity Entertainment’s offline operational capabilities, recovering the investment was not a problem.

Bizarre films had never lacked an audience in the United States.

A new weekend arrived, and Hairspray, in its second week of release, lost its box office crown.

Warner Bros’ Teenage Mutant Ninja Turtles, released this weekend in North America, pushed Hairspray off the top spot on the North American box office chart.

This comic adaptation film earned twenty-four million two hundred fifty thousand dollars in its North American opening weekend, which was quite good compared to the thirty-four million dollar production investment.

However, Hairspray, which had slipped to second place on the box office chart, had a very steady performance in North America. Its second weekend box office only dropped by forty-five percent from the first weekend, earning another nineteen million eighty thousand dollars.

After ten days of release in North America, Hairspray’s cumulative North American box office was sixty-four million five hundred sixty thousand dollars, and its final North American box office was sure to exceed one hundred million.

It was these films and TV series projects, selling well online and continuously profiting through various offline channels and businesses, that constituted Relativity Entertainment’s massive operating income.

The success of this film also proved that the revival of Hollywood musical films was not over yet.

Chapter 1014: Bustling Activity

Relativity Entertainment was still preparing a musical film, a high-priority project, and Ronan paid special attention to its progress.

The fairy tale live-action film projects were progressing steadily. Robert Zemeckis’ Alice in Wonderland was in post-production, and Beauty and the Beast had long been on Shai Entertainment’s preparation schedule.

This former Disney animated classic was a typical musical, and its adaptation into a live-action film would also be a musical.

At the 64th Academy Awards in 1992, Beauty and the Beast not only received a Best Picture nomination as an animated film but also won Best Original Score and Best Original Song.

As Disney’s first live-action adaptation of an animated film, Ronan placed great importance on Beauty and the Beast.

The live-action version was produced by Andrew, the head of Shai Entertainment’s production department, with a budget of one hundred and fifty million dollars. Industrial Light & Magic was responsible for the special effects design and production.

For the crucial music and dance aspects, Shai Entertainment had invited Alan Menken and Howard Ashman, who had created the score and songs for the original animated film, to participate in the live-action version’s scoring.

It wouldn’t be an exaggeration to say that music was the lifeblood of Beauty and the Beast.

Since Shai Entertainment had secured the rights to the classic score and songs from the animated film, they naturally wouldn’t let them go to waste.

“Our goal is very clear!”

In Shai Entertainment’s conference room, Ronan emphasized: “This live-action film aims to stay true to the original, evoking memories and nostalgia in fans.”

Linda Woolverton, responsible for the screenplay, said: “We have obtained the original script Disney created for this film and are basing our adaptation on it.”

This female screenwriter was someone Ronan had specifically recruited.

Linda Woolverton had previously worked at Disney and was one of the screenwriters for the animated Beauty and the Beast. She had also co-written The Lion King, Pocahontas, and Mulan under Disney.

Inviting her was to ensure the screenplay stayed conservative and avoided the pitfalls of innovation.

As one of Disney Pictures’ most precious works, Beauty and the Beast was born during the second golden age of animated films.

Other works from the same period included The Little Mermaid, The Lion King, and Aladdin.

Beauty and the Beast caused a sensation upon its release and was hailed as a masterpiece of its generation.

In the film, romanticism and comedy were beautifully combined, telling an unforgettable story of love and friendship, allowing the audience to experience a magical world where goodness ultimately triumphs over evil.

It wouldn’t be an exaggeration to say that innovation could be fatal for live-action adaptations of these Disney classics.

Innovation had no place in the live-action Beauty and the Beast. Although many changes were inevitable due to the adaptation from animated feature to live-action film, the main plot, scene design, character appearances, dialogue, and music all aimed to recreate the glory of the original.

This was the safest production approach; innovation only brought enormous risks.

Andrew then said: “Over the past decade, advancements in film technology have caught up with the expressive power of the original animated film. For example, we can now create a realistic talking teapot in a real filming environment.”

Glen Pratt, the head of Industrial Light & Magic for this project, added: “I have discussed this with Andrew multiple times and repeatedly watched the original animation. Realistic recreation is not a problem technically.”

“Good!” Ronan was generally satisfied with the preliminary work but still emphasized: “Many remakes either completely reinterpret the original or tell the story from another character’s perspective. Beauty and the Beast doesn’t need that. What we need to do is integrate this story more into reality, not create a new one.”

The others responded: “Yes.”

Ronan’s successful track record easily suppressed any dissenting opinions.

“Where are we with the preparations?” Ronan asked.

Linda Woolverton and Glen Pratt fell silent, leaving Andrew, the producer, to answer.

“The crew is still being assembled, and there are several candidates for the director.” Andrew had his assistant hand the materials to Ronan and said: “Our first potential choice is British director Phyllida Lloyd. She has extensive experience directing musicals and recently directed Shai Entertainment’s Mamma Mia!.”

This potential candidate received Ronan’s approval: “Make initial contact with her, but don’t give up on the other backup candidates yet.”

At the end of the day, for commercial film projects, determining whether a director is suitable depends on two things: whether they have experience directing similar films and their market performance.

Andrew continued: “I’ve had private discussions with Phyllida Lloyd, and she is very interested in directing Beauty and the Beast.”

Ronan nodded slightly: “You handle the negotiations with her. As the director, she must adhere to our creative vision, or she will be eliminated.”

Andrew seriously replied: “I understand.” He then said: “For the male lead, we are looking among the actors who have long-term contracts with Shai Entertainment. James Franco, who starred in The Teddy Bear, has strong intentions to collaborate and wants to try motion capture, a special filming method.”

Casting director Lucy Bale added: “We conducted an initial audition. Since the special effects model isn’t complete yet, we only did a preliminary motion capture performance experiment in Industrial Light & Magic’s studio. James Franco performed adequately.”

Ronan said: “As long as the salary is appropriate, we can use James Franco.”

Most famous actors were reluctant to take on motion capture roles. In Beauty and the Beast, the prince had very few scenes where he showed his real face; ninety-nine percent of his role was as the beast. From this perspective alone, it was difficult to attract actors with significant appeal.

But James Franco was different. He was a well-known eccentric in Hollywood, and his choices were sometimes hard to understand.

For example, after becoming famous as a comedic actor, most would try to distance themselves from crude humor to elevate their status. However, James Franco, this eccentric, went against the grain. Although he didn’t start in comedy films, after becoming famous, he unhesitatingly dove into crude humor, as if he never wanted to leave.

Andrew continued: “For the female lead, we have conducted preliminary auditions within a certain range. Currently, we have two suitable candidates: Amanda Seyfried and Emma Watson.”

“I’ve watched the audition tapes for the female lead.” Ronan directly said: “Emma Watson is not suitable. She’s too young, has no experience singing songs, and now has a big problem—no matter what role she plays, she always seems like Hermione Granger.”

He had already made his decision: “Let’s use Amanda Seyfried. Amanda has collaborated with Shai Entertainment multiple times and has starred in musicals, performing exceptionally well in Mamma Mia!.”

Currently, Emma Watson, whose image was heavily tied to Hermione Granger, was no match for Amanda Seyfried in any aspect.

Moreover, Ronan had seen a few of Emma Watson’s films right after she left the Harry Potter series. Her acting was so poor it was almost indistinguishable from a newcomer.

Many actresses could play the role of a clever, adventurous village girl.

Ronan prioritized the candidate he felt most confident about. Compared to unfamiliar actors, Amanda Seyfried, who had collaborated multiple times, was undoubtedly more suitable.

The preparations for Beauty and the Beast were going smoothly. If all went well, the film could be released during the 2008 holiday movie season.

After this small meeting, Ronan visited the television production department, where there was also a musical project.

Steven Portman, the producer of Hannah Montana, planned to create a special movie version of Hannah Montana after the new season aired on Netflix.

Since Hannah Montana aired on Netflix Streaming Media, it had cultivated a large fan base primarily consisting of teenagers. Coupled with the massive influence Taylor Swift brought after releasing her album, the movie version of Hannah Montana already had a solid audience base.

Ronan approved Steven Portman’s movie plan. After the new season of Hannah Montana aired, Steven would continue as the producer, responsible for planning the movie version.

Taylor Swift was under a long-term contract with the crew, so her participation in the movie wasn’t an issue.

Such a youthful musical idol movie wouldn’t lack an audience. If managed well, the soundtrack alone could recoup the costs.

As for whether Taylor Swift would, like Miley Cyrus in the past, resort to various stunts for a career shift, making “camel toe” a global trend, the possibility was low.

Taylor Swift’s path was much broader than Miley Cyrus’s.

Moreover, Taylor could always find a bunch of ex-boyfriends to help her out of trouble.

Taylor Swift was once the goddess of many, and some even stubbornly argued that the so-called “ex-boyfriends” didn’t exist.

For stars and their brain-dead fans, this was perfectly normal.

After all, people generally only want to see what they want to see.

Even if some secluded paths had long become bustling thoroughfares, it wasn’t a problem because even if they turned into black holes, they would still be places people wanted to explore for a lifetime.

Meanwhile, Ronan also turned down a musical film project that was actively pitched to him.

Famous stage producer Andrew Webber approached Ronan to sell the rights to his hit musical Cats, which was popular in the UK and the United States, wanting to adapt this classic musical into a film.

But Ronan politely declined Andrew Webber because the film rights alone were priced at sixty million dollars, or an equivalent amount to invest in the future film project.

This would bring enormous risks to the film, and Ronan didn’t consider it for long before turning it down.

Chapter 1015: It’s Complicated

As they left the women’s boutique, Jessica Felton met up with Ronan near the entrance. Glancing at his empty hands, she unceremoniously handed him two heavy shopping bags. “Dear, would you mind carrying these for me?”

“No problem.” Ronan took them, then looked behind him. Immediately, a bodyguard hurried over and took the bags from him.

Jessica couldn’t help but laugh.

Ronan pulled her along as they walked. “When accompanying a lady on a shopping trip, of course you need a few lackeys to help carry the bags.”

Jessica looked back and said, “You certainly have a lot of lackeys.”

Ronan interlaced his fingers with hers and said matter-of-factly, “Can’t help it. I’m timid. Afraid someone might rob us.”

It was the weekend, and the commercial district was bustling. Many eyes were on Jessica and Ronan, though the focus was clearly on Jessica—with her delicate features, flawless skin, and stunning figure. Ronan was just an afterthought. Fortunately, both of them mostly stayed behind the scenes, so they didn’t have to worry about being mobbed.

“Word around the company,” Jessica said as they walked, “is that you turned down the rights holders for Cats when they came to pitch it?”

Ronan saw no need to deny it. “Didn’t feel right.”

When it came to movies, Jessica had endless topics to discuss. Curious, she asked, “I saw the stage version of Cats once. It was brilliant. The show has been running for years and has a huge following. Isn’t it perfect for a film adaptation?”

Ronan kept it simple. “Mainly, the licensing fee is too high—sixty million dollars. That’s a massive risk. If it were under ten million, I wouldn’t have refused.”

He paused briefly before adding, “Also, I have some reservations. Stage and film are two different mediums. How do you translate the cats from the stage to the screen?”

Jessica naturally picked up the conversation. “To capture the essence of the stage production, they’d probably go with a similar aesthetic.”

Ronan prompted her, “Jesse, use your imagination. If they used motion capture or CGI to create cat characters similar to the stage version, what kind of effect would that produce?”

Jessica had extensive experience in film production. As a commercially focused producer, she was very familiar with computer effects. She couldn’t help but imagine it in her mind.

For some reason, the CGI-rendered cat characters that formed in her imagination had an eerie, ghostly quality.

“This…” Jessica didn’t know what to say.

Ronan smiled. “Dear, looks like we’re on the same wavelength. In filmmaking, if the characters lean too much toward human-like as in the stage version, the result might not be cats but something monstrous.”

Jessica squeezed Ronan’s hand. “Maybe we’re overthinking it, or maybe it’ll become another classic example of the uncanny valley theory.”

“If they were selling the rights for a few million, I could make a cult film out of it,” Ronan said offhandedly. “But sixty million? The risk is too high for me to accept.”

They went from the first floor to the second, arriving at the entrance of a modest-looking yoga studio.

“Wait for me here for a bit,” Jessica said, leaning in to give Ronan a light kiss. “Men aren’t allowed inside. I’m just going to pick up next month’s yoga schedule.”

Ronan waved her off and found a place to sit. “Go ahead.”

Jessica was quick. In less than three minutes, she was back, linking arms with Ronan. “Let’s go.”

Ronan asked, “Not buying anything else?”

Jessica shook her head gently. “No need.”

Ronan checked the time. “Perfect timing. I’ll let the chef know to prepare. Let’s have lunch at my place.”

“Sounds good.” Jessica agreed.

Ronan took out his phone and called Housekeeper Nikita, instructing her to notify the kitchen to get ready.

Half an hour later, Ronan brought Jessica back to the Future World Estate. She was no stranger to the place; they had been close friends for a long time, and she had visited more than once.

The staff at the estate, especially Housekeeper Nikita, were quite familiar with Jessica. Given her personality, it wasn’t difficult for her to get along with the estate’s employees.

Outside of work, Jessica was always a straightforward person.

After lunch, Ronan and Jessica had just returned to the grand living room when Housekeeper Nikita came over and whispered, “Mr. Cruise has arrived. He’s already at the gate.”

Ronan nodded slightly. “I see. Let him come in.”

Less than two minutes later, Tom Cruise’s voice could be heard. “No need to stand on ceremony. I just had lunch. I came to talk to Ronan about something.”

As he spoke, Tom Cruise appeared.

Ronan went to greet him, shaking his hand. “What brings you here?”

Tom Cruise, a longtime friend of Ronan’s, spoke casually. “Delivering your premiere invitation and, by the way, venting about my ex-wife…”

“Uh.” He noticed Jessica and quickly greeted her. “Hi, Jesse. Didn’t expect to see you here.”

Jessica smiled naturally. “Hi, Tom.”

Having been through it himself, Tom looked at Jessica, then at Ronan, and roughly guessed what was going on. “You two are…”

Ronan stated directly, “Jesse is my girlfriend now. We’re officially together.”

Tom Cruise looked at Ronan with confusion and doubt in his eyes but didn’t say much in front of them. He handed the invitation to Ronan and specifically said, “Jesse, you and Ronan must come to the Mission: Impossible 3 premiere.”

Jessica had a pile of work on her hands and couldn’t give a definite answer. She could only smile and say, “I’ll try.”

Tom Cruise didn’t vent to Ronan about his difficult ex-wife. “Invitation delivered. I won’t disturb you any longer. I’ll be going.”

As he spoke, he subtly gave Ronan a meaningful look.

Ronan understood what Tom meant. “I’ll walk you out.”

Jessica also saw Tom’s glance but cleverly pretended not to. She exchanged a polite word with Tom, then turned and went back to the grand living room, where she seriously examined several decorative paintings on the wall.

Ronan escorted Tom out the front gate. Tom looked back and, seeing no one following, asked in a low voice, “Are you serious about this?”

“Of course!” Ronan said. “I’ve never been this serious about a relationship before.”

Tom shook his head and sighed. “Ronan, you’ve changed.”

Ronan didn’t quite understand what he meant. “Changed? Have I? I don’t think so.”

“Remember what I told you before?” Tom patted Ronan’s arm. “Anyway, having a steady woman by your side—you’ll understand in the future. It’s complicated.”

Thinking of Tom’s tumultuous history with Nicole Kidman, Ronan didn’t know what to say. He could only speak from his own perspective. “Since I’ve made my choice, I won’t regret it.”

Tom said, “No matter what choice you make, I’ll support you.” He walked toward his car. “Alright, go back to Jesse. I should go.”

Alone in his sports car, Tom stepped on the gas. The blue car sped away, quickly disappearing through the gates of the Future World Estate.

Ronan watched the vanishing car, shook his head, and turned to go back.

They still had the entire afternoon to enjoy the view from the heights.

Jessica had been practicing yoga, which was said to allow for many incredible poses.

As April arrived, Hairspray, which had been performing well at the box office, crossed the one hundred million dollar mark in North America after several weeks of screenings, reaching one hundred and sixty-five million dollars.

Due to the film’s typical American social themes, it also performed well overseas, though it had only brought in less than thirty-five million dollars so far.

But compared to the film’s investment, Hairspray still deserved the label of a market smash.

Additionally, Adele, the female lead, had become a sensation thanks to her outstanding musical performances, much like Beyoncé after the release of Dreamgirls last year.

Relativity Entertainment’s subsidiary, Big Machine Records, was also preparing to launch Adele’s first solo music album.

This dream-filled British girl was on her way to becoming a pop music superstar.

There was more good news. Big Machine Records had been working tirelessly, and with Disney’s internal chaos, Scott Borchetta, after a long period of lobbying, finally convinced Selene Gomez’s parents. After Selene’s contract with the Disney Channel expired at the end of March, they successfully signed her.

To some extent, Disney had inadvertently helped.

Selene saw her contract expiring, but Disney didn’t send anyone to discuss renewal with her or her parents.

This allowed Big Machine Records to sign Selene without much cost.

Shai Entertainment was also making progress. In early April, the Beauty and the Beast production team signed British director Phyllida Lloyd. They then secured contracts with James Franco and Amanda Seyfried for the lead roles.

With the director in place, preparations for this live-action fairy tale accelerated. Filming was expected to begin in September, with all scenes completed by the end of the year.

In April, Relativity Entertainment had two films released: the low-budget Hostel 2 and District 9, shot in a mockumentary style.

The former needed no introduction; the first film had already made an impact.

The latter attracted significant attention because Embassy Pictures, in their promotional efforts, not only used viral marketing but also repeatedly referenced the rumored “Area 51.”

Area 51’s influence in North America and worldwide was immense.

Chapter 1016: The Slaughterhouse

Every year, the summer season is the most suitable time for screening commercial films, and audiences have grown accustomed to watching well-made tentpole films during this period.

Compared to last year’s Hollywood film drought, this year’s North American summer season seems a bit crowded. Relativity Entertainment alone is releasing several films during this period, including The Hulk, Transformers, Kung Fu Panda, Cars, and The Teddy Bear.

Other companies also have major productions, such as Sony Columbia Pictures’ Spider-Man 3 and Surf’s Up, Warner Bros and Shai Entertainment’s The Dark Knight, Paramount’s Mission: Impossible 3, Warner Bros’ Harry Potter and the Order of the Phoenix and Thirteen Warriors, 20th Century Fox’s Pharaoh and the Gods, 10,000 BC, and The Simpsons, New Line Cinema’s Rush Hour 3, Universal’s Bruce Almighty 2 and My Big Fat Greek Wedding…

This summer season is unusually crowded, and Ronan remembers several films that are expected to be box office hits.

Relativity Entertainment cannot release more films in such a packed summer season. Films with lower investments, like District 9, are simply released in April.

Hollywood does not currently have a very clear concept of a spring season, but if handled well, outstanding films can also explode in the market in April.

Compared to other medium to large productions, District 9 has a production budget of only thirty million dollars, and its promotional expenses are similarly not very high. Moreover, due to its sci-fi genre, the film’s production is far from refined and even somewhat rough. Facing competition from top-tier major productions, unexpected situations may arise.

The target for top-tier commercial major productions is set for the summer season. April does not have many highly competitive films. The only truly competitive film is Rear Window Horror, sandwiched between Relativity Entertainment’s The Human Skin Inn 2 and District 9, released by Paramount and directed by Shia LaBeouf, Spielberg’s godson, who has been highly recommended to Ronan multiple times.

The only film released on a large scale in the same period as District 9 is New Line Cinema’s Fracture.

Although the film stars veteran actor Anthony Hopkins and new-generation star Ryan Gosling, the niche genre of courtroom suspense inherently lacks competitiveness.

The attention Fracture has garnered on the internet is even less than that of The Human Skin Inn 2.

This cult horror film was the first to be released on the first weekend of April.

Two years ago, Eli Roth, nicknamed Big Bear, directed The Human Skin Inn, which, after being released in theaters by Embassy Pictures, quickly gained the favor of many horror film enthusiasts.

As Embassy Pictures’ promotional department put it, Eli Roth shocked the entire Hollywood film industry with The Human Skin Inn, a film almost entirely drenched in blood, making it one of the best films of that year.

Well… Embassy Pictures’ online promotional department, under Ronan’s guidance, has truly mastered the essence of the shock department.

However, the film itself did indeed cause quite a stir.

A hunting ground where torture is the main theme, three American girls traveling with backpacks are sold here, becoming prey. Their only fate is death, and the method of their death depends on the preferences of the “customers”…

This has always been a scene that some American horror film audiences enjoy.

In many American films, the typical characteristic of young Americans is ignorance and lack of brains. They are willing to try new things, go where the excitement is, and are overly self-assured—young people are naturally curious, which is not inherently bad, but the problem is that they are too easily trusting. As long as someone caters to their interests and exploits them, they will fall for it.

When the first film was released, it took in twenty million dollars at the North American box office on its opening weekend, becoming a typical example of a horror film making a big profit with a small investment.

Two years later, Eli Roth is back, bringing with him the sequel The Human Skin Inn 2, adding another bloody chapter to the terrifying story that once shocked countless people.

The unprecedented success of The Human Skin Inn can be said to be the main reason this sequel was made, but it also brings immense pressure to the sequel, because no matter how the sequel is made, it is destined to be compared to the original.

Fortunately, Eli Roth did a good job.

For this type of film, the safe approach is to follow the established successful model and proceed steadily.

Then, add some new elements appropriately.

So, the sequel is essentially another story of American idiots courting death.

The difference is that the protagonists of the second film, the idiots courting death, are all women, and beautiful, sexy female characters at that.

Women in the center of danger or horror have almost become the favorite of fans of this type of film, eventually evolving into a fixed pattern.

So, the sequel specifically sets the gender of the victims. Girls traveling to Europe are certainly more vulnerable than the boys in the first film’s story, which is also a change that enhances the experience for the audience.

The sequel tells the story of three American girls who, to relieve the stress of their studies, decide to go on a self-guided tour over the weekend, choosing the tourist destination of Prague, only to become prey for hunters.

These girls courting death on their journey once again fall into the hell of a European town, entering a human slaughterhouse.

In the happy land of America, tens of thousands of people die from gunshots every year, and a similar number are stabbed to death with knives or other blades.

In movies, this becomes a mediocre performance.

Thus, some European perverts sneer: “Americans, so unimaginative!”

In this reopened Human Skin Inn, Eli Roth, as an American, uses European hands to showcase his imagination of the “slaughterhouse”—not to mention the various methods of dismemberment, torture, bloodletting, evisceration, and gutting. This time, the focus is on the 108 types of torture tools: chains, saws, hammers, knives, spikes, drills, axes, forks, clamps, hooks…

Long, short, straight, curved, electric, manual, highly destructive, minimally traumatic—every tool in the upgraded version of the slaughterhouse hell is filled with heart-wrenching screams.

The weak female roles, arbitrarily slaughtered, seem to release the desire for killing even more. Hollywood horror films, which consistently test the audience’s tolerance for bloodshed, will not put down the butcher’s knife even when facing delicate women.

Several small killing segments interspersed in the film make many fans climax repeatedly.

Cutting a piece of leg meat with a knife and fork and directly placing it on a plate to eat, selling the not-yet-dead as a special bargain product—all of these challenge the audience’s visual tolerance.

Naked violence, constantly renewed torture methods, scattered limbs, twisted body tissues… The increasingly intense feast of torture is served on the theater’s table!

Exotic scenery, surging blood, torture drama plus black shop storms—on the first weekend of April 2007, under the banner of “scaring bloodthirsty horror fans,” the newly opened Human Skin Inn uses every imaginable method of torture that makes life worse than death, extreme brutality, and madness, charging forward.

After two years of accumulated “blood,” it’s time to spray it all out!

There is no need for subtle restraint; the key to selling the “slaughterhouse” is audiovisual stimulation.

Digging out hearts and lungs, brains splattered, blood and flesh flying, limbs broken—while the plot connects with the previous work to form a complete story, The Human Skin Inn 2 shamelessly stimulates the audience’s tolerance for blood from both physical and mental aspects!

Perhaps, in the eyes of many professionals, this film, which is nothing but violence and pornography, cannot be considered a real movie.

But this does not stop the enthusiasm of genre film fans. The more disgusting and cruel it is, the more they like it.

This is directly reflected in the box office of The Human Skin Inn 2.

On its North American opening weekend, this typical blood horror film took in twenty-one million two hundred fifty thousand dollars in nearly three thousand theaters in North America.

Compared to the six million dollar production cost, it fully deserves the praise of being a box office hit.

Of course, the film’s reputation is terrible, with all kinds of ratings being abysmally low.

But The Human Skin Inn 2 has won the support and recognition of its target audience in the niche market. Their generous spending, taking out checks from their wallets, is enough to support the film’s box office and even offline revenue.

The Human Skin Inn 2 topped the box office chart on its opening weekend. Under targeted promotion and market marketing, the subsequent box office performance did not collapse but remained relatively stable.

On the second weekend of its release, Paramount’s Rear Window Horror took the box office crown with an opening of twenty-two million two hundred ten thousand dollars.

But the latter’s second weekend box office of nine million nine hundred eighty thousand dollars pushed the North American total box office to thirty-six million five hundred seventy thousand dollars.

Due to the overall limited investment, The Human Skin Inn 2, like the first film, will bring astonishing investment returns to Relativity Entertainment.

Hollywood horror films have long had a tradition of “making big profits with small investments.” According to Relativity Entertainment’s statistics, horror films have the highest return on investment among all Hollywood commercial genres. Among the top ten highest-returning films in Hollywood history, five are horror films.

Of course, a high return on investment does not mean high profits.

Otherwise, Hollywood would not be crazy about investing in those big productions costing hundreds of millions of dollars.

District 9 will be released in the following week, and Relativity Entertainment also hopes that this low-budget sci-fi film will become a hit.

Due to the influence of the Area 51 conspiracy theory, this sci-fi film is highly anticipated. Countless people influenced by the Area 51 conspiracy theory are waiting for this film’s release.

From the late forties to the present, there have been persistent rumors that the United States has Area 51, specifically responsible for handling alien affairs. Although this information has never been officially acknowledged by the United States, the scope of its spread is becoming wider and wider, and the number of people who believe in the existence of Area 51 is not small.

Chapter 1017: The Rights of Aliens

“Mysterious District 9 Unveiled: Aliens Reduced to Earth’s Poor!”

Since March, promotional material for District 9 had been flooding the media, reaching its peak in April.

“Uncovering Area 51: The Creative Inspiration Behind District 9!”

“Shocking! The Aliens in Area 51 Live More Miserably Than the Prawns in District 9!”

“District 9 Reveals the Truth of Area 51—Shocking the World!”

Embassy Pictures’ internet shock division churned out endless promotional articles, drawing the attention of countless Area 51 researchers.

Additionally, large-scale viral marketing was once again deployed by Embassy Pictures.

District 9 extensively utilized viral marketing strategies. Posters and promotional materials related to the film blanketed bus stops, buildings, and designated advertising spaces across major North American cities. These posters even included a free hotline number, with a message below stating that anyone who encountered an alien could call to report it. This made the film feel less like a movie and more like a documentary exposing real societal issues.

Before the third weekend of April arrived, Embassy Pictures held a grand global premiere for District 9 in Los Angeles.

Due to director Neil Blomkamp’s involvement, James Cameron, who had been busy with the production of Avatar in Wellington, New Zealand, returned to Los Angeles to attend the premiere.

Accompanying James Cameron was Avatar’s female lead, Jessica Alba.

This Latino actress was also the female lead in Thor, set to release in the second half of the year. Following Marvel Comics’ trajectory, she might even become the female Thor in the future.

As for the Invisible Woman from Fantastic Four, like Chris Evans, she had become a thing of the past.

The premiere was held at the Sheikh Theater in Hollywood. Ronan also arrived at the venue and brought Jessica Felton with him.

The excitement at the premiere far exceeded expectations.

Influenced by Embassy Pictures’ promotional campaign, large numbers of UFO and alien enthusiasts gathered at the venue, holding various signs to attract public and media attention.

“We Demand the Truth!”

“The Secrets of Area 51 Must Be Revealed!”

Such protest signs were common. In many people’s eyes, the Washington administration was a hub of conspiracies—and they weren’t far off.

In their view, Area 51 hid many secrets.

This alleged alien hideout was located in a region of Lincoln County, southern Nevada, about 130 kilometers northwest of downtown Las Vegas. An air force base was situated there, believed to be where the United States secretly developed and tested new aircraft. The area was also infamous for its association with numerous UFO conspiracy theories.

Calls for the disclosure of secrets were incessant.

Some UFO and alien enthusiasts, influenced by District 9’s promotional campaign, even held up jaw-dropping signs: “Protect the Rights of Aliens in the Region—Aliens Have Human Rights Too!”

“Aliens Need to Eat Too!”

This was truly absurd. Some people had clearly been misled by the white liberals.

“How do we protect the rights of aliens?” Jessica Alba curiously asked James Cameron as they walked the red carpet. “By becoming aliens ourselves?”

This question reminded James Cameron of Avatar, which he was currently filming. He replied, “Put them on a rocket and send them to another planet to uphold alien rights.”

As usual, Ronan did not walk the red carpet and entered the Sheikh Theater early.

After James Cameron entered the VIP lounge, he immediately sought out Ronan. “You haven’t been to Wellington in a long time. Are you that confident in me?”

Ronan joked, “Because I’m afraid you’ll ask me for more investment.”

This remark made several people around them laugh.

Jessica Alba came over to greet Ronan, her curious gaze lingering on Jessica Felton.

Ronan formally introduced Jessica Felton to James Cameron and Jessica Alba.

James Cameron shook Jessica Felton’s hand and said earnestly, “A woman who can captivate Ronan must be extraordinary.”

Jessica Felton smiled. “Director Cameron, you flatter me.”

Being fellow Latino mixed-race women with the same name, Jessica Felton and Jessica Alba hit it off immediately, chatting and laughing together.

Ronan asked about the progress of Avatar. “I heard the filming is almost finished.”

“It’s nearly done,” James Cameron said, his hair noticeably whiter. “Avatar is unique. We’re filming and producing simultaneously, but the filming will finish long before the special effects are completed. We expect to wrap up all filming in about two months, then the crew will shift entirely to post-production.”

Ronan nodded slightly. Facing this seasoned procrastinator, he confirmed again, “Will it be completed as planned next year?”

James Cameron solemnly replied, “By the end of April next year. That’s the final deadline, Ronan. I can assure you.”

Ronan added, “Probably next month, someone from Embassy Pictures will visit to discuss some promotional and distribution matters with the crew.”

“Don’t worry,” James Cameron said. “There will be someone to receive them.”

After a moment’s thought, he continued, “I’ve spoken with Neil Blomkamp. Embassy Pictures’ promotional campaign for District 9 has been very successful, especially the viral marketing.”

Ronan smiled. “Neil deserves some credit. Once we confirmed the filming plan for District 9, we had this promotional idea. District 9 tells the story of a place on Earth where aliens live. Just hearing about it makes the audience wonder—could this really be true?”

James Cameron nodded slightly. Some of the viral marketing strategies could be applied to Avatar’s promotion.

Ronan continued, “So we wanted everything to feel authentic. I didn’t want the audience to feel like they were looking at a movie poster. Instead, when they see a District 9 poster on the street, they should subconsciously think it’s a government poster about alien residential policies. This would create a strong sense of immersion for the audience.”

James Cameron was straightforward. “I think viral marketing could be appropriately used for Avatar.”

“In fact, Embassy Pictures already has plans for that,” Ronan said, knowing that viral marketing must be used in moderation—overuse could backfire. “Of course, for a major work like Avatar, traditional promotional methods will dominate, with viral marketing playing only a small part. For example, we could release recruitment notices in the media, claiming to gather personnel for colonization and development on the planet Pandora.”

“Good idea,” James Cameron said. “That should attract a lot of attention.”

Ronan added, “Once Embassy Pictures finalizes the plan, they’ll send a copy to the crew. Your opinions are also important.”

James Cameron had never been one to be modest. He immediately said, “I’ll take a good look and provide some feedback.”

Meanwhile, the two Latinas with the same name were getting along splendidly—or at least, it seemed that way.

“Let’s exchange numbers and call each other sometime,” Jessica Alba said to Jessica Felton. “I’ll be in Los Angeles for a while.”

Jessica Felton was direct. “I might only have time on weekends.”

Jessica Alba replied, “No problem. Just give me a call.”

Jessica Felton maintained her smile, but with her sharp mind, she couldn’t help but think. After all, no two people could be completely unrelated—especially given her relationship with Ronan.

Jessica Felton didn’t say much, but she knew she needed to be more cautious outside of work.

As for whether Jessica Alba and Ronan had a past relationship, Jessica Felton didn’t dwell on it. She had long decided to look forward and not obsess over past events.

Dwelling on the past was nothing but trouble and unnecessary worry.

Jessica Felton was a confident woman. She had faith in Ronan and even more in herself.

Director Neil Blomkamp brought the main cast over to greet Ronan. Ronan shook hands with each of them and offered a few words of praise.

In reality, including the male lead, he didn’t recognize a single actor in the cast.

As they entered the main theater, Ronan said to Jessica Felton, “The film’s budget was limited, so they used unknown actors to allocate more funds to the expensive special effects. Even so, the effects are quite rough.”

The special effects in District 9 were decent at best. Anyone claiming they were top-notch was clearly blind.

But the film had its merits. It balanced thematic depth with excellent commercial entertainment elements.

Of course, the thematic elements were only lightly touched upon. In commercial films, too much of this could spell disaster for the market.

As for how exciting the film was, that was debatable, but the promotion was indeed outstanding. Using Area 51 as a gimmick, combined with viral marketing, it attracted a massive audience.

Additionally, the mockumentary style in a sci-fi film gave viewers a fresh sense of novelty.

This filming technique provided an immersive realism, shocking the audience’s senses while effectively distracting from the film’s rough production quality.

Without exaggeration, this approach also had a stunning effect.

Director Neil Blomkamp’s South African background lent the film its soul. Perhaps the setting of Johannesburg could evoke even more associations.

The increasingly chaotic South Africa had its own bizarre history. From a developed country in the last century to its current state, it left many people bewildered.

Chapter 1018: High Returns

To a certain extent, District 9 could be seen as an alternative sci-fi adaptation of Kafka’s Metamorphosis. Only this time, the protagonist doesn’t transform into a lowly beetle but into a rough, alien prawn.

Due to budget constraints, the film’s special effects and visuals were far from polished, with the alien prawns being particularly crude. But the appeal of District 9 never lay in its effects.

The film’s themes—deeply resonant with societal trends, touching on racial segregation and more—earned it widespread acclaim upon release. Media outlets praised it as “a visionary film, a parable about life itself” and “proof that sci-fi doesn’t need A-list stars, massive budgets, or visual spectacle to succeed—it doesn’t even need to be pure entertainment.”

The media and critics raved about it, with Rotten Tomatoes giving it a 95% fresh rating. Even Roger Ebert declared, “This film shames Hollywood as the summer begins.”

Of course, Hollywood wasn’t about to feel ashamed—or proud—over a single movie. Relativity Entertainment, the distributor, only cared about the box office.

Audience reception was generally positive, though not as overwhelming as the media’s praise. On IMDb, over ten thousand users gave it an average score of 7.9—a solid rating for a commercial film, even if not a runaway hit. One fan commented, “It hooks you from the start and doesn’t let go until the very end.”

But in reality, for every fan who loved it, there was another who didn’t. Many walked out mid-screening. The mockumentary style and rough production meant that while marketing lured audiences in, not everyone appreciated what they saw.

CinemaScore’s real-time audience surveys gave it a “B+,” while Metacritic’s media average stood at an impressive 89. From the start, critics adored it, but audiences were sharply divided. Fortunately, most of those drawn in by Embassy Pictures’ marketing were already interested in aliens or Area 51 conspiracy theories.

The crude yet fresh alien prawns, along with the grim portrayal of their lives in District 9, easily evoked thoughts of the mysteries and tragedies rumored to unfold in Area 51.

Supporters of District 9 loudly condemned humanity’s moral decay. Even director Neil Blomkamp hadn’t expected his commercial film to become a commentary on global ethics. But it wasn’t all bad—some fans hyped it up so much that Embassy Pictures could push it as a must-see masterpiece, making those who skipped it feel like they’d missed out.

Studios care about money, not morals. Hollywood has plenty of films that weren’t exceptional but became hits through sheer hype. Take those franchise movies that claim to be the “best in the series” with every release.

As a director and producer, you can make a film with integrity, but you can’t market it that way. During a major film’s promotional campaign, the number of exaggerated or outright false claims is staggering. Phrases like “twenty years in the making, thirty years in planning” are just the basics.

Thanks to brilliant marketing, District 9 pulled in a strong $14.16 million on its first day in 3,456 North American theaters. Not a blockbuster number, but impressive compared to its $30 million production budget. It was the highest-grossing film of the day.

New Line Cinema’s Fracture, released the same day with a $40 million budget, only managed $3.67 million. The gap was so wide that Fracture posed no threat to District 9.

But District 9’s box office performance wasn’t exactly stable. Many viewers had been drawn in by marketing, not genuine interest in the rough mockumentary style. On Saturday, when ticket sales usually rise, its negative word-of-mouth took a toll—earnings dropped over 10% from Friday to $12.61 million.

Still, after two days, District 9 was already a success. With a total investment of just $45 million (including marketing), CinemaScore predicted it would easily cross $100 million in North America.

The North American box office alone would cover Relativity’s entire investment. Any other reactions the film sparked were irrelevant.

Starting Saturday, some UFO and alien conspiracy groups began gathering in Washington, D.C., planning protests against government cover-ups. But that had nothing to do with Relativity.

After all, in America, is there a better scapegoat than the Washington establishment? Every global crisis seems to trace back to them. The world loves to blame Washington, and even American corporations enjoy watching their political representatives take the heat.

A Washington that doesn’t take the blame isn’t a good government. Historically, presidents who dodge responsibility rarely end well.

Over its opening weekend, District 9 saw declining attendance and box office numbers, underperforming compared to its stellar media reception. This proved Relativity’s decision to avoid the fiercely competitive summer season was wise.

After the weekend, District 9 predictably took the box office crown with $37.35 million, more than triple Fracture’s $11.01 million in second place.

Two Relativity films made the top five—Hostel 2 came in fourth with $4.24 million. Horror films like these are typically quick cash grabs, rarely lasting long in theaters. Embassy Pictures estimated it would be pulled by the sixth week due to dwindling audiences.

In many ways, such films are designed to make a quick profit and disappear.

In third place was Paramount’s Rear Window Horror, in its second weekend, with earnings just slightly below Fracture’s opening.

With its North American opening weekend surpassing its production budget, District 9 was undeniably a success.

Among Hollywood’s many sci-fi films, District 9 was an outlier. Director Neil Blomkamp chose a documentary-style approach to tell the story of aliens seeking refuge on Earth, exploring humanity’s fear of a superior civilization and the conflicts that arise after their arrival.

In a landscape where alien invasion stories had been done to death, District 9 stood out by flipping the script—having a superior civilization take shelter under an inferior one, boldly transplanting class struggles onto the relationship between humans and aliens.

This was Blomkamp’s brilliance.

As a saying from the other side of the Pacific goes: Even aliens need a temporary residence permit!

Of course, the film’s success owed more to its marketing and fresh approach than its “bootleg sci-fi” aesthetic.

So when the opening weekend numbers came in, and Neil Blomkamp approached Ronan to pitch a sequel, he was confident. “A sequel has always been on my mind,” he said. “The second film would follow the same style, continuing the story…”

Ronan asked only one question: “Have you considered the budget?”

Blomkamp replied, “The world will be bigger, more open, and the budget will reflect that. I’ve calculated it—around $70 million or more.”

Ronan paused. “Let me think about it. I’ll need to consult with Shai Entertainment and get back to you.”

Blomkamp left without the answer he wanted. Ronan had already dismissed the idea—District 9’s success was a Hollywood anomaly. Once the novelty wore off, a sequel would struggle to deliver the same impact.

Before the next weekend, Shai Entertainment officially rejected Blomkamp’s sequel proposal. If he wanted to make it, he’d have to find another studio—provided Shai granted the rights.

In its second weekend, District 9 lost the box office crown to Walt Disney’s Journey of Wonder, which debuted with $33.97 million. District 9’s earnings dropped 55% to $16.81 million, slipping to second place.

Including the previous five weekdays, its North American total reached $72.8 million. Breaking $100 million was inevitable.

Before the summer season began, District 9 crossed the $100 million mark in North America, hitting $101.035 million—a high return for this unconventional sci-fi film.

Chapter 1019: A Visit

Before the summer season arrived, Ronan made a trip to San Francisco to convene Netflix Streaming Media’s board of directors. They finalized new investors for Netflix, including the Pacific Investment Foundation and several other companies and institutions. Over the next few months, these entities would become new shareholders of Netflix Streaming Media.

Beyond its five core businesses—online DVD rental and sales, internet video, social sharing, Android development, and streaming media—Netflix was also preparing to expand into new ventures.

The new business would be online live streaming, requiring about a year of planning, with an expected launch by mid-next year.

Currently, Netflix was growing rapidly through aggressive investment. Its five core businesses all held leading positions in their respective industries. The traditional four major internet businesses were not only industry leaders but were also pulling further ahead of their competitors.

Android had captured over half of the smartphone market, with Apple holding the other half. Nokia’s independently developed Symbian system had few users due to the overwhelming presence of the Android alliance.

In the smartphone market, multiple brands had already released over twenty Android-powered smartphones.

Thanks to the surge in smartphone sales and the global spread of the internet, combined with Netflix’s persistent promotion, by the end of April, Netflix had amassed one hundred sixty-two million registered users worldwide, with nearly one hundred million paying users.

Netflix’s market value was soaring toward the one hundred billion dollar mark.

Although cross-shareholding with Comcast and AT&T, along with this round of financing and equity expansion, would reduce Relativity Entertainment’s direct stake in Netflix to sixty-five percent, the continuously rising stock price further increased the value of Relativity’s assets.

However, Netflix also faced challenges. Since last year, the growth of its core DVD rental and sales business had significantly slowed. The expected growth rate for 2007 would struggle to exceed five percent, indicating that the DVD industry had reached its peak.

Unless something unexpected happened, the DVD industry would gradually decline. The era where a good movie was less important than selling DVDs would soon change.

In contrast, Netflix’s streaming media business was developing at an increasingly rapid pace.

With the spread of the internet, continuous hardware upgrades, and technological advancements, online video-on-demand was becoming a crucial channel for entertainment programming.

Netflix Streaming Media continued to release at least one new season of a series each month. In comparison, House of Cards was progressing at a steady pace. David Finch maintained his meticulous approach, ensuring that the series would not be completed until next year.

Stranger Things had also begun official preparations. In the cast list, Ronan noticed a familiar name—Saoirse Ronan.

This actress, who had been a sweet-looking child star, would play the most important little girl role in the series.

Ronan vaguely remembered that last year, Peter Jackson had recommended The Lovely Bones, whose female lead was Saoirse Ronan.

Unfortunately, Peter Jackson was destined to be devoted to Tolkien’s works.

Apart from these, Shai Entertainment was also preparing new series for Netflix Streaming Media.

The drama production department, in collaboration with the scriptwriting department, planned to create a series based on the increasingly rampant drug trade in the United States over the past two years. The series would span from U.S. official agencies to Mexico and Colombian drug cartels. They were currently gathering various materials and had established contact with the U.S. Drug Enforcement Administration and the FBI.

Due to Netflix Streaming Media’s massive traffic and user base, these two official agencies were very interested in Shai Entertainment’s series plan and were willing to cooperate.

As everyone knew, U.S. official agencies had always been eager to collaborate with Hollywood.

After securing support from the DEA and the FBI and obtaining a lot of firsthand information, Ronan approved the project. Shai Entertainment’s drama production department officially named it Narcos.

The border between the United States and Mexico had seen too many stories—countless suitable for adaptation into film and television.

For both sides, mutual disdain was inevitable.

Mexico was too far from heaven and too close to the United States.

The day after returning from San Francisco, Ronan received a data report. Hostel 2 had concluded its North American theatrical run with a total North American box office of forty-seven million three hundred fifty thousand dollars.

Additionally, The Queen, which won the Oscar for Best Actress and was distributed overseas by Embassy Pictures, had accumulated nearly forty-five million dollars at the box office, thanks to the Oscar effect.

Queen Elizabeth II was a highly marketable figure in the Western world, undoubtedly one of the most suitable historical figures for film and television adaptations.

This queen had redefined the meaning of queens and heirs with her life.

Every queen had a legendary life.

However, Ronan still considered his long-standing good relationship with William. Even if he wanted to adapt her story, he would need the support of the royal family.

The difficulty of adaptation was enormous, requiring long-term planning and communication with Buckingham Palace in London.

If it were a series centered on a historical figure, the creative freedom would be much greater.

After all, most historical figures depicted in film and television were long deceased. Their deeds, controversies, and anecdotes had been recorded in history books and tabloids, making disputes relatively fewer.

But adapting a living person into a film or television series was far from easy.

That historical figure still standing in Buckingham Palace, a figure who had witnessed history from the 1920s to the present, turning her life into a series, starting from a moment in her life and continuing onward, required thorough preparation.

Ronan was not suitable to handle this personally. Leaving it to Shai Entertainment to communicate was the best approach. Even if negotiations with the royal family fell through, he could resolve the aftermath with a single word.

In fact, all high-level executives shared a common talent, honed to perfection—letting subordinates take the fall for them.

If they couldn’t even use this tactic, they lacked the most basic management skills.

Apart from the live-action television drama projects, Shai Entertainment was also collaborating with Marvel Entertainment to develop animated series. George Clint, together with Kevin Feige, had held several creative meetings with Netflix Streaming Media, deciding to produce an Iron Man animated series as a supplement to the films, to be broadcast on the Netflix platform.

Later, The Hulk, Thor, Black Widow, and Captain America would also have their own animated series.

These comic book superheroes had been featured in animations before, but under Kevin Feige’s leadership, they now had a clear and unified universe. Although the animated series would not affect the movie plots, they could serve as supplements to the content outside the films.

For example, the first season of the Iron Man animated series would depict how Tony Stark dealt with the aftermath of his battle with Obadiah.

The Black Widow animated series could also test the market’s reaction to a female superhero as the absolute lead before the standalone film.

The summer season was approaching, and comic book adaptation superhero films were gradually becoming mainstream. This summer season had three major superhero films: Spider-Man 3, The Hulk, and The Dark Knight.

Two from Marvel, one from DC.

The Hulk had the most uncertain prospects.

Spider-Man 3, being a sequel, had predictable market reception. The Dark Knight, with the Joker and Heath Ledger’s path to deification, was poised for a massive explosion upon release.

The second installment of the new Batman trilogy had not yet been released, but it was almost certain that the series would be a huge success. After the deification plan achieved tremendous success, Warner Bros and DC Comics naturally put the third installment, The Dark Knight Rises, on the agenda.

Even Warner Bros was considering continuing with sequels and linking them to the Justice League movie plan in development.

But to achieve this, there was a prerequisite that Warner Bros could not bypass.

Shai Entertainment, under Relativity Entertainment, held the investment rights to the series. As long as the series continued, Shai Entertainment could maintain over forty percent of the investment share and continue to receive profit shares.

The conditions Ronan had personally negotiated put Warner Bros in a dilemma. No one had expected that the Batman films, nearly killed off by Batman & Robin in the 1990s, could be revived so brilliantly under Christopher Nolan’s direction.

Especially with Heath Ledger’s passing, following Hollywood’s typical promotional style, Warner Bros had essentially received a super gift package.

When Warner Bros first sent Charles Roven to negotiate with Ronan, Ronan, who was then fully engaged in dealing with Disney, had adopted an attitude that everything was negotiable.

Unexpectedly, Warner Bros suddenly went silent until Heath Ledger’s unfortunate incident…

But Ronan could not give up his investment rights under the same conditions now that The Dark Knight was about to be a super hit. Subsequently, Shai Entertainment repeatedly found excuses to reject Warner Bros’ negotiation proposals.

Charles Roven, representing Warner Bros, was completely blocked by George Clint and couldn’t even get an audience with Ronan.

As the release of The Dark Knight drew nearer, all feedback indicated that it would be a massive success. Warner Bros grew increasingly anxious. Kevin Tsujihara, the Chief Executive Officer, came to Relativity Tower to pay Ronan a visit.

Chapter 1020: The Dragon Pearl Emerges

“Before Relativity Entertainment was even established, there was only Shai Entertainment.”

In the reception room, Kevin Tsujihara reminisced about the collaboration between the two companies: “Back then, we were already working together. Many of your films were shot and post-produced at Warner Bros. Studios.”

Ronan smiled and said, “Yes, Shai Entertainment paid Warner Bros. a hefty sum in facility and equipment rental fees every year.”

Indeed, Shai Entertainment had been collaborating with Warner Bros. early on, but their use of Warner Bros.’ facilities was not free—it was a straightforward business transaction.

Kevin Tsujihara caught the implication in Ronan’s words and said, “Regardless, Warner Bros. and Relativity Entertainment have maintained a good working relationship.”

“Absolutely,” Ronan never denied this. “That’s why we’ve continued to work together up to now. I hope we can keep collaborating.”

These words made Kevin Tsujihara subtly furrow his brow. Continue collaborating? On what? The Batman film series?

Seeing that probing and building rapport was getting him nowhere, Kevin Tsujihara gave up and directly said, “Ronan, the Batman series is a key project for Warner Bros. and DC Comics. There will be further development, and Shai Entertainment cannot maintain long-term investment in this project, so…”

Ronan naturally replied, “From the very beginning, when I first contacted Charles Roven, my stance has been very clear. Kevin, Shai Entertainment values its collaboration with Warner Bros. Considering our years of partnership, we can consider withdrawing from the Batman series. This stance has never changed, whether it was with Charles Roven or with you here today.”

Kevin Tsujihara knew things weren’t that simple.

“Shai Entertainment, and indeed the entire Relativity Media Group, has invested heavily in the Batman film series,” Ronan stated matter-of-factly. “We cannot withdraw unconditionally.”

Hearing this, Kevin Tsujihara bluntly said, “The remake rights to two old films, plus thirty million dollars in compensation.”

Ronan said, “Anyone with eyes can see that The Dark Knight is poised for a commercial explosion. The sequels that follow will remain popular for a long time. Under such conditions, Warner Bros.’ offer lacks sincerity, and I won’t be able to justify this to everyone at Relativity Entertainment.”

Kevin Tsujihara’s expression darkened slightly. You’re the boss of Relativity Entertainment—who do you need to justify this to?

But he also knew that this offer wasn’t much better than what Ronan had proposed to Charles Roven back then. Times had changed, and the same conditions were unlikely to impress the other party now.

“I represent Warner Bros.’ sincerity,” Kevin Tsujihara said. “Ronan, tell me your conditions.”

Ronan slowly said, “Kevin, Relativity Entertainment doesn’t want the thirty million dollars in compensation.”

At these words, Kevin Tsujihara was slightly taken aback but instantly understood—Ronan wasn’t refusing the thirty million; he was likely asking for conditions far exceeding that amount.

Sure enough, Ronan calmly said, “I’m a big fan of DC Comics. There are two superheroes I’m very interested in.”

Kevin Tsujihara had a bad feeling but still asked, “Which two specifically?”

Ronan calmly replied, “In the early nineties, DC Comics enriched the Joker’s character by creating a female companion for him—Harley Quinn. Later, Harley Quinn even joined the Suicide Squad.”

Kevin Tsujihara didn’t respond. Harley Quinn was just a marginal character created by DC Comics, and the entire Suicide Squad, including her, were minor characters in the DC universe.

“And one more,” Ronan probed Warner Bros., especially Kevin Tsujihara’s bottom line. “Wonder Woman, Diana. She’s my favorite comic book superhero.”

Kevin Tsujihara’s expression immediately changed. “That’s impossible!”

Ronan slightly shrugged, emphasizing, “These are just two female superhero characters.”

“Wonder Woman is one of the Justice League’s Big Three. You know how important she is,” Kevin Tsujihara seemed unwilling to negotiate at all. “Warner Bros. will not transfer the rights to Wonder Woman, under any conditions.”

Ronan still tried to push as much as possible: “A successful Batman series versus an uncertain future for Wonder Woman…”

Kevin Tsujihara cut Ronan off: “There’s no need to say more. If these are your conditions, then there’s no point in further discussion.”

“Alright,” Ronan said directly. “Let’s maintain the status quo.”

If they didn’t talk, the one who would be anxious wouldn’t be Relativity Entertainment.

Seeing Ronan’s attitude, Kevin Tsujihara’s expression darkened further.

The meeting ended on a sour note.

Ronan basically saw clearly that using the future investment rights of the Batman series as a condition to secure the rights to Wonder Woman was almost impossible. After all, Wonder Woman was a core character for the entire Justice League.

As for Harley Quinn and the Suicide Squad, there was still some hope.

In reality, Ronan was making an exorbitant demand. Warner Bros. would inevitably counter with a lower offer. Relativity Entertainment could give up the future rights to the Batman series, but Warner Bros. and DC Comics would have to provide sufficient compensation.

Before the first weekend of the summer season arrived, Kevin Tsujihara met with Ronan again. Both sides agreed to begin negotiations.

Warner Bros. formed a small negotiation team led by Diego Harris, the executive president of DC Comics, to negotiate with the Relativity Entertainment representatives led by Robert Lee.

Both sides quickly reached an agreement on one point: Relativity Entertainment would obtain the remake rights to Warner Bros.’ old films Joker’s Revenge and A Star Is Born, which would serve as the foundation of this deal.

The rest would have to be discussed gradually.

It was worth noting that what Relativity Entertainment was giving up was not just the investment rights to The Dark Knight Rises. Warner Bros. also planned to continue filming sequels.

Additionally, once the deal was finalized, it would mean that Relativity Entertainment would also have to give up the long-term revenue rights to this new Batman series.

According to Warner Bros.’ plans, the interests Relativity Entertainment would be giving up could be calculated in the hundreds of millions. Warner Bros. would naturally have to pay a sufficient price.

The possibility of obtaining Wonder Woman was too low. Ronan’s demand was to secure the film and television adaptation rights to the Suicide Squad as much as possible. If that didn’t work, he would demand that Warner Bros. pay a sufficiently high one-time monetary compensation.

The summer season arrived. Despite being a Marvel superhero movie, the film that premiered on the first weekend was Spider-Man 3, produced and distributed by Sony Columbia Pictures.

The first two Spider-Man films were massive hits, and as the concluding chapter of the trilogy, no film dared to compete with it head-on.

Both Relativity Entertainment’s The Hulk and 20th Century Fox’s Pharaoh and the Gods avoided this weekend.

In this version, Peter Parker, burdened with deep-seated grudges and love-hate torment, suffered greatly.

Director Sam Raimi was almost universally criticized by Spider-Man fans for making the entire film’s plot so heavy and oppressive.

Ronan had heard from Chris that during the filming of Spider-Man 3, Sam Raimi and the executives at Sony Columbia Pictures frequently clashed over the script.

Sony Columbia Pictures wanted the film to be lighter, but Sam Raimi insisted on his vision, ultimately making Tobey Maguire’s already troubled face even more anguished.

This led to a falling out between Sony Columbia Pictures and Sam Raimi. Originally, Sony Columbia had planned to continue with a fourth film, but after the conflict with Sam Raimi escalated, Sony Columbia decided to end the trilogy here and restart the superhero series when the time was right.

The disputes between Sony Columbia Pictures and Sam Raimi were almost entirely reflected in this film.

The film was sometimes mindlessly silly, like Harry and his butler, the inexplicable transformation of Sandman, and so on. At other times, it was emotionally heavy, making it feel as though Spider-Man carried a great burden.

This also resulted in the worst reception from both audiences and critics in the series.

Fortunately, this was a Spider-Man movie, and the first two films had already built a strong audience base. The film still had impressive special effects.

Additionally, the conclusion of the trilogy was a major draw for audiences.

Amidst the controversy, Spider-Man 3 kicked off the 2007 summer season with a bang. In its first weekend in North America, it earned one hundred fifty-one million one hundred ten thousand dollars in three days.

Such box office numbers undoubtedly delighted Sony Columbia Pictures.

Regardless of the disputes with Sam Raimi, the film was at least a commercial success. Peter Parker remained one of America’s most beloved superheroes.

Ordinariness was a key factor in the popularity of this version of Spider-Man.

The theme of “with great power comes great responsibility” also resonated deeply with the post-9/11 social environment.

Some have said that after the 9/11 event, American society as a whole gained unprecedented confidence and strength from the Spider-Man films. This was the most positive feedback a superhero character could have on real society.

Although this might be an exaggeration, it reflected a certain truth.

Many people wondered why it had to be Peter Parker. Perhaps it was precisely because of his ordinariness.

Although Spider-Man possessed immense power, his upbringing, education, and even his way of thinking remained the same as an ordinary person.

As the film showed, Spider-Man’s most terrifying enemy wasn’t the Green Goblin or Doctor Octopus—it was the landlord demanding rent.

Later versions of Spider-Man would never again capture Tobey Maguire’s heaviness or his deep-seated grudges.

One could only say that the times had changed, and so had the film’s audience.

The release of Spider-Man 3 marked the successful start of the summer season. Every weekend in May saw the release of a major blockbuster.

In the following weekend, 20th Century Fox’s Pharaoh and the Gods, directed by Ridley Scott, would enter the North American film market.

The Dragon Pearl had emerged!

Chapter 1021: A Brutal Flop

Under the night sky, the neon lights of Century City shone brighter than the stars, making it one of the most bustling commercial districts in Los Angeles—a true city that never sleeps.

At Century City Plaza, Ronan parked the car and led Jessica Felton into the elevator, taking it straight to the top floor of the commercial plaza. After collecting their pre-booked tickets, they entered the theater and took their seats at the very back.

This was the screening hall for Exodus: Gods and Kings.

Thanks to the renowned director Ridley Scott and its one hundred thirty million dollar production budget, coupled with it being a Friday night, the theater wasn’t empty. Ronan glanced around—there were about a dozen people inside.

Ronan placed the paper tub between them and asked, “Want some popcorn?”

Jessica Felton eyed the butter and syrup coating it and shook her head without hesitation. “A woman’s worst enemy.”

Ronan didn’t press her. He handed her a bottle of water instead. “You can indulge once in a while.”

After unscrewing the cap, Jessica took a small sip and asked, “Isn’t this a 20th Century Fox film? I thought our company didn’t have a great relationship with them. Why are you suddenly supporting their box office?”

Ronan tossed a piece of popcorn into his mouth, the sweet syrup coating his throat. He coughed lightly and said, “You might not know this, but this adaptation of The Prince of Egypt—along with 10,000 BC and Robin Hood—were all projects Shai Entertainment had initially considered.”

Since this was highly confidential, known only to a few insiders, Jessica Felton was taken aback. “How did they end up with 20th Century Fox?”

She knew Ronan and the management at Relativity Entertainment well enough—once they had a project in hand, they wouldn’t let anyone else take it.

Ronan shrugged. “The news leaked. 20th Century Fox moved fast.”

Jessica Felton, knowing Ronan’s nature, instinctively sensed something was off. “Someone poached it?”

“What are you thinking?” Ronan draped an arm around Jessica Felton and said, “Don’t mention this to anyone. Keep it confidential.”

“I understand.” Seeing Ronan’s reluctance to elaborate, Jessica didn’t press further. Instead, she turned her attention to the movie about to begin. “The attendance isn’t great.”

Ronan nodded slightly. “It’s Friday night prime time, and there are only a dozen people here. Not a good sign.”

Jessica Felton watched as the classic 20th Century Fox logo appeared on the screen. “Let’s just watch the movie.”

As someone in the industry, she took movie-watching very seriously.

Ronan watched intently as well, though he couldn’t quite understand why Colin Farrell was so favored in Hollywood’s major studios.

Following Alexander, Colin Farrell had once again landed a leading role in a major epic, though this time he wasn’t playing the protagonist Moses but rather his brother, Ramses.

That bald head—it was exactly like the infamous videos circulating online.

The lead actor, however, was unfamiliar to Ronan. He had never seen the man before.

Ronan still couldn’t figure it out. Why were Hollywood directors and producers so fond of Colin Farrell?

Ever since his rise in Hollywood, Colin Farrell had been given top-tier resources, but the box office failures of his films were equally spectacular.

Did these directors and producers have a particular appreciation for Colin Farrell’s looks?

Ronan vaguely recalled that most of the films Colin Farrell had starred in had flopped, yet he still managed to land decent projects and roles afterward.

Seeing Colin Farrell’s bald head and the ancient epic setting, Ronan felt somewhat reassured about Exodus: Gods and Kings.

With these two elements combined, it would be a miracle if the film didn’t flop.

Honestly, as a seasoned and highly capable director, Ridley Scott’s film wasn’t bad.

The special effects and grand scenes were particularly epic.

Ridley Scott’s ability in this regard was undeniable. Through his lens, he presented a magnificent ancient dynasty and retold a well-known biblical story in a fresh way.

The opening and closing sequences were excellent, living up to Ridley Scott’s usual standards.

But the pacing in the middle was sluggish. Ronan could tell that Ridley Scott had tried to downplay the mythological elements, treating it more as a human story. But how could a story like this ignore the existence of God?

Especially Moses’ journey from rejecting religion to devout faith—it wasn’t just confusing for Ronan as an observer; even Moses himself would probably be baffled.

Jessica Felton, ever the professional, had been completely absorbed in the film from the moment it started. She hadn’t exchanged a single word with Ronan throughout.

When the credits rolled, she turned to him, slightly embarrassed. “Sorry…”

Ronan knew Jessica Felton well. He shook his head with a smile. “It’s fine.” Then he asked, “What did you think?”

Jessica Felton, speaking from her area of expertise, said, “The editing is clearly problematic. I’ve heard that 20th Century Fox gave Ridley Scott final cut to avoid repeating the mistakes of Kingdom of Heaven, but it doesn’t seem to have worked.”

Ronan didn’t hold back with her. “Ridley Scott’s director’s cut of Kingdom of Heaven wouldn’t have done much better in theaters either. It’s too long and too slow.”

Watching a movie in a theater was a completely different experience from watching it at home. The latter allowed for much more patience.

Perhaps the media and fans had hyped up Kingdom of Heaven’s director’s cut so much that it influenced Ridley Scott, causing him to pace Exodus: Gods and Kings similarly slowly.

Jessica Felton thought for a moment and added, “Overall, it’s not bad. Better than some of the epic films from the past few years.”

Ronan nodded slightly. “I actually think Ridley Scott did something interesting.”

Downplaying the mythological elements and treating it as a human story—this subversive approach might upset many people.

But for someone like Ronan, who had never read the Bible, it was quite intriguing.

Ridley Scott handled it ambiguously. Was God real, or was He a figment of Moses’ imagination? For example, the “Ten Plagues” were said to be divine punishment, but apart from the final “Death of the Firstborn,” the other nine plagues seemed more like a chain reaction that could be explained by modern science.

Whether those raised on the Bible could accept this was another question.

“Let’s go.” Ronan took Jessica Felton’s hand, and they left the theater together. “Time to head back.”

Jessica Felton followed Ronan into the elevator and asked, “To my place?”

Ronan said, “Mine.”

They took the elevator down, and by the time they reached the ground floor, a bodyguard had already brought the car around.

Jessica Felton was used to the sudden intrusion of bodyguards during their private moments. She understood that Ronan took security very seriously and never complained.

She was a mature adult and knew that Ronan was no ordinary man—he represented far too much.

Once in the car, Jessica Felton lowered her voice and said to Ronan, “I need to go back first to grab some clothes.”

Ronan smiled. “No need. I’ve got plenty prepared for you at my place.”

Jessica Felton asked, “Are you sure they’ll fit me?”

“Of course.” Ronan nodded lightly. “I’ve taken your measurements myself. No mistakes.”

Jessica Felton was speechless. It was true—Ronan had measured her from head to toe more times than she could count.

Ronan leaned in and whispered in her ear, “I’ll measure you again tonight, just to be sure.”

In the early hours of the morning, the first-day box office numbers for Exodus: Gods and Kings in North America were released—only six million eight hundred sixty thousand dollars on Friday.

For a major commercial film with a one hundred thirty million dollar production budget, this was not just disappointing—it was outright terrible.

By Saturday, Exodus: Gods and Kings showed no improvement, grossing only seven million two hundred forty thousand dollars.

By now, it was clear to everyone in the industry—20th Century Fox’s epic had flopped spectacularly.

Indeed, the film’s failure was brutal. Its North American opening weekend totaled only eighteen million one hundred ten thousand dollars.

Even the most conservative estimates suggested that, including production costs and marketing expenses, the total budget for Exodus: Gods and Kings could have reached two hundred million dollars.

This film was doomed to be a financial disaster.

Though Ronan ultimately didn’t help 20th Century Fox gather all seven Dragon Balls, the first one alone was scorching hot. Even a giant like 20th Century Fox would feel the burn.

Moreover, in recent years, aside from the X-Men series, most of 20th Century Fox’s major commercial productions had underperformed in the market.

But most in the industry weren’t surprised. Film production was like that—successes and failures were part of the game.

No one could guarantee a film’s success.

James Murdoch, who had come from London to Los Angeles, didn’t say much upon seeing Exodus: Gods and Kings’ first-week box office numbers.

He glanced at Jim Prather, who stood cautiously before him, and said magnanimously, “It’s just one film’s failure. 20th Century Fox can afford it. Don’t take it to heart. Learn from the experience and try to avoid failures in the upcoming productions.”

Jim Prather quickly replied, “I’m already working on it.”

James Murdoch turned his head, his gaze passing through the large window to the distant Relativity Tower. “I remember there’s a Relativity Entertainment premiere next week. I want an invitation.”

Chapter 1022: You Are Free

Nearly five years had passed since the failure of the last Hulk film. While audiences might still harbor lingering memories of Ang Lee’s failed version, Marvel’s Avengers Initiative had already launched. Relativity Entertainment had no choice but to rise to the challenge, using promotional appearances and Iron Man’s presence to generate immense hype for The Incredible Hulk, making it one of the most anticipated films of the summer season.

In their promotional efforts, Embassy Pictures had played the Iron Man card early, claiming that Tony Stark would appear in The Incredible Hulk and that the film would involve Captain America.

At this point, only Iron Man had been released, and Marvel’s grand vision was far from realized. They had to find ways to boost The Incredible Hulk’s influence.

In the comics, the Hulk’s fame eclipsed Tony Stark’s, but in the film market, the opposite was true.

Embassy Pictures was trying to make the Hulk ride on Iron Man’s coattails.

Overall, Embassy Pictures’ promotional and marketing efforts were effective. After the release of The Incredible Hulk’s trailer, comic fans were overjoyed, and netizens praised the “greener” and “angrier” Hulk. The explosive scenes and thrilling fights also won their favor.

A representative mainstream online comment read: “No one understands Marvel’s superheroes better than Marvel themselves. This time, they’ve brought us a brand-new Hulk, and at least the trailer has given me hope.”

However, one could not ignore the lingering impact of Ang Lee’s failed Hulk.

Media and film critics were generally not optimistic about The Incredible Hulk.

After watching the trailer, Todd McCarthy of The Hollywood Reporter wrote in his column: “This green monster is so ugly it’s nauseating, unbearable to watch. It won’t be a hit this summer.”

Some film market analysts also had a pessimistic outlook on The Incredible Hulk: “I don’t think people will like it that much. The box office is hard to predict.”

The Hulk had once been a source of both love and hate for Ang Lee. After filming, he had even considered retiring from filmmaking due to exhaustion and failure.

This Incredible Hulk was not a continuation of Ang Lee’s version but a fresh start by Marvel Entertainment.

Joss Whedon was not Ang Lee either. He was a very commercial director, filming strictly according to the plan set by Ronan and Kevin Feige. The film completely abandoned Ang Lee’s humanistic style, focusing more resources on action scenes.

This was a pure popcorn movie. What need was there for humanism?

Speaking of which, the vast majority of superhero films that focused on humanism and social philosophy were doomed to fail.

A popcorn movie just needed to do well in entertainment.

As they say on the other side of the Pacific, why complicate things?

Before the third weekend of May arrived, Embassy Pictures held a grand premiere for The Incredible Hulk in New York, with many Marvel actors in attendance.

New York, a city plagued by humans, aliens, and all kinds of demons, would once again become the Hulk’s main battleground.

Ronan had also come from Los Angeles to attend the premiere, standing by Marvel’s Avengers series.

This series was a key core project for Relativity Entertainment’s future. The profits it could bring in both online and offline markets were likely to be counted in billions of dollars.

For this, Ronan had specially accepted an interview with media reporters.

The reporter focused on the media and market prediction agencies’ pessimistic outlook on The Incredible Hulk.

“This is a superhero movie masterpiece,” Ronan boasted about his own film without any hesitation. “The Hulk will regain his glory on the screen.”

Beside him, Joaquin Phoenix was also being interviewed. Compared to the previous Edward Norton, this individualistic actor was more cooperative with the crew’s promotion: “I’ve been a huge fan of The Hulk comics since I was a child. I’ve wanted to play this role on screen for a long time and thought it would be very exciting. Now, playing the Hulk has fulfilled my childhood dream.”

This kind of childhood dream talk was also a necessary promotional line for Hollywood stars.

It might seem fake, but it was actually very effective. The stars’ fans often bought into it.

Ronan was very satisfied with Joaquin Phoenix’s performance both inside and outside the film. When leaving the media zone, he specially chatted with him for a while.

This actor was more suitable for commercial films than the previous Edward Norton.

That Incredible Hulk could be said to be one of the least ideal films in the Marvel series. To get Edward Norton, Universal and Marvel Comics had given him too much power. From the moment Edward Norton joined the crew, he had been making various demands.

Such as revising the script, adjusting his scenes, interfering with set design, and even manipulating the editing.

Edward Norton’s power in The Incredible Hulk completely overshadowed the director. He had several heated arguments with Avi Arad, demanding that Marvel and Universal film according to his opinions.

Unable to bear the interference, the screenwriter angrily quit the crew, and Edward Norton took on the role of screenwriter as well.

At that time, Marvel Comics lacked confidence and placed too many chips on a star actor.

Edward Norton also had considerable editing decision-making power. Due to the final battle scene, he had a huge disagreement with Marvel. He wanted to explore the inner world of the Hulk and Bruce Banner, and the split between the two different personalities in one body, but Marvel wanted a magnificent epic battle…

Bound by the contract, Marvel and Universal had to respect Edward Norton’s opinions in many aspects.

Those who had seen Edward Norton’s representative works knew his style. Such a person having the power to interfere with film production was simply a disaster for a popcorn commercial film.

Marvel and Universal resisted Edward Norton to some extent, otherwise, who knew what The Incredible Hulk would have turned into.

As a result, Edward Norton and Marvel found each other’s presence intolerable.

In the eyes of Edward Norton’s fans, it was Edward Norton who quit, actively dumping Marvel.

In reality, from Marvel Comics to Universal, they had decided to kick Edward Norton out as soon as the film was made.

This was also a timely measure to cut losses for a wrong choice.

After taking photos with the main creators, Ronan walked into the theater with director Joss Whedon.

“Kevin Feige has talked to me,” Joss Whedon said directly. “He said you intend to hire me to direct The Avengers.”

Ronan nodded slightly: “Yes, integrating six characters with different styles into one movie is not easy. Joss, you have experience.”

Joss Whedon knew Ronan was referring to that flop Firefly. He touched his bald head and said, “That was a failed experience.”

Ronan lightly patted his shoulder: “You understand better than other directors how to avoid the pitfalls that could lead to failure, don’t you?”

Joss Whedon smiled bitterly: “Indeed, the failure of Firefly taught me many lessons.”

Ronan instructed: “Get to know these six superhero characters better. Visit their sets often. Kevin Feige and I are entrusting The Avengers to you.”

This was, of course, a nice way of putting it. Joss Whedon would not have too much power.

Joss Whedon, however, felt a sense of being valued and earnestly said, “Starting next month, I will fully transition into preparing for The Avengers.”

He knew the weight of The Avengers and had imagined the success this plan could achieve when it reached The Avengers.

Entering the VIP lounge of the theater, Ronan exchanged a few words with Ang Lee.

The Hulk was absolutely Ang Lee’s nightmare. To completely escape this nightmare, the director from the East had specially come from India to attend the premiere.

Ang Lee said directly: “I made many mistakes back then. Some ideas were good but not suitable for superhero films.”

Ronan agreed: “Li, your ideas and style need to be carried by appropriate subjects.”

It could be said that Ang Lee’s ideas were good at the time, but they did not meet the needs of the Hulk film, nor did they meet the audience’s expectations for this superhero film.

The audience wanted a bucket of popcorn, but what was served was a bitter absinthe that needed to be savored. It would be strange if the result was good.

The two did not dwell on this topic. Ronan turned and asked, “How is your research in India going?”

Ang Lee told the truth: “I’ve read the novel many times. The more I read, the more I feel my accumulation is insufficient, and my understanding of Indian culture is too little. How can I talk about making it Hollywoodized? I am collecting some Indian classics and humanities and social materials. I estimate it may take more than a year, or even longer, to prepare for Life of Pi.”

Ronan said: “No need to rush. You can start preparing for this project whenever you feel ready.”

Ang Lee solemnly said: “I understand. I will make sure Relativity Entertainment’s investment gets the return it deserves.”

Someone approached at this moment. Ang Lee glanced and quietly excused himself.

Scarlett Johansson, wearing a red short dress, came in front of Ronan: “Long time no see.”

Ronan smiled and nodded: “Good evening, Scarlett.”

“You’ve changed so much, I can’t believe it.” Scarlett Johansson looked at Ronan: “I heard you have a girlfriend?”

Ronan saw no need to deny it: “Yes, you know her, Jessica Felton.”

Scarlett Johansson said: “I remember, a very beautiful woman.” She slightly frowned: “Why her? If it were Anne Hathaway, I wouldn’t be surprised.”

Ronan did not answer but instead said: “Don’t worry. Black Widow is the core female role in the Avengers Initiative. My personal affairs won’t affect Relativity Entertainment’s cooperation with you.”

Over the years, Scarlett Johansson had put in a lot of effort. Although Ronan had given corresponding rewards, he finally said: “Scarlett, you are free.”

“Hmm…” Scarlett Johansson pursed her lips and was silent for a long time, then suddenly said: “Thank you.”

This also marked the turning of an old chapter.

Chapter 1023: The Most Destroyed City

At the premiere, Ronan encountered a rather unexpected figure.

“We’ve met before, haven’t we?” James Murdoch shook Ronan’s hand. “I remember our first meeting was in London.”

Ronan smiled and nodded, maintaining his host’s courtesy. “Welcome, James.”

While those below fought tooth and nail, those above could still converse with ease.

James Murdoch said, “In just a few short years, Relativity Entertainment has achieved astonishing success.”

Ronan replied modestly, “It’s nothing compared to 20th Century Fox.”

“20th Century Fox just had a major production fail last week,” James Murdoch said with a smile. “The lesson from that failure was painful.”

Ronan instinctively felt there was a hidden meaning, but upon reflection, he realized there wasn’t. “Success or failure in this industry comes and goes too quickly.”

James Murdoch, however, said, “Relativity Entertainment’s success rate is terrifyingly high.”

Ronan replied earnestly, “Maintaining such a high success rate in the future won’t be easy.”

“That’s true,” James Murdoch agreed. He believed Relativity Entertainment was in the most dynamic and fastest-growing phase of a company, and such growth wouldn’t last forever. “Ronan, in this industry, in this circle, cooperation is crucial. It can effectively reduce risks.”

Ronan looked at James Murdoch, who effortlessly spun his lies. “Relativity Entertainment has always maintained an open attitude and is happy to cooperate with every company in Hollywood.”

James Murdoch, of course, didn’t believe such platitudes. He decided to probe further. “Ronan, since returning to Los Angeles from London, I’ve learned a few things. There are some disputes between 20th Century Fox and Relativity Entertainment, but these are minor issues. We can set them aside and explore cooperation.”

Ronan silently observed and speculated. Based on his past understanding of James Murdoch, he could roughly guess that James Murdoch probably didn’t genuinely want to cooperate with Relativity Entertainment.

James Murdoch was someone who firmly believed in the power of the media and wasn’t afraid to use it to do unscrupulous things. Even if problems arose, his father would always clean up the mess.

The investigation results from Finch’s side pointed to London. Although he hadn’t seen any tails around recently, there was no way Ronan would trust James Murdoch.

Ronan smiled and said, “I think we can set aside our disputes. They don’t benefit either of us.”

James Murdoch also smiled and said, “I’ve always told 20th Century Fox’s management that Ronan Anderson is a visionary and open-minded man. Indeed, I wasn’t wrong.”

Ronan didn’t take the flattery. “James, since we’re setting aside our disputes, I think both sides should sit down and renegotiate the copyright issues for Fantastic Four and X-Men.”

Hearing this, James Murdoch’s expression didn’t change. “We can discuss it in detail later.”

“Good.” Ronan shook hands with James Murdoch. “Then it’s settled.”

The film screening was about to begin. Ronan didn’t say much more to James Murdoch and invited him, “The premiere screening is about to start, James. Let’s go into the theater.”

James Murdoch happily accepted the invitation. “Sure.”

The two entered the theater like old friends, chatting and laughing all the way until they parted to take their prearranged seats.

Sitting in the fourth row, with no one around for the moment, James Murdoch asked his assistant who had followed him, “No progress before?”

“No,” the assistant whispered. “Ronan Anderson takes his personal security very seriously. He has many highly professional bodyguards around him.”

James Murdoch lowered his voice. “Have 20th Century Fox negotiate with Relativity Entertainment about the copyrights for X-Men and Fantastic Four. Showing some goodwill might make them lower their guard. Hmm… Bring in experts from London and New York, find the right opportunity, and continue with the previous plan.”

The assistant whispered, “Understood. I know what to do.”

James Murdoch could vaguely see Ronan sitting in the front row. Relativity Entertainment was growing too fast, and its value was enviable.

But Relativity Entertainment’s shares were all concentrated in one person’s hands, making the usual market tactics ineffective.

In the 1990s, James Murdoch, under the orders of Rupert Murdoch, had gone to a certain place to operate TV stations and other media affairs. Although they later had to retreat from that market due to policy and political reasons, James Murdoch personally gained a lot from the experience.

He had learned an effective method for dealing with problems: if you can’t solve the problem, solve the person causing the problem!

Later, whether in the UK or the United States, this method had proven effective time and time again.

Undoubtedly, the person representing Relativity Entertainment’s problem was Ronan Anderson.

In London and the United States, they had done this too many times, honing their courage and gaining rich experience.

Ronan sat in the first row, chatting briefly with Marvel Entertainment’s Chief Executive Officer, Ike Perlmutter. His thoughts turned to James Murdoch.

This man had come to make peace, but he couldn’t let his guard down. The true purpose hidden behind this wasn’t hard to guess.

20th Century Fox might be eyeing Relativity Entertainment.

Similarly, he had always been eyeing 20th Century Fox.

Ronan was well aware that 20th Century Fox was a behemoth, so he agreed to renegotiate the copyright issues for the two superhero series with them.

This could somewhat conceal his true intentions.

The movie began, and Ronan’s attention shifted to the film.

The most important role of The Hulk was to introduce the character of Hulk and serve as a bridge in the series.

Thus, although Hulk was the absolute protagonist of the film, some characters also made their presence known in various ways.

Especially Iron Man. Tony Stark was incredibly popular, so The Hulk naturally had to ride on that popularity.

The film opened with General Ross and the scientist he supported, Bruce Banner, watching footage of Iron Man battling Iron Monger on TV. It once again led the audience to relive the scene that had driven countless people crazy—the press conference where Tony Stark declared, “I am Iron Man!”

General Ross wanted to create a super soldier, and Bruce Banner was a mad scientist willing to risk his life for scientific research. The two hit it off and launched the super soldier research program.

A key point was mentioned here: the serum used for the research experiments came from Captain America!

It was also the last remaining serum from Captain America’s time.

The serum was diluted into many parts and injected into animals for experimentation, then exposed to special light, but all failed without exception.

This included soldiers under General Ross.

Until the last vial of diluted serum.

Bruce Banner, the super scientific madman, injected himself with the serum and was accidentally exposed to gamma rays, causing a mutation that led to the birth of the Hulk.

The movie then entered the smash-and-grab phase, with various special effects and grand scenes unfolding one after another.

The Hulk was responsible for the smashing, while Ross and his army were responsible for capturing the Hulk’s body.

The two sides were locked in a deadly struggle, truly the world’s most efficient demolition team.

Of course, such a green monster couldn’t help but attract S.H.I.E.L.D.

Marvel’s newbie village chief, Coulson, made another appearance. After a brief cameo, he received a phone call informing him that a golden staff… no, a giant iron hammer, had fallen from the sky in New Mexico.

Unable to subdue the Hulk for the time being, the newbie village chief Coulson couldn’t show favoritism, so he had to rush to New Mexico to serve as the NPC welcoming another new player preparing to create a Marvel account.

A team whose ultimate goal was to defeat the Purple Potato Spirit would definitely need a tank, a ranged attacker, a powerful melee fighter, and preferably a strong DPS with both magical and martial abilities.

Adding a beautiful woman to the team would surely boost morale. To compete for the female teammate, everyone would strive to show off their muscles.

They couldn’t be like the Alashan Heroes’ Assembly. After all, each of these was non-human, and the one who looked most human loved to play with iron toys.

Back to the topic.

Bruce Banner, along with the Hulk, under the pursuit of General Ross’s army, smashed and grabbed their way into New York, a city where monsters were always looking for a bite.

The citizens of New York were unfazed. What monsters hadn’t they seen? What apocalyptic crises hadn’t they experienced? A green-skinned monster was nothing.

Ask Godzilla, hiding in the stadium laying eggs. Ask about earthquakes, fires, floods, meteors, comets, Martians, glaciers, ghosts, atomic bombs, terrorism, foreign invasions, spaceship laser beams, airship torpedoes, battleship missiles, ape-men, wolf packs, dinosaurs, environmental degradation, nuclear dust—had the people of New York ever been afraid?

Wasn’t it just the most destroyed city? What was the big deal?

One Hulk couldn’t alarm the people of New York.

Thus, by a twist of fate, the colonel leading General Ross’s troops turned himself into the red-skinned Abomination.

To live up to the hopes of the New Yorkers and conform to their aesthetics, the green-skinned Hulk and the red-skinned Abomination had to fight it out in New York’s famous scenic spots and streets.

Thus, Times Square became a battlefield, and the boutiques on Fifth Avenue were reduced to ruins.

The people of New York weren’t fighting alone! Besides Godzilla, Spider-Man, nuclear bombs, and various disasters, they now had two new companions—Hulk and Abomination!

To help the people of New York live in new homes and escape the crowded pigeon coops, Hulk and Abomination displayed great fearlessness, each unleashing their ultimate moves.

Here, you smash houses, and there, I demolish buildings.

What? American police want to obstruct our efforts to improve the housing conditions of New Yorkers? No problem, beat them up!

The proletarian Hulk and Abomination took down countless lackeys of the American empire.

But at the critical moment, the wealthy and handsome Hulk, born into the elite class, remembered his origins and betrayed the revolution!

Poor Abomination was beaten black and blue by the traitorous Hulk and the lackeys of the American empire.

Chapter 1024: Pure Popcorn

Strictly speaking, The Hulk owes a debt of gratitude to Ang Lee’s Hulk, as the latter had already stepped on most of the landmines, clearly marking the pitfalls for those who followed and how to avoid them.

Edward Norton’s The Incredible Hulk had nearly been dragged into the gutter by its overly artistic director.

The Hulk, however, would not face such difficulties. From Ronan to Kevin Feige to Joss Whedon, their vision was perfectly aligned.

This unity was evident in the climactic battle in New York City.

The final showdown lasted a full twenty minutes, allowing audiences to fully experience the adrenaline rush and thrill of watching two monsters brawl through the city, leaping from building to building, even swatting a helicopter out of the sky…

The backdrop of this confrontation was masterfully crafted—not some childish street fight, but a superhuman battle that effortlessly demolished entire buildings.

From Times Square to Fifth Avenue, the city became a scene of violent demolition.

The two monsters tore through New York, their green blood splattering across the ruins, thrilling the audience with an epic spectacle of destruction.

What made this film so appealing was its stark contrast to Ang Lee’s version—it focused entirely on entertainment.

The story was simpler, the action more frequent, and the visuals more stunning.

The production team had honed in on key elements that would captivate audiences.

First, the special effects were realistic and intricate, from the Hulk’s design to his acrobatic feats—visually striking without being clichéd. Second, the pacing was tight, with no unnecessary drag.

In the end, the red-skinned Abomination was defeated by the combined forces of the American military and the traitorous Hulk. After finishing his “demolition work,” the Hulk, not one to seek recognition for his good deeds, vanished into the night among Manhattan’s towering skyscrapers.

With New York left in ruins, someone had to take the blame. General Ross, now disgraced and demoted, found himself in a bar, drowning his sorrows—only to encounter an insufferably arrogant man.

“You’re useless on your own. A single man’s capabilities are limited, especially when dealing with a mindless green monster,” said the bald Nick Fury, shaking his head. “Teamwork—that’s where real power lies. I’m putting together a team. Imagine the Hulk’s brute strength paired with Tony Stark’s genius. Interested?”

The film ended there, but no one left their seats—the credits promised a post-credits scene.

In the first post-credits scene, Coulson, the village chief of the newbie village, drove into the wilderness of New Mexico, where a crowd of inexplicably jubilant people surrounded a massive crater. At its center lay a stone, and embedded in it was a short-handled, square-headed hammer.

After another round of credits, the second post-credits scene showed the Hulk fleeing the United States, raging across an icy wasteland. His terrifying strength shattered the ice, and as chunks fell, a red, white, and blue shield—emblazoned with a five-pointed star—could faintly be seen!

Fans of the comics and those familiar with Marvel would easily recognize these teases—Thor and Captain America!

While the former might be unfamiliar to many, the latter had once swept across America, becoming a symbol of the American spirit.

The premiere screening ended with thunderous applause. Director Joss Whedon and the main creative team took the stage for a bow, earning another round of enthusiastic cheers.

This film couldn’t be called a classic, nor was it a good movie in the traditional sense, but it was undeniably a competent summer blockbuster.

After the premiere, employees from Marvel Entertainment and Embassy Pictures conducted targeted market surveys to gather firsthand data for the upcoming Avengers Initiative films.

Given the overwhelmingly negative predictions from media critics and film analysts, both the production and distribution teams felt the pressure.

Unlike pre-screening expectations, however, the premiere audience responded positively.

The first fan surveyed didn’t mince words—something Ang Lee would find deeply painful to hear.

“Explosive, massive in scale, and incredibly satisfying! Way better than Ang Lee’s version!”

Ang Lee’s Hulk seemed to be an inescapable topic for him.

Even without mentioning Ang Lee, fans still enjoyed the film.

“A perfect summer blockbuster—it has everything you’d want, and those post-credits scenes are exciting!”

“The action is thrilling, the pacing is tight—this is how superhero movies should be made!”

“The scale is huge, the fight scenes are fantastic, and the post-credits teases are great.”

Without the burden of philosophical musings or deep character introspection, the film’s pure, popcorn entertainment approach won over audiences.

But the day after the premiere, as media and critic reviews flooded in, The Hulk’s reputation among critics collapsed instantly.

“Too much digital spectacle, too long—from the start, the film plunges the audience into disappointment and boredom.”

The New Yorker’s critic seemed to speak for the masses, as if he alone represented the average moviegoer.

Many such “representative” reviews emerged. Roger Ebert’s column stated: The Hulk made a grave mistake—its goal was the complete opposite of Ang Lee’s film, abandoning what truly draws audiences.

What was Ang Lee’s style? Why did his Hulk fail?

These questions were entirely beyond the critics’ consideration.

If filmmakers followed critics’ advice, they wouldn’t just fail—they might go bankrupt.

Ang Lee’s style was simply too detrimental to Marvel’s superhero films.

In the eyes of many professional critics, The Hulk—even more of a pure popcorn flick than Spider-Man 3—was utterly intolerable.

“This film is pathetically weak.”

“Lacks intelligence and depth.”

“Will face disaster this summer.”

Such reviews poured in, as if pure popcorn films were inherently sinful.

But for Relativity Entertainment, the guiding principle remained unchanged—and had nothing to do with critics. From test screenings to the premiere to the wide release, Embassy Pictures didn’t even offer critics any special treatment or free tickets.

Relativity’s directive was clear and no different from any other studio—everything for commercial profit!

The film wasn’t without its positive reviews.

The Los Angeles Times praised: The Hulk is far better than its predecessor, with some truly brilliant moments. It’s a film of immense scale, and the post-credits scenes set up future installments beautifully.

Entertainment Weekly dragged Ang Lee back into the conversation—compared to his first film, The Hulk has improved in nearly every aspect.

Poor Ang Lee—after The Hulk’s release, he became like Tom Cruise to Nicole Kidman, constantly dragged out for public flogging.

Then again, without comparison, there would be no harm—and no winners.

In the eyes of most audiences, The Hulk was far more exciting than its predecessor.

On opening day, as various review scores were unlocked, IMDb—where ordinary audiences’ ratings were more accurately reflected—gave The Hulk an average of 8.1.

As for Rotten Tomatoes, the score was already rotten by the first day of release.

CinemaScore, which better reflected real audience sentiment, gave it an A.

Often, pure popcorn entertainment was more popular than films burdened with unnecessary pretensions.

The summer movie market ultimately relied on the general audience.

The strong word-of-mouth directly translated into The Hulk’s box office performance.

On its North American opening day, the film played in 4,125 theaters, grossing $25.12 million, surpassing the previously released Spider-Man 3 and Pharaoh and the Gods, debuting at the top of the Friday box office chart.

Since Pharaoh and the Gods had flopped spectacularly, Spider-Man 3 had not only secured two consecutive weekends at the top of the North American box office but had also held the daily box office crown since its release.

The Hulk’s arrival ended Spider-Man 3’s dominance in the North American market.

As Friday’s box office numbers came in, those who had predicted The Hulk would flop fell silent, as if they had never spoken.

The Hulk couldn’t compare to Iron Man, nor to Spider-Man 3 as a sequel, but as pure popcorn entertainment, it delivered simple, brainless fun.

It had to be admitted that in North America—and the world—most audiences entered theaters seeking exactly this kind of film.

The popularity of Marvel superhero films, even their rise to global cultural phenomena, stemmed from understanding and catering to the psychology and demands of ordinary moviegoers.

Correspondingly, Marvel’s continued success was due to an environment that allowed it to thrive.

By Saturday, The Hulk’s box office didn’t see a massive weekend surge, but it maintained steady momentum. Bolstered by strong word-of-mouth, it earned $25.45 million.

Such box office results were encouraging for the continuation of the Avengers Initiative—and for Marvel Entertainment as a whole.

Marvel Comics, which had been struggling since the nineties, even after being restructured by Ronan and Relativity into Marvel Entertainment, needed success—massive success like Iron Man, and continuous victories like The Hulk.

Marvel’s confidence was built on one blockbuster after another.

The Hulk quickly passed its opening weekend in North America. Over three days, the film grossed $70.25 million across 4,125 theaters.

This firmly established The Hulk as the weekend’s North American box office champion.

Spider-Man 3, now in its third weekend, couldn’t pressure the newly released The Hulk, settling for second place with $29.02 million.

The floundering Pharaoh and the Gods only managed $7.21 million that weekend.

Chapter 1025: S.H.I.E.L.D.

Movies like The Hulk lose half their appeal if not watched in theaters. The massive screen and earth-shaking sound effects are experiences home entertainment systems can’t yet replicate.

During the summer season, audiences crave sensory stimulation, not intellectual challenges.

Directors vary greatly in style—Joss Whedon and Ang Lee are worlds apart.

The saying “each to their own” isn’t just a phrase; Hollywood embodies it clearly.

Art-house directors live for thought, while special effects directors live for spectacle. Their different “specialties” yield vastly different results.

The Hulk’s success has undoubtedly accelerated Marvel Entertainment’s Avengers Initiative.

Marvel Entertainment held a press conference on Monday, officially announcing the greenlighting of The Avengers and revealing Joss Whedon as director.

With a production budget of two hundred million dollars, this is a top-tier commercial project.

After Iron Man’s release, many in Hollywood still doubted the Avengers Initiative’s success. But after The Hulk’s North American opening weekend box office, people began to realize that comic book superhero films—and even mainstream Hollywood commercial films—might be entering a new era.

After over two years of operation, Netflix Streaming Media has developed a keen sense of the entertainment market. Marc Randolph called Ronan, hoping that future Marvel Avengers Initiative works could be released directly on Netflix.

Ronan convened Kevin Feige and George Clint for a discussion. With the Avengers Initiative’s success increasingly certain, they decided to prioritize developing a TV series first.

Since personnel allocation was involved, Robert Iger, responsible for the company’s daily operations, also attended the small meeting.

“Marvel Entertainment doesn’t have a dedicated TV series production department,” Robert Iger began. “Marvel’s TV development will require collaboration between Marvel and Shai Entertainment.”

George Clint said, “Collaboration isn’t an issue, but Shai Entertainment has its own challenges.” He glanced at Ronan and continued, “Currently, Shai Entertainment is handling multiple Netflix custom projects, and our TV production team is stretched thin.”

Kevin Feige knew Marvel Entertainment lacked independent TV production capabilities and said, “This is a long-term plan. I’ll temporarily assemble a small team to prepare the scriptwork.”

Robert Iger added, “Both companies should allocate personnel to collaborate. The TV series is a long-term project, and according to Ronan’s plan, it won’t launch until after The Avengers is released.”

Ronan chimed in, “The movies will generate enough buzz to drive related works, including TV series and animations.”

His meaning was clear: the Marvel superhero film series still lacked sufficient momentum.

The earliest they could expect Marvel’s full formation and comprehensive pull of related works would be after The Avengers.

George Clint nodded. “No objections. I’ll immediately allocate suitable personnel.”

Kevin Feige said, “I’ll stay in touch with George.”

Robert Iger concluded, “Contact me or Ronan if any issues arise.”

Connie then distributed a brief document to everyone—a simplified plan from Ronan.

Ronan quickly explained, “Many well-known characters in the comics may not appear in the films, such as key figures from S.H.I.E.L.D. and Hydra. Here are my thoughts on the first Marvel TV series, focusing on S.H.I.E.L.D.—from its early days with Peggy Carter and Howard Stark to its evolution into an international security organization. There’s a lot of material to work with.”

Kevin Feige agreed, “S.H.I.E.L.D. is a crucial organization in the Avengers universe, making it an excellent backdrop for adaptation.”

George Clint, less familiar with Marvel Comics, remained silent.

Ronan added, “I’m only providing suggestions. Kevin, Marvel itself knows its comics best. You’ll be fully responsible for the detailed planning and scriptwork.”

Kevin Feige replied, “No problem.”

Ronan nodded at Robert Iger, who then adjourned the meeting.

George Clint and Kevin Feige left the conference room one after another, clearly intending to discuss further.

Robert Iger and Ronan chatted briefly, mainly about 20th Century Fox.

The related plans were still confined to Ronan and Robert Iger’s core team. To implement them, they needed the right opportunity.

This opportunity wasn’t just about waiting—it required active creation.

Back in his office, Ronan called Finch, instructing him and his security team to heighten vigilance. He wanted any personnel outside to gather relevant information discreetly.

At noon, Ronan planned to have lunch with Jessica Felton, but she wasn’t in her office—she had gone out to meet a director.

While overseeing Fast & Furious 4’s post-production, she was also advancing pre-production for Miss Congeniality, such as finding a suitable director and cast.

Ronan had heard from Jessica Felton that the two female leads, due to their professions, couldn’t be too young. They would likely be chosen from actresses born between 1970 and 1980.

This timeframe offered many talented and attractive actresses in Hollywood with reasonable salary demands.

In the afternoon, Ronan met with Robert Lee. Negotiations with Warner Bros. hadn’t progressed much.

Since their side wasn’t in a hurry, the conditions they proposed were exorbitant. Ronan still wanted to secure the film adaptation rights for Wonder Woman if possible.

This was the biggest point of contention—Warner Bros. and DC Comics didn’t want another Batman film series to emerge.

“Time is not on our side,” Diego Harris, DC Comics’ CEO, said gravely in a Warner Bros. Building conference room in Burbank. “The success of The Dark Knight is predictable. If we wait until after its success, we might pay an even higher price.”

Charles Roven complained, “Over a year ago, I already reported Ronan Anderson’s conditions. Back then, we weren’t so passive…”

Kevin Tsujihara’s gaze swept over, silencing Charles Roven.

Another Warner Bros. executive asked, “Can we do something about Christopher Nolan?”

Charles Roven reminded them, “Christopher Nolan has already signed with Shai Entertainment and is preparing to direct a major sci-fi film. Whatever Warner Bros. can offer, Relativity can too. Given his relationship with Ronan Anderson, he’s more likely to sell us out.”

Kevin Tsujihara spoke slowly, “The rights to Wonder Woman are absolutely non-negotiable. That’s our bottom line.”

Diego Harris and Charles Roven both nodded. This was their consensus. Warner Bros. and DC Comics were advancing the Justice League movie universe plan. As one of the Justice League’s “Big Three,” how could Wonder Woman be absent?

Marvel’s Avengers universe had Black Widow; the Justice League universe needed a corresponding female character.

In terms of fame and influence, Wonder Woman outshone Black Widow in every way.

Kevin Tsujihara asked, “Besides The Dark Knight Rises, can the Batman series have more sequels?”

Charles Roven replied, “Christopher Nolan only signed for a trilogy. From what I know of him, after the trilogy ends, he won’t continue directing the series.”

Diego Harris said, “We can just change directors. Once the trilogy sells big, the sequels can still maintain significant influence. We’re not tied to any one director. There are plenty of directors in Hollywood who can handle the dark tone, like Zack Snyder.”

Kevin Tsujihara asked, “Charles, can this series be directly connected to our Justice League universe?”

Charles Roven pondered briefly before answering, “I’ve discussed this with Zack Snyder. He believes that with appropriate adjustments, it’s feasible.”

“Let Christopher Nolan finish his trilogy,” Kevin Tsujihara said. “We’ll find another director for the sequels and fully utilize the established advantages.”

He looked at everyone in the conference room. “In that case, reclaiming the investment rights is imperative.”

Diego Harris added, “There’s no room for negotiation on Wonder Woman, but characters like Harley Quinn and the Suicide Squad are more peripheral. We could consider…”

Charles Roven interjected, “I suggest that, apart from the remake rights for those two old films, we avoid including other rights in the deal. Instead, we could offer Relativity a monetary compensation.”

“They want one hundred million dollars!” Diego Harris exclaimed. “No room for negotiation.”

Charles Roven said, “Don’t forget, this includes the offline revenue rights for Batman Begins and The Dark Knight.”

The room split into two factions, supporting either Charles Roven or Diego Harris, leading to a heated argument.

“Quiet!” Kevin Tsujihara waited for the room to settle before speaking. “Either of these two conditions is acceptable. I only require one thing: the issue must be resolved before The Dark Knight is released.”

No one spoke further, but everyone knew this negotiation wouldn’t be easy.

Kevin Tsujihara continued, “Now, another issue: The Hulk’s success means Marvel Entertainment’s Avengers movie universe already has two major hits, far ahead of the Justice League movie universe! What about us? We haven’t even released one film!”

“Diego, Charles! You need to push Zack Snyder and Martin Campbell to finish Watchmen and Green Lantern as soon as possible.”

Chapter 1026: Aggressive

The success of Marvel Entertainment’s two films deeply stimulated Warner Bros and DC Comics. These two companies also accelerated the development of their respective DC comic book adaptation superhero movie projects. Zack Snyder’s side was doing well, with Watchmen progressing rapidly and set for release next year.

Martin Campbell’s Green Lantern, originally still in preparation, was now under pressure from Warner Bros to speed up. Filming had to begin by July at the latest, with a release scheduled for next year.

Whether in the past or present, when Marvel’s superhero movies began to gain popularity in North America and worldwide, Warner Bros chose a more aggressive response.

To increase their influence, Warner Bros and DC Comics announced their first two plans: starting the series with Green Lantern, followed by a rebooted Superman to establish the broader universe! As for what came after, the two companies were too busy catching up with Marvel to plan further.

In any case, Warner Bros was in a hurry to catch up. Without a long-term plan, they launched Green Lantern and decided to take things one step at a time.

After completing Watchmen, Zack Snyder would fully engage in the Justice League movie universe plan, serving as a key figure alongside Charles Roven and Diego Harris.

Since Christopher Nolan had no intention of continuing to direct the new Batman trilogy or collaborate further with Warner Bros, the likelihood of Warner Bros heavily relying on Zack Snyder in the future was undoubtedly higher.

In fact, they might even give Zack Snyder more full support.

Frankly, Zack Snyder was not a bad director; on the contrary, his personal style was exceptionally distinct.

But Ronan had worked with him before and discussed some views on superhero movies. Just like with 300, Zack Snyder preferred to adhere to the comic’s settings and plots.

This was not necessarily a good thing for films.

Ronan maintained a moderate level of attention toward Warner Bros and DC Comics. After all, he had done what needed to be done, dug the pit, and both companies had fallen into it. Whether they could climb out now depended on themselves.

This week, Ronan specifically took time to visit Christopher Nolan’s set. Inception had already begun filming, with the crew currently shooting on the streets of Los Angeles. Later, they would travel to the UK, France, Japan, Canada, and other countries and regions—it was no exaggeration to call it a global filming journey.

On the streets of Los Angeles, the crew occupied half the street, and a specially made prop train was towed onto the scene.

“Cough… cough…”

Behind him came Connie’s coughing. Ronan turned and asked, “Are you alright? You’ve been coughing since you got out of the car.”

Connie covered her mouth and said, “I don’t know why, but I feel a bit choked.”

The two had just entered Christopher Nolan’s director’s command area. He was free at the moment and, hearing Ronan and Connie’s conversation, reminded them, “The wildfires have arrived as expected.”

Hearing this, Ronan remembered. Every summer, the wildfires that burned through Los Angeles had flared up again.

This year, Los Angeles was exceptionally hot. The scorching sun seemed to sear every inch of land. Due to the heatwave, the San Gabriel Mountains behind Los Angeles had erupted in massive forest fires. Rolling thick smoke surged into the sky, making the surrounding dozens of miles even hotter, as if trapped in a vast oven.

The worsening weather and raging wildfires brought considerable trouble to work and life in the Los Angeles area. Some companies near the San Gabriel Mountains had even closed for the day.

Ronan asked with concern, “Will this affect the crew?”

Christopher Nolan said, “It shouldn’t. The crew will be filming here for a few more days before heading to France.”

Tom Cruise, who had just finished his makeup, walked over, fanning himself with a hand fan as he approached. “It’s only mid-May, and it’s already this hot. The weather is unusual this year.”

Ronan said, “The wildfires might have added to the heat.”

The high temperatures and distant wildfires did not affect the crew’s filming. After the first three installments of funding from the Pacific Investment Foundation, totaling sixty million dollars, arrived successively, the preparation and filming of Inception entered the fast lane.

After chatting with Tom Cruise and Christopher Nolan and understanding the crew’s general progress, Ronan tactfully stepped aside to avoid interfering with the crew’s normal work.

This film could be completed as early as May next year and released during the summer season. Embassy Pictures would then decide whether to schedule it for the summer season or the holiday movie season based on the specific release schedule.

The most eye-catching thing on set was not Tom Cruise but the massive IMAX camera.

When filming The Dark Knight, Christopher Nolan had used an IMAX camera. Currently, there were only three IMAX cameras in existence, one of which was destroyed on the set of The Dark Knight.

The Avatar crew also partially used IMAX technology. The difference between The Dark Knight and Inception was that Christopher Nolan would not use any 3D technology.

Ronan had never commented on this. Any technology that could create significant commercial profits was good technology, whether 2D or 3D, film or digital.

Moreover, he had long known that Christopher Nolan was a staunch advocate for 2D film, even becoming a leading figure in this regard.

This was an original film, even the first original film Christopher Nolan had made since his debut Following.

Memento and The Prestige were novel adaptations, Insomnia was a remake of an old film, and the two Batman films were typical comic book adaptation superhero movies.

In fact, it was not difficult to see from this that Christopher Nolan was a very clever and commercially minded director.

This director insisted on originality but was not confined by it. He was well aware that original works by ordinary directors, screenwriters, and producers were not popular in Hollywood. His entry into mainstream cinema first targeted adaptation films. Relying on the tremendous success of adaptation films, he won opportunities for large investments and productions for his original works.

Even with Inception, the script seemed convoluted, but Christopher Nolan’s scene design was simple and clear. In his planning, this was a commercial film that most audiences could understand without much effort.

The success of this film lay in balancing story pacing, audience comprehension, and film narrative structure. In other words, playing with reverse chronology and layered storytelling was not difficult; the challenge was not turning these elements into a niche experimental film. After the film was completed, it had to leave audiences somewhat puzzled yet not completely lose interest in solving the mystery. Overall, it had to be a rewatchable commercial film, which was the precious aspect of Inception.

Christopher Nolan’s entire concept was very clear: this was a large investment, large production commercial film. The true core of the film was mainstream commercial elements like sci-fi action, with everything else derived from this foundation.

Additionally, Industrial Light & Magic’s special effects team continued to provide various technical support for the crew.

Although he was a live-action fanatic, many of the special effects in this film had to be resolved using computer CGI.

In today’s Hollywood, almost all major commercial productions were completed using a combination of computer special effects and live-action filming. There were no hundred-million-dollar special effects blockbusters without CGI effects.

The Dark Knight also used them; it was just a matter of how much Christopher Nolan used.

Many people once thought of Nolan as a complete film fanatic who was extremely resistant and even disdainful of digital technology. To some extent, this was correct, but it did not capture the full picture.

In reality, CGI effects were widely and crucially used in the production of Inception.

The upside-down Paris was one of the iconic shots of Inception, and it was clear without further explanation that this was a CGI-generated scene.

The train scene filmed on the streets of Los Angeles also required CGI processing in post-production.

The weather in May was getting hotter, and the wildfires continued to rage in Southern California. Like the rampant drug problem, this had become an unsolvable issue for the California government.

But the scorching weather and raging wildfires could not dampen the enthusiasm of the summer movie market audience.

A new weekend arrived, and the star-studded film Thirteen Warriors, distributed by Warner Bros, entered theaters.

This was also the final installment of the Warriors series.

The film brought together stars like George Clooney, Brad Pitt, Matt Damon, Don Cheadle, and Casey Affleck.

With the audience base from the first Eleven Warriors and the second Twelve Warriors, it was one of the most anticipated commercial tentpoles of the summer season.

However, one point could not be ignored: in this era, especially during the summer season, special effects blockbusters were more popular. The golden age of the Warriors series had passed.

Moreover, although these stars were famous, the only one with true first-line appeal was Matt Damon.

Thirteen Warriors earned only thirteen million and seventeen thousand dollars on its opening day. This result was not particularly good compared to the film’s cast and investment.

Over the North American opening weekend, Thirteen Warriors grossed thirty-four million and twenty-five thousand dollars. The expected total North American box office was just over one hundred million dollars.

This film also missed the North American box office chart crown and had to settle for second place.

Entering its second weekend, The Hulk had a relatively stable box office performance, earning thirty-five million and seventy-one thousand dollars, retaining the North American box office chart crown.

After ten days of release, this superhero film had accumulated one hundred and twenty-three million and fifty-six thousand dollars at the North American box office.

According to various predictions, The Hulk’s North American box office would undoubtedly exceed two hundred million dollars.

This weekend, the film also opened in several major overseas markets in Hollywood. The response was not as strong as the initial Iron Man and could not compare to Spider-Man 3, but in theaters across more than thirty countries and regions, it still earned nearly fifty million dollars.

Chapter 1027: The Ultimate Crossover

With the successive box office successes of Iron Man and The Hulk, Marvel Entertainment truly rose from the ashes, creating a legendary comeback story of a bankrupt underdog.

An entertainment empire centered around superheroes began to rise, leading the trend of pop culture and transforming superheroes from niche subculture for geeks into mainstream phenomena—no longer the box office poison that studios once avoided.

After being acquired by Relativity Entertainment, Marvel Entertainment, which had been on the brink of collapse, had completed its turnaround.

Marvel’s next move would be a groundbreaking cinematic legend—assembling the Avengers to shake the very foundations of the film industry.

Superheroes had transitioned from obscurity to mainstream, and Marvel’s themes had shifted from untouchable liabilities to box office gold.

But the “prodigal sons” Marvel had sold off years ago still languished under the control of their adoptive studios, with no clear path home.

Ronan and James Murdoch had superficially agreed on a mutual understanding, presenting an amiable front where everything seemed negotiable.

In reality, when the negotiation teams from Relativity Entertainment and 20th Century Fox sat down again, everything became excruciatingly difficult.

The X-Men and Fantastic Four remained out of Marvel’s grasp.

Additionally, Fox still held the rights to street-level superheroes like Daredevil and Elektra.

Despite the box office flops of Daredevil and Elektra, Fox would rather produce more bad films within the contract period than return these superheroes to Marvel.

This meant that bringing the characters home would require nothing short of a corporate takeover.

In comparison, the situation with Spider-Man was slightly better.

Sony Columbia Pictures had reached an agreement with Relativity Entertainment, granting Marvel a larger share of Spider-Man’s profits.

To date, excluding the still-screening Spider-Man 3, Marvel had already earned sixty-five million dollars in profit shares from the first two Spider-Man films.

This alone proved the terrifying profitability of the Spider-Man franchise.

However, the Spider-Man rights issue had to be put on hold—Relativity Entertainment couldn’t afford to wage war against two of the Big Six studios simultaneously.

Ronan wasn’t that reckless.

The Hulk’s global box office quickly surpassed two hundred million dollars. After completing the final promotional push, Joss Whedon didn’t rest. With immense enthusiasm, he dove into the pre-production of The Avengers.

First came the script—the foundation of the film. What troubled Joss Whedon most was how to integrate Thor, a mythological superhero, into a modern superhero team.

At one point, Joss Whedon considered removing Thor from the Avengers entirely, but Ronan and Kevin Feige firmly rejected the idea.

The Thor film had already wrapped, with post-production nearly complete, and was set for a holiday release. How could Thor not be part of the Avengers?

Bringing these characters together was no easy feat—fundamentally, they didn’t belong in the same movie.

But Ronan had provided a script outline, allowing Joss Whedon and Shai Entertainment’s writing team to craft the screenplay based on it.

The film would center on Iron Man, with Captain America and Black Widow as secondary leads, followed by Thor, Hulk, and Hawkeye in descending order of screen time.

With so many characters, each a star in their own right, equal screen time was impossible.

Film was the art of compromise. No matter the aspect or timing, regrets were inevitable. Equal screen time was an unrealistic expectation.

Moreover, the popularity of each superhero would vary greatly.

Why had Iron Man become the absolute core? Why did he end up snapping his fingers in the end? Because he was the most beloved character in the entire Avengers saga.

Well, Iron Man had to snap his fingers because extremes lead to reversals—on set, you had the highest salary, so who else was going to do it? Who else was going to die?

Thus, some superheroes had to take supporting roles in The Avengers.

This wouldn’t be disappointing, though, because the film would feature plenty of action. Despite the ensemble cast, it remained an action movie at heart.

The grand action sequences were the lifeblood of this film.

Even with Ronan’s script outline, Joss Whedon’s preliminary work remained arduous.

Films like this—ultimate crossovers—were never easy to make.

Joss Whedon had experience in this area, having learned from the mistakes of Firefly. It kept his mind sharp.

Frankly, in the hearts of filmmakers, this project wasn’t exactly a hot commodity. The reason was simple—too many heroes, too many different superpowers, too difficult to blend together.

Originally, Kevin Feige had discussed the director’s position with Jon Favreau, but Favreau felt his abilities were insufficient and chose to decline.

Later, Favreau had even explained to Ronan: “I can’t direct this film because it’s too difficult. I created a high-tech Iron Man in the movies, but now he has to fight alongside the Avengers, which includes mythological figures like Thor and supernatural abilities that don’t mesh well with high-tech. Merging these elements is incredibly difficult. It might work in comics, but in film, I just can’t do it.”

The first batch of project funding—thirty million dollars—from the Pacific Investment Foundation had arrived. Joss Whedon’s goal was to complete and finalize the script within six months.

Additionally, after discussions with Kevin Feige, Ronan decided that The Avengers would be Marvel’s first 3D film in the Avengers universe.

This wasn’t for any other reason—it was purely to boost commercial revenue.

Ronan also took Kevin Feige and Joss Whedon to see Transformers, set to release during the Independence Day weekend, hoping that The Avengers’ effects would completely overshadow Transformers.

Special effects were equally crucial to this tentpole production.

May arrived at its final weekend. Before the traditional Memorial Day holiday in North America, two major releases hit theaters: Tom Cruise’s Mission: Impossible 3 and Universal’s Bruce Almighty 2.

Ronan accepted Tom Cruise’s invitation and attended the premiere of Mission: Impossible 3 at the Hollywood Eastern Grand Theater.

“Welcome, Ronan.”

In the VIP lounge, Tom Cruise, the host, embraced Ronan and asked, “Where’s Jesse? I invited both of you.”

Ronan explained simply, “She’s preparing a new project, scouting locations in Boston with the director.”

Tom Cruise nodded slightly and asked, “I’ve heard many people say Jesse is a workaholic?”

Ronan saw no need to deny it: “Jesse is very dedicated to her work.”

Will Smith then approached, giving Ronan a look of disapproval: “Ronan, you’ve gone down the wrong path!”

Ronan shrugged and said directly, “Will, aren’t you married?”

Hearing this, Will Smith was left speechless, shaking his head repeatedly.

Tom Cruise added, “Oh, I forgot to mention something last time. Brad Bird and I have talked several times, and we think he’d be perfect for the Mission: Impossible series. We’re planning to invite him to star in the next installment.”

Brad Bird was one of Pixar’s “Five Tigers,” and he had a contract with Pixar.

Ronan thought for a moment and said, “As long as you can work it out with Brad Bird and Pixar, I have no objections.”

Tom Cruise replied, “I’ll have someone formally reach out to them.”

With other guests to attend to, Tom Cruise soon moved on.

Will Smith stayed behind and said to Ronan, “Tom and Paramount have been having some issues lately.”

“I’ve heard,” Ronan said calmly. “The dispute over the Mission: Impossible series’ profits is inevitable, but I believe Tom can resolve it.”

The rights to the series were split between Tom Cruise and Paramount. As long as new sequels were made, neither could escape the other.

The long gap between Mission: Impossible 2 and the third film was partly due to unresolved profit-sharing disputes.

Entering the screening room, Ronan’s seat was right next to Sherry Lansing, Paramount’s Chief Executive Officer.

This was clearly a deliberate arrangement.

“The superhero films from Marvel’s main branch have been a string of successes—congratulations,” Sherry Lansing said, though her mind was calculating. “Such major productions come with massive investment costs, tying up significant cash flow. Ronan, have you considered accepting outside investment? Paramount would be willing to share the risks and pressures with Relativity Entertainment.”

Her words were polished, but Ronan responded with a smile, “Thank you for Paramount’s kindness, but Relativity Entertainment can handle the pressure. We won’t trouble Paramount.”

Sherry Lansing suddenly said, “What if Paramount returned all the Mission: Impossible rights to Tom Cruise?”

Ronan couldn’t help but glance at Sherry Lansing, replying in a calm yet firm tone, “That’s a matter between Paramount and Tom. It has nothing to do with Relativity Entertainment.”

Sherry Lansing could sense Ronan’s unwavering stance and ultimately said no more.

Even if Sherry Lansing had made such an offer, Ronan hadn’t the slightest intention of letting Paramount “help” Relativity Entertainment share the burden.

In matters of such magnitude, he drew a clear line—friendship was friendship, business was business.

Ronan wouldn’t let personal relationships drag the entire group’s most critical projects—even future core operations—into a quagmire.

Chapter 1028: The Day He Comes Home

Although Tom Cruise had never starred in a film that achieved a North American opening box office of over one hundred million dollars, his market appeal was undeniable.

In his later years, Tom Cruise had even relied solely on the Mission: Impossible series to maintain his star status.

Thanks to Ronan and Relativity Entertainment, especially after last year’s The Departed and his recent Best Actor Oscar win, Tom Cruise’s influence had grown far beyond what it once was, making him one of Hollywood’s top superstars.

Universal’s Bruce Almighty 2 was no match for Mission: Impossible 3.

Mission: Impossible 3 topped the North American box office chart for the Memorial Day weekend with nearly sixty million dollars, while Bruce Almighty 2 came in second with thirty-one million. The Hulk, in its third weekend, took third place with seventeen million.

The Hulk’s North American box office had also surpassed one hundred and fifty million dollars. Given its current trajectory, breaking two hundred million was well within reach.

Overseas, as the film expanded into more markets, The Hulk’s international box office had also exceeded one hundred million dollars.

Though global box office was expected to reach around four hundred million, The Hulk was unlikely to recoup its entire investment through box office alone and would still rely on the offline market.

With Mission: Impossible 3’s successful first week, both Tom Cruise and Paramount were eager to produce a sequel.

Despite his flaws, Tom Cruise’s professionalism and dedication were beyond question.

He quickly reached out to Brad Bird and Pixar, intending to invite Brad Bird to direct Mission: Impossible 4.

After The Incredibles, Brad Bird had not started any new animated features and was interested in directing a live-action film.

Ronan and Pixar would not stand in the way of their director.

Previously, Ronan and Tom Cruise had considered fully reclaiming the Mission: Impossible franchise’s copyright from Paramount.

But Paramount refused to let go, making any other efforts futile.

In recent years, Paramount had suffered setbacks against Relativity Entertainment, failed to acquire DreamWorks, and seen its performance plummet. It now ranked last among Hollywood’s Big Six, with its performance surpassed by Relativity and even DreamWorks.

Only its vast film library and well-established distribution channels kept Paramount from facing an even more dire situation.

The Mission: Impossible series was one of the few remaining franchises that kept Paramount afloat.

In Burbank, at the Hughes Aircraft Factory’s soundstage, Ronan emerged from the Iron Man 2 set and said to Jon Favreau, who had come to see him off, “My suggestion is to increase Iron Man’s interaction with potential future superheroes. No need to explicitly state who they are, but a few ambiguous shots would work.”

Jon Favreau asked, “I’ve considered someone like Doctor Strange…”

Ronan replied, “I’ve discussed it with Joss Whedon. Doctor Strange and the New York Sanctum can be introduced in The Avengers’ final battle in New York. Jon, I recall that in some Spider-Man and Iron Man comics, these two superheroes have a close relationship. Iron Man, in a way, is Spider-Man’s mentor.”

Jon Favreau nodded slightly. “That was part of the original comic setup.”

Ronan continued, “Find a young boy and have him interact directly with Tony Stark. No need to reveal he’s Peter Parker, but if Spider-Man appears in the series later, it can serve as a promotional hook.”

“No problem,” Jon Favreau agreed. His greatest strength was his strong execution. After agreeing, he asked, “What about Spider-Man’s rights in the future…”

Ronan sighed. “We’ll wait for the right opportunity. Peter Parker will come home one day.”

Jon Favreau knew this wasn’t something a director could resolve. After Ronan left, he returned to the set to continue work on Iron Man 2.

The sequel’s production costs had risen to one hundred and seventy million dollars, mostly due to increased salaries.

Robert Downey Jr. was a prime example—his salary for the second film had skyrocketed to six million dollars.

Marvel Entertainment’s long-term contract with him effectively curbed excessive salary inflation.

At one point, Robert Downey Jr. had nearly overwhelmed both Marvel and Disney with his demands.

Ronan then visited another soundstage nearby, converted from an old hangar, where Lindsey Bill’s The Hunger Games crew was stationed.

They had arranged to meet before Ronan arrived at the Hughes Aircraft Factory.

Inside the soundstage, in the producer’s office, Lindsey Bill introduced two women to Ronan.

First, the middle-aged woman: “This is director Patty Jenkins.”

Then, the woman with dark brown hair: “This is Israeli actress Gal Gadot.”

Ronan shook Patty Jenkins’ hand first. “Director Jenkins, we’ve met before. Your films are masterpieces.”

Patty Jenkins smiled. “It’s an honor to work with Relativity Entertainment.”

Then, Ronan shook Gal Gadot’s hand. The Israeli actress, dressed in skinny jeans and high heels, had strikingly long legs.

“Hello, Miss Gadot,” Ronan said, recalling his strong impression of her. “I hope you can bring us an unforgettable Katniss.”

Gal Gadot, who had competed in the Miss Universe pageant, was no stranger to the spotlight. Without any hesitation, she smiled and said, “I will give my all for this role.”

Ronan glanced at her unusually tall and slender figure, a result of her severe thinness, and spoke bluntly, “You need to train more. Katniss is a very strong girl.”

Gal Gadot looked at Lindsey Bill and said, “The crew has already set up a fitness plan for me. I plan to gain ten pounds of muscle.”

Lindsey Bill added, “I’ve hired professional trainers and nutritionists.”

Ronan nodded and asked, “Director Jenkins, I’ve read your production plan. It’s excellent.”

Patty Jenkins quickly replied, “After reading the original novel, my biggest takeaway was finding a balance with Lindsey. We want to place Katniss in a perilous environment.”

She thought for a moment and continued, “We all agree that Katniss should be the absolute core of the film. The male characters with significant roles in the novel will become her supporting cast. This Hunger Games will delve into the chaotic and unsettling themes of modern warfare, including those caught in the conflict and how they weave their lives, ultimately escaping the smoke of battle.”

Lindsey Bill added, “Ronan, The Hunger Games’ concept and setting come from you. I’m the writer, and Patty shares our vision. The film will have a female lead, with a cruel and dark theme.”

Gal Gadot, a young actress with little experience, could only listen as the producer and director spoke.

The Hunger Games series held immense value, and even though Ronan trusted Lindsey Bill, he had to meet the director, Patty Jenkins.

Patty Jenkins’ vision for the film was reassuring: “So, the film will shape Katniss through her growth and transformation, balancing the dark and cruel elements. This stubborn, obstinate girl will eventually become a brave and principled hero. Though she starts her adventure with doubt, she gains immense power from love and sacrifice—not just for her family, but for strangers she once barely cared about.”

Ronan didn’t stay long. He soon prepared to leave, with Lindsey Bill accompanying him out of the soundstage.

“How is Twilight coming along?” Ronan asked, looking at the set under construction.

Lindsey Bill replied concisely, “New Moon has finished filming and is in post-production. I’ve coordinated with Embassy Pictures, and it will be released on schedule next year.”

She paused briefly before adding, “If all goes well, The Hunger Games will be released during next year’s holiday season or early 2009.”

Ronan nodded slightly. “Make sure to leverage the original novel.”

Thanks to the promotion by Relativity Entertainment and Random House, The Hunger Games novel series had seen astonishing sales in recent months. Especially after the film was greenlit, its popularity had soared. In North America alone, sales had surged from sixteen million copies to thirty-five million.

The first novel had even spent over one hundred and eighty weeks on The New York Times bestseller list over three consecutive years.

In April, the Los Angeles Times named “Panem,” Katniss’ world, one of the top thirty pop culture terms in North America.

The novel had laid a solid foundation for the film adaptation.

Returning to Relativity Tower in Century City, Ronan had just entered his office when Connie came over and said, “Miss Felton is back. She called your office just now.”

Ronan nodded slightly. “I see.”

He returned to his office and called Jessica Felton back. She seemed busy with post-production for Fast & Furious 4, so they only exchanged a few words before agreeing to go home together after work and hanging up.

As soon as he put the phone down, Connie informed Ronan that Uwe Boll had arrived and brought a script.

Uwe Boll seemed to be in a hurry. He quickly handed the script to Ronan and left.

The script was the initial draft of the magical Washington idea that Brother Bao had mentioned earlier. He had worked quickly and already completed the first draft.

Chapter 1029: Each Gets What They Want

On the way back, Ronan flipped through Uwe Boll’s script, piquing Jessica Felton’s curiosity.

Jessica asked, “Can I take a look?”

Ronan handed it to her, saying, “Uwe Boll just wrote this story. It hasn’t been polished by a screenwriter yet.”

“That German director?” Jessica grew even more curious. “Hollywood… well, directors like him are rare anywhere in the world.”

Ronan smiled. “Indeed, such directors are few and far between.”

Jessica read the script with interest, finding it more and more intriguing. She asked, “I remember Shai Entertainment greenlit a project called Abraham Lincoln: Vampire Hunter last year. The director was Uwe Boll, right? Is this the same type of story?”

“More or less,” Ronan said simply. “For example, Washington’s axe in the script ends up in Lincoln’s hands later. Uwe Boll plans to create a fantasy version of the American presidents and historical figures cinematic universe.”

Jessica asked, “Like the Marvel Cinematic Universe?”

Ronan nodded slightly. “Something like that.” He briefly explained, “Abraham Lincoln: Vampire Hunter is the beginning, followed by this one about Washington. The rest will depend on Uwe Boll’s plans, but they’ll generally focus on America’s founding fathers or other prominent figures from its early history.”

“A low-budget B-movie?” Jessica asked again.

Ronan told her the truth. “Within a ten million dollar budget, Uwe Boll can shoot freely. With his current influence, turning a profit isn’t difficult, but investing more would be risky—more likely to result in losses.”

Jessica nodded slowly and read the script carefully. After a while, she said, “This incorporates the worldview and settings of the Cthulhu Mythos, doesn’t it?”

Ronan said, “Uwe Boll plans to set the entire series in the Cthulhu universe, telling the story of America’s founding fathers building this nation from a world of primal terror.”

However, Uwe Boll’s story was quite different from what Ronan had initially envisioned when he mentioned “Cherry Blossom Axe Washington.”

Influenced by the internet, Ronan had initially considered a mind-blowing version as a backup plan in case Uwe Boll hit a creative wall.

The rough idea was that Virginia was a wilderness where humans who crossed the ocean to colonize could only survive in the cracks between various terrifying entities. Virginia was ruled by a terrifying overlord—a mutated ancient cherry tree, the most fearsome monster in Virginia.

Young Washington, the son of an ordinary human settlement planter, was exceptional from a young age, determined to change the world. At twelve, he forged a super battle axe and grew up under the expectations of many, slaying the terrifying cherry tree and bringing hope to Virginia. From then on, he earned the nickname “Cherry Blossom Axe Washington” and embarked on the path to conquering the world.

“Cherry Blossom Axe Washington” was also a popular internet meme abroad.

There were many similar memes.

For example, many people were always dissatisfied with their current lives, thinking that life elsewhere was particularly good.

In the eyes of these people, it could be summarized roughly as follows:

The United States has a powerful little passport, Germany has conscientious sewers; Somalia has universal healthcare, Russia gives away free houses; India’s Ganges has healing properties, Japan’s summer camps are excellent; getting coffee spilled on you by Thatcher, Korean cuisine is delightful, British gentlemen have good manners; welcoming democracy in Iraq, Afghanistan has fewer war fires; Ukraine has votes for everyone, Bhutan has a high quality of life…

Of course, foreign monks can chant scriptures, and overseas moons are especially round—this is a common situation worldwide.

Uwe Boll completed the script independently. Although it needed other screenwriters to supplement and polish it, Ronan considered letting the director use his own story first.

In Hollywood, Cthulhu-themed films were extremely rare, belonging to an absolute niche genre.

But a story combining Cthulhu with America’s founding fathers should attract some interest and attention.

After reading the script, Jessica returned it to Ronan and asked, “Did you visit Lindsey’s set today? How’s it going over there?”

“Smoothly,” Ronan said, putting away the script. “The director and the female lead have been finalized.”

Jessica said, “Gal Gadot? It’s her, isn’t it? She’s a good choice for the female lead. With her military background, it’s hard to find such actors in Hollywood. She’s perfect for Katniss.”

Ronan casually mentioned, “You know, Jesse, when I saw her today, I suddenly thought of Wonder Woman. If we could get the film rights to Wonder Woman from Warner Bros and DC Comics, maybe she could play Wonder Woman.”

“Isn’t that unsuitable?” Jessica’s first reaction was, “Wonder Woman is…”

She glanced at her own chest and said, “You can get the film rights to Wonder Woman?”

Ronan directly replied, “No, Warner Bros and DC Comics won’t budge an inch on Wonder Woman.”

The negotiations between the two sides were still ongoing. The remake rights for It and A Star Is Born had already been agreed upon, and the rights to Suicide Squad, including Harley Quinn, were not an issue.

Relativity Entertainment had given up on the film and television adaptation rights to Wonder Woman and instead discussed compensation with Warner Bros for other rights.

After all, Ronan was the producer of the new Batman series, so many things couldn’t be hidden from him. Warner Bros planned to continue filming sequels after The Dark Knight Rises, seamlessly connecting with the Justice League series.

The bigger Warner Bros and DC Comics’ future plans became, the stronger Relativity Entertainment’s negotiating power grew.

Back at the estate, after dinner, Ronan and Jessica Felton tacitly returned to the master bedroom on the third floor. All thoughts of Cherry Blossom Axe Washington, Wonder Woman, and Harley Quinn’s rights faded away.

The next morning, Ronan went for an early run. When he returned, he saw Jessica Felton sitting in front of the vanity, lost in thought.

Ronan approached and placed his hands on her shoulders from behind. “What’s wrong?”

Jessica Felton had been staring at herself in the mirror for a long time before saying, “Ronan, do you think I’ve changed?”

Ronan took a small step back and carefully examined her reflection. “Your chest seems a bit smaller than before. Is that my imagination?”

Jessica Felton felt an urge to roll her eyes and pointed to the corners of her eyes. “Can’t you see? I have crow’s feet.”

Ronan leaned in again, looking carefully for a long time before saying, “Where? I can’t see them.”

These barely noticeable crow’s feet were a natural part of human aging.

Jessica Felton sighed softly. “This means I’m starting to get old.”

Even a career-driven woman like Jessica Felton still cared about her appearance.

Ronan remembered clearly that when he first met Jessica Felton, no matter where she lived, she always appeared glamorous in public.

Perhaps only women themselves could notice these wrinkles that Ronan considered almost non-existent.

Jessica Felton spoke with a rare heaviness in her voice. “Have we been indulging too much lately?”

“No, you’re overthinking it,” Ronan said, hugging her from behind. “This is a normal change for people. We’ve been in Hollywood for so many years—don’t we know that the goddess of eternal youth doesn’t exist? What people call eternal youth is just the result of makeup and surgery.”

Jessica Felton thought of those zombie-like faces and said, “Getting surgery on your face is too scary.”

Ronan smiled and comforted her. “Aren’t wrinkles a gift from time? With your natural beauty, you can withstand any wrinkles. I think the slight sense of vicissitude that comes with age makes you even more beautiful. This is the mature charm refined by time.”

Jessica Felton turned around and leaned against Ronan. “You’re so good with words.”

Ronan said seriously, “Jesse, do you know what the most romantic thing in my heart is?”

Jessica Felton played along and asked, “What?”

Ronan said deeply, “Us growing old together.”

Hearing this, Jessica Felton tightly hugged Ronan, clearly moved by the atmosphere. “I… Ronan, I’m touched. It’s okay if we’re late, right?”

Ronan directly picked her up. “Dear, let’s skip work today.”

In the first week of June, after more than a month of intense negotiations, under the pressure of the approaching release date of The Dark Knight and the continuously rising hype, Warner Bros finally reached an agreement with Relativity Entertainment regarding the investment and revenue of the new Batman series.

According to the agreement, Relativity Entertainment automatically waived all investment and revenue-sharing rights for the sequels of the new Batman series, including The Dark Knight Rises.

For the two Batman films they invested in, the box office and all merchandise revenue sharing for Batman Begins would end by the end of this year.

The box office and all merchandise sharing for The Dark Knight would end by the end of 2008.

Of course, the latter was premised on Warner Bros adhering to the already established distribution strategy and releasing The Dark Knight into the global film market on schedule.

Subsequent Batman sequels would have nothing to do with Relativity Entertainment.

To reach this agreement and reclaim all rights to the Batman films, Warner Bros paid a hefty price to Relativity Entertainment.

First, they obtained the remake rights to It and A Star Is Born. Then, they secured the film and television adaptation rights to DC Comics’ Suicide Squad, including Harley Quinn and other peripheral characters.

This, of course, did not involve famous characters like Batman and the Joker.

As one of the “Trinity” of justice, Wonder Woman’s rights were non-negotiable.

Finally, Relativity Entertainment secured an additional twenty million dollars in cash compensation from Warner Bros and DC Comics.

Given the massive influence and expected revenue of the new Batman series, it was impossible to say who gained more in the deal between Relativity Entertainment and Warner Bros. It was simply a case of each getting what they wanted.

Starting from the first weekend of June, Embassy Pictures would push for the release of two films this month: Cars and The Teddy Bear.

Chapter 1030: Lightning McQueen

In the past, Ronan had observed that animated films in North America tended to cluster around International Children’s Day on June 1st. However, most Americans had little concept of this holiday, so there was no such thing as a June 1st animated film release window.

This was an eccentric country. Many international holidays originated in the United States, but most Americans paid little attention to them—some had never even heard of them.

In 2001, the man in the White House, whom some called “Pighead,” joined forces with the church to declare June 3rd as National Children’s Day. However, the holiday failed to gain widespread acceptance in the United States despite the efforts of the church and government.

The North American release date for Cars was set for the first weekend in June.

Following Ronan’s suggestion, Relativity Entertainment conducted extensive market research and placed high hopes on this animated feature from Pixar. Since the Oscars, they had been relentlessly promoting the film through various marketing campaigns and partnerships.

After releasing character posters and several trailers, Embassy Pictures collaborated with McDonald’s to launch the Lightning McQueen meal set and a Cars-themed trading card promotion.

Simultaneously, Hasbro released various car models, including Lightning McQueen, which quickly became a hit among young boys.

Once the film had gained sufficient momentum, Relativity Entertainment organized media and car enthusiast groups to hold a series of events on the famous Route 66, including but not limited to racing.

This was a nation that lived and breathed cars, where car culture was far more popular than one could imagine.

The events on Route 66 attracted widespread attention.

This was one of the most historically significant highways in the United States.

For Americans, Route 66 was like a mirror, reflecting the many historical changes that had taken place in the country.

During World War II, Route 66 served as a vital military transport route. It was also the “Mother Road” sung about by country musicians, passed down from generation to generation.

Whether one was American or had lived in the United States, whether they knew much about it or not, they had all, in one way or another, benefited from Route 66. It held a sacred, almost totemic significance.

Undeniably, as times changed, Route 66 began to decline, and the small towns along it gradually fell into desolation.

To create a super animated series, Relativity Entertainment invested far more resources into Cars than they had in last year’s The Incredibles or this year’s upcoming holiday release, Ratatouille.

Embassy Pictures alone allocated a global marketing budget of one hundred thirty million dollars for Cars, which already exceeded the film’s production costs.

Driven by Relativity Entertainment’s massive platform and Embassy Pictures’ comprehensive distribution channels, Cars generated tremendous market buzz even before its release. The various offline merchandise, including Lightning McQueen, sold over fifteen million dollars in North America alone through Relativity’s sales channels.

Just before the first weekend in June, Embassy Pictures held the premiere for Cars.

To match the film’s plot and atmosphere, the premiere was held at the Santa Monica Pier, the endpoint of Route 66, in an open-air screening format.

Though Ronan did not attend, all five of Pixar’s key figures were present.

Under Relativity Entertainment’s promotion, this animated feature, produced and directed by John Lasseter, generated an astonishing amount of hype.

John Lasseter positioned Cars as the most human-centered film in Pixar’s history, with a story that reflected the real experiences of many Americans.

Which boy hadn’t been fascinated by machines, especially cars?

John Lasseter’s connection to cars ran even deeper. As the son of a Chevrolet dealer, he had spent much of his childhood in his father’s office, surrounded by car models.

His first official job at sixteen was a part-time position at his father’s car dealership…

As John Lasseter once exaggerated in an interview: “The blood in my veins belongs to my animation career, while the blood in my arteries is gasoline. When they meet in my heart, the passion they create represents the limit of my life.”

As always, this was not a film meant to merely entertain children. Though it was a CG-animated feature, it upheld Pixar’s tradition of creating films for all ages.

Similarly, like past protagonists such as Woody, Buzz Lightyear, and Nemo, the characters in Cars each had distinct flaws.

No one is perfect, but imperfections don’t make someone unlovable.

Pride, confusion, mutual aid, humanity, emotion, return, love, and a flawed yet fulfilling ending—these were all classic elements of a Pixar film.

To some extent, Cars was a motivational road movie with a touch of nostalgia. The protagonist, Lightning McQueen, gains the love of a group of car friends and realizes his self-worth as he travels across Route 66.

While inspiring, the film also celebrated the spirit of American road movies—freedom of choice and the boundless expanse of the inner self. Built in 1926, Route 66 stretched from Chicago to Southern California, crossing the heartland of the American Midwest, serving as a material symbol of the American pioneering spirit.

The anthropomorphized cars were given body language and personalities. The most classic designs included “Bucktooth” the tow truck, the “Beetle” version of Little Fly, and the guest appearances of “Dumb” the tractor and “Monster” the combine harvester. Many viewers’ long-lost innocence might be quietly awakened, immersing them in the joys and sorrows of the story.

Especially for Lightning McQueen, trapped in an isolated small town, he experiences the warmth and coldness of human relationships, the kindness that can color selfishness, the humility that makes discrimination against the elderly and infirm seem petty, and the love that makes a utilitarian mind realize that life can be more beautiful.

When he is finally pulled back into the real world, he may truly understand the happiness of letting go.

Though Pixar used several new technologies in this film, such as ray tracing, and the story was well-told, Cars was, by Pixar’s standards, only of average quality.

After its release, the film’s reception among audiences was not particularly strong. Cinemascore’s in-theater audience rating was only an “A-,” which, compared to Pixar’s previous animated features, could be described as a box office flop in terms of reputation.

In the past, every Pixar animated feature had been universally praised by media, critics, and audiences alike.

As Cars’ reputation declined, a new narrative began to emerge.

Many critics started promoting the idea in their columns that after being acquired by Relativity Entertainment, Pixar, which had once been dedicated to artistic creation, had been tainted by Relativity’s commercialism and greed—it was no longer the Pixar of old.

This argument ignored the fact that Pixar’s former boss and dictator-like leader was a businessman named Steve Jobs.

That said, Cars was indeed somewhat rougher. For example, the environmental rendering during production was completed four times faster than it had been for The Incredibles.

Even so, each frame of this film took an average of over seventeen hours to render!

The thought of completing a ninety-minute animated feature with such a complex process was terrifying.

Though its reputation slipped after release, under the management of Relativity Entertainment and Embassy Pictures, Cars still dominated the box office.

In its North American opening weekend, Cars played in 4,285 theaters and grossed sixty-eight million eight hundred seventy thousand dollars, surpassing all other films in North American theaters and debuting at the top of the box office chart!

Animated films typically had a longer lifespan in theaters than live-action films. Both Embassy Pictures and Cinemascore projected Cars’ final North American box office to be around two hundred sixty million dollars.

Of course, compared to the film’s one hundred twenty million dollar production cost and one hundred thirty million dollar global marketing budget, the North American box office alone could not recoup the investment.

Even if the projected global box office reached five hundred fifty million dollars, it still wouldn’t cover Cars’ expenses.

However, neither Relativity Entertainment nor Embassy Pictures were particularly concerned about the film’s profitability.

Because, compared to the box office, the sales of merchandise were nothing short of explosive.

Even before the film’s release, under Relativity’s strong promotion, Cars merchandise had already been distributed worldwide. Corresponding to the film’s strong box office performance, the merchandise, especially the car models and toys featuring Lightning McQueen, were a hit among teenagers, particularly boys. In just three days, sales in North America alone reached nearly forty million dollars.

All related merchandise had already generated over seventy million dollars in global sales.

In the past, even when merchandise sales far exceeded box office earnings, the derivative value was still closely tied to the film’s performance. Cars was the epitome of this phenomenon.

Cars had been one of the most memorable animated films in Ronan’s mind. This wasn’t because the film was particularly brilliant, but because during a training session, he had heard a film industry professional mention that by 2011, even without counting global box office, the Cars series had generated over six billion dollars in revenue for Disney and Pixar.

This film, with its mediocre reputation, was actually the highest-grossing work in Pixar’s entire catalog.

Chapter 1031: The True Childhood Ruiner

Ten days after its North American release, Cars had earned less than one hundred and twenty million dollars at the North American box office. However, merchandise sales and swiftly negotiated licensing deals had already brought in over one hundred million dollars for Relativity Entertainment, with minimal costs and staggering profit margins.

As the film expanded overseas, global box office earnings hovered just under two hundred million dollars, while offline revenue streams had already surpassed the two hundred million mark.

The merchandise for this animated feature was sweeping across North America and the entire Western world at an unprecedented pace.

This time, the ones eagerly opening their wallets were not girls, but boys.

The various car-themed merchandise had captured the attention of young boys, prompting them to loosen their purse strings.

This could be considered one of the most peculiar films in Hollywood history—a movie whose derivative product sales had completely outpaced its box office performance almost immediately after release.

Fortunately, under Ronan’s leadership, Relativity Entertainment had prepared in advance, allowing them to maximize the derivative value of an animated film.

Unlike previous animated films, whose merchandise often attracted a significant female audience, Cars was overwhelmingly purchased by males—a fact that Embassy Pictures and Relativity Entertainment had anticipated. Both the products and marketing strategies were tailored entirely toward male consumers.

If Disney’s princess movies were the favorites of young girls, Relativity Entertainment aimed to make Cars the most beloved merchandise for boys.

To achieve this, Relativity Entertainment and Pixar had prepared early. As soon as Cars hit North American theaters, they began planning derivative projects. Given the rapid growth in merchandise revenue, the potential profits were staggering.

The film created a world of cars, with the first installment only revealing the “tip of the iceberg” of this magical automotive universe. There were countless stories waiting to be told, all intricately connected to Cars.

Additionally, aside from Lightning McQueen, the most popular toy character, Tow Mater, would receive his own standalone short film series, much like how Transformers had its animated series—these shorts were specifically designed to drive merchandise sales.

Naturally, Cars 2 was placed on the schedule.

Pixar would allocate a team dedicated to producing this sequel series.

The revenue from their animated features directly influenced the studio’s project budgets.

Ronan, considering that Cars 2 would take several years to release and that merchandise sales would inevitably slow after peaking, decided to have Pixar create the Cars Toons animated short series.

This also aligned with Netflix’s needs—a Cars television series to be streamed on the Netflix platform, initially planned for three seasons, spanning the three-year wait for Cars 2.

These shorts would introduce new characters, expanding the Cars cast. Ronan also planned to establish Cars Toons as its own franchise, setting up a dedicated Cars studio to push merchandise sales.

Previously, no Relativity Entertainment animation project, including Peppa Pig, had received such treatment.

The offline revenue growth for Cars was too rapid. The explosive power of its merchandise had surpassed all previous Hollywood animated features and even live-action films.

Currently, the highest-grossing film in global merchandise sales was the Star Wars series.

Due to the era and the initial cold reception of Star Wars: A New Hope, George Lucas’s sci-fi masterpiece’s merchandise sales during its initial release could not compare to Cars.

Another major franchise in merchandise sales was Harry Potter. Even when Harry Potter and the Sorcerer’s Stone swept across the English-speaking world and beyond a few years ago, its merchandise sales during the same period still fell far short of Cars.

With global box office earnings not yet exceeding two hundred million dollars, Relativity Entertainment’s offline merchandise and derivative product revenue had already surpassed two hundred million.

Box office earnings were subject to various splits, and the final amount Relativity Entertainment received would not exceed one-third of the global box office.

But the profit margins on merchandise were astonishingly high.

Once the potential for massive profits was evident, a commercial giant like Relativity Entertainment would roll forward like a mighty river, crushing all obstacles to maximize gains.

Beyond legitimate business strategies, promotional hype was essential.

In mid-June, Relativity Entertainment filed a lawsuit against a small studio in Valencia, accusing them of maliciously registering Cars-related domain names and illegally using the images of Lightning McQueen and other characters for commercial promotion online.

The booming merchandise sales of Cars were no secret and had already attracted significant media attention. This lawsuit provided ample fodder for tabloids and online media, serving as one of many promotional tactics to maintain public interest.

Of course, all promotional efforts and marketing revenue were planned and executed by Relativity Entertainment and Embassy Pictures. Pixar, aside from cooperating with promotions, was largely uninvolved.

From the earliest acquisition of Pixar to the explosive success of Cars merchandise, Ronan’s vision had always been clear: Pixar should focus solely on creating excellent animated films without worrying about anything else.

Ronan had once told the Pixar management team, including John Lasseter: “If we can produce outstanding animated films, we can keep the sales machine running forever!”

In this regard, Pixar had undoubtedly succeeded.

Moreover, Pixar had nearly achieved another goal—its films did not target a specific audience. Great movies should appeal to both adults and children.

Nowadays, Relativity Entertainment’s film projects relied less and less on box office earnings. Even DVD sales were shrinking yearly, while the company’s vast derivative product industry chain saw a surge in offline merchandise and licensing revenue.

Film screenings and DVD releases were increasingly becoming long-form advertisements.

By the third week of release, Cars merchandise had flooded not only Relativity Entertainment’s and its partners’ channels but also Amazon, Walmart, and Disney’s premium stores.

Anyone browsing Netflix’s expanded film and television entertainment platform, developed from its DVD business, could see over two hundred Cars derivative products available online.

From small holiday balloons to three-piece bedding sets, Lightning McQueen and his friends covered every aspect of children’s daily lives.

There were even parent-child matching outfits featuring Lightning McQueen.

Under Relativity Entertainment’s development, Cars had prepared corresponding derivative merchandise for every family member—fathers, mothers, and children alike.

Thus, it was no surprise that Cars had unleashed such tremendous market energy.

Outside North America, the film’s box office and merchandise response were also strong, with global box office earnings smoothly exceeding two hundred million dollars and merchandise sales continuing to pour in.

Meanwhile, Cars had also entered the market on the other side of the Pacific.

However, like previous Pixar animated features, the box office response was lukewarm, and the officially imported merchandise sold poorly.

It could be said that Cars had neither opened the door to the film market through animation nor caused a sensation in the children’s derivative product market.

The officially imported merchandise primarily consisted of car toys, with the best-selling item being a series of small alloy cars that children could easily hold and play with.

However, with prices ranging from fifty-nine to two hundred and ninety-nine yuan per item, this was a considerable expense for consumers of that era.

While Cars could rake in massive profits globally through Relativity Entertainment’s mature industry chain, the dream of merchandise sales far exceeding box office earnings in the market on the other side of the Pacific was simply unattainable.

On the third weekend of June, with no dominant blockbuster releases, the North American film market saw several mid-to-large productions vying for the top spot on the box office chart, hoping to capitalize on the gap.

New Line Cinema’s Rush Hour 3, Universal’s My Big Fat Greek Wedding, and Relativity’s The Teddy Bear.

Influenced by the heated summer box office season, all three widely released films performed well.

The weakest performer, My Big Fat Greek Wedding, still earned thirty-four million and twelve thousand dollars in its opening weekend.

As a sequel, Rush Hour 3 fared even better, grossing fifty million and twenty-three thousand dollars in its North American opening weekend.

Yet, neither could claim the box office crown.

To everyone’s surprise, the weekend’s box office champion was James Franco and a super-vulgar teddy bear.

The Teddy Bear crushed all competition, earning fifty-five million and forty-four thousand dollars in its North American opening weekend!

With a production budget of only thirty-five million dollars, this box office performance could only be described as a massive explosion.

This teddy bear, cloaked in a cute exterior, spewed profanity, smoked heavily, and behaved lewdly—truly a work that shattered childhoods and moral compasses.

Even in Hollywood, films like The Teddy Bear, which deliberately subverted audience expectations, were rare.

Those who assumed it was a children’s film based on the title would undoubtedly be in for a shock.

Who could have predicted that such a vulgar, thuggish film would perform so well?

Perhaps every man harbored a teddy bear in his heart.

Or perhaps audiences, tired of family-friendly comedies featuring cats and dogs and sick of the so-called coming-of-age stories starring stuffed animals, found themselves collectively captivated when a teddy bear that loved cursing, flipping the bird, chasing women, and smoking weed came to life—like a high-level acupuncture point had been struck.

Chapter 1032: Advancing on All Fronts

The strong box office performance of two films in June was undoubtedly good news for Relativity Entertainment, especially The Teddy Bear, which many considered a pleasant surprise.

James Franco, the eccentric lead actor, was determined to pursue the raunchy comedy route. Together with Seth Rogen, who had collaborated with Shai Entertainment multiple times, they launched a new project—adapting the famous 1980s TV series 21 Jump Street into a comedy film.

Their plan was for Seth Rogen to direct, with both Seth Rogen and James Franco co-starring.

21 Jump Street had been quite popular in its time and was the breakout work for Johnny Depp.

The project quickly landed on Ronan’s desk. Ronan had high hopes for Seth Rogen and James Franco.

Setting aside past memories, in recent years, both had worked with Shai Entertainment on comedy films, achieving impressive commercial success.

However, the biggest issue with this project was the copyright. As an older work, 21 Jump Street inevitably involved copyright complications.

Ronan had Connie investigate, and they discovered that the rights to 21 Jump Street were currently held by Sony Columbia Pictures. For the project to be greenlit, the copyright issue had to be resolved first.

Among Hollywood’s Big Six, Sony Columbia was one of the studios with whom Relativity Entertainment had a relatively good relationship, so securing the rights wasn’t entirely hopeless.

Ronan called Robert Lee, instructing him to meet with James Franco and Seth Rogen to negotiate the purchase of the adaptation rights from Sony Columbia.

If that failed, they could always rewrite the script from scratch, though that was a last resort.

With the rights, 21 Jump Street would be a film adaptation of a once-popular series, naturally drawing an existing fanbase.

Without the rights, it would have to be an original work.

Like the Batman film series, Relativity Entertainment could accept co-producing with Sony Columbia.

Earlier this month, Relativity Entertainment reached an agreement with Warner Bros, securing the remake rights to It and A Star Is Born, as well as the film and television adaptation rights to Suicide Squad.

Now that the rights were in hand, they couldn’t afford to waste them.

Suicide Squad and A Star Is Born didn’t need to be rushed; they could wait a few years before moving forward.

It, however, as a classic horror film, could start planning immediately.

The original novel was by Stephen King, and Warner Bros had bought the rights back in the late 1980s, adapting it into a film directed by Tommy Lee Wallace in 1991.

The novel and film shared the same main plot: a mysterious, clown-like figure appears in a small American town, not to bring joy but to terrorize children, bringing them horrific misfortune or even death. The protagonists defeat the clown, but years later, the evil clown returns, forcing the now-grown friends to unite against the evil once more.

This film differed from the one Ronan remembered. The version he had seen ended with the friends defeating the clown in their youth, with the adult sequel split into a separate film.

This approach might make both films more substantial.

The key point was that if both films succeeded, the commercial benefits would far exceed those of a single film.

Thus, without hesitation, Ronan quickly finalized the preliminary plan and passed it to Shai Entertainment’s screenwriters for further development and script refinement.

It would be at least a two-part film. If it achieved consecutive success and the market responded well, a trilogy wasn’t out of the question.

Of course, for this film to succeed, nostalgia would also play a crucial role.

The first film’s massive success was largely due to nostalgia—a sentiment that resonated deeply with many audiences.

Ronan had initially considered having James Wan serve as producer, given his expertise in horror films within Relativity Entertainment. However, James Wan was busy preparing The Conjuring and overseeing the Saw series, leaving him with little time or energy.

Currently, James Wan’s “Horror Universe” was progressing steadily. Insidious was set for release in the second half of the year by Embassy Pictures, and The Conjuring had secured a release date for next year.

Additionally, the Annabelle project had been confirmed, with the script completed by James Wan.

However, James Wan couldn’t direct every film in the “Horror Universe.” He would serve as producer for Annabelle and then recruit suitable horror directors.

After discussing with Ronan, and following a screening of Zombieland, James Wan expressed interest in having Drew Goddard, the director of Zombieland, helm Annabelle.

Ronan didn’t interfere much and agreed to Drew Goddard as the choice.

Although Zombieland, directed by Drew Goddard, hadn’t been released yet, it had received unanimous praise in internal screenings and test screenings, proving to be a masterpiece in the zombie genre.

Drew Goddard was also eager to continue collaborating with Relativity Entertainment.

With Ronan’s personal push, the pre-production of It progressed rapidly. This horror film didn’t require star actors or a large budget, and the remake rights obtained from Warner Bros provided sufficient adaptation freedom, eliminating the need to deal with Stephen King.

Stephen King was indeed a god in the eyes of many horror fans, but no company liked having a god in their production team.

The adaptation team didn’t need to interact with Stephen King at all.

Shai Entertainment had made preliminary plans: It would be overseen by Doug Davis, the deputy director of the production department, while the director would be recruited externally.

The project’s budget was modest, initially set at twenty million dollars.

Meanwhile, Jerry Abrams’ new project had entered the filming stage, with the crew officially starting production in New York this week.

As the city most frequently destroyed in films, New York was once again set to suffer in this sci-fi movie.

Inspired by the success of District 9, Jerry Abrams also planned to shoot in a mockumentary DV style.

The difference was that Jerry Abrams intended to use a first-person perspective.

This film, already titled Cloverfield, was scheduled for release next year.

The success of District 9 had also boosted Jerry Abrams’ confidence.

From its April release to late June, after ten weeks of screenings, District 9’s theatrical run had come to an end.

This type of film relied on exaggerated marketing to attract audiences, with relatively rough production, making long-term screenings difficult. It was a typical “one-and-done” film.

The initial hype-driven reputation had declined significantly after prolonged screenings—for example, its IMDb rating had dropped below eight.

Fortunately, commercially, it had met Relativity Entertainment’s expectations. While it couldn’t compare to the viral marketing success of The Blair Witch Project, the film’s earnings were still astonishing relative to its investment.

Over ten weeks, District 9 grossed one hundred fifteen million six hundred sixty thousand dollars in North America, achieving a North American box office four times its production budget.

The North American box office share alone allowed Relativity Entertainment to recoup its entire investment in District 9 and realize a profit of nearly ten million dollars.

Overseas, District 9’s reception was weaker, gradually entering overseas markets with a cumulative overseas box office of less than thirty million dollars.

For a mid-to-low-budget sci-fi film, this commercial performance was already remarkable.

No one could compare this type and scale of sci-fi film to a first-tier commercial blockbuster.

As the last weekend of June arrived, facing the newly released Sony Columbia animated feature Surf’s Up, multiple films under Relativity Entertainment maintained a relatively stable box office performance.

The Teddy Bear didn’t follow the typical raunchy comedy trend of high openings and low follow-ups, maintaining an unusually stable box office. Its second weekend saw only a little over a forty percent drop, earning thirty-three million five hundred sixty thousand dollars in North America, bringing its North American total to one hundred twenty-six million eight hundred seventy thousand dollars.

For a mid-to-low-budget R-rated comedy, this was an exceptionally strong box office performance.

Cars didn’t have the same stable box office trajectory as previous Pixar animated features, but its North American box office was approaching two hundred million dollars.

The merchandise income was even more astonishing. Between North American merchandise, derivatives, and various licensing deals, Relativity Entertainment had already earned two hundred million dollars.

Moreover, in the long term, merchandise and licensing would continue to bring in high revenues for Relativity Entertainment.

Disney had once gained billions of dollars in just a few years through the full-channel operation of Cars.

While Relativity Entertainment still lagged behind Disney’s animation merchandise operations, it could still achieve massive profits.

Another film distributed by Embassy Pictures during the summer season, The Hulk, was steadily approaching two hundred fifty million dollars in North America, with a global box office exceeding four hundred million dollars.

As a high-investment, high-budget film, it wasn’t difficult for Relativity Entertainment to recoup costs through online and offline operations.

Next month, Relativity Entertainment still had two films scheduled for release: Transformers for the Independence Day slot and the latest animated feature from Shai Entertainment Animation Studio, Kung Fu Panda.

The latter continued the studio’s signature style, with a modest production budget of seventy-five million dollars.

Transformers was Relativity Entertainment’s high-investment, first-tier key film project.

However, the film was filled with various advertisements and sponsors, already bringing in nearly forty million dollars for Relativity Entertainment.

One should never underestimate Michael Bay’s ability to integrate advertisements.

As the end of July approached, Embassy Pictures began final preparations for the release of Transformers.

Chapter 1033: Transformers

“In the 1980s, a group of living machines from the planet Cybertron arrived on Earth, igniting an incredibly fierce war. More than twenty years later, they have returned to wage a new deadly battle. As catastrophe looms, which side will you stand on—Autobots or Decepticons?”

As Optimus Prime struck a fierce fighting pose, the first trailer froze on the massive screen of Century City’s bustling commercial plaza, followed by a bold line of text:

“Their war, our world!”

This was the slogan for Transformers.

Many passersby who had stopped to watch the screen continued on their way, but before they had gone far, they encountered a giant movie poster on the billboard.

This was the latest poster, composed of three connected panels.

Featuring Optimus Prime, Megatron, and Bumblebee as the main characters, these Transformers posters were filled with a sense of depth and metallic texture, drawing the eye.

“Bumblebee, covered in scars,” Lindsay Bill remarked, arm in arm with Jessica Felton, gazing at the massive poster. “The journey from Cybertron to Earth must have been extraordinary.”

Jessica Felton pulled her forward as they walked, saying, “Didn’t you attend the private screening?”

Lindsay Bill turned her gaze away from the poster and replied, “No, I was working on two film projects and didn’t have time. Besides, this is a male-oriented movie; having women rate it would be biased.”

She stated bluntly, “From my perspective, Transformers would definitely get a low score.”

The two had just reached the main entrance of the commercial plaza when they simultaneously stopped in their tracks.

Life-sized statues of Optimus Prime and Bumblebee stood in the small plaza before the entrance, attracting crowds of people who stopped to look and take photos.

“Jesse, let’s take a photo too.”

Lindsay Bill found a good spot and had Jessica Felton stand in front of Optimus Prime and Bumblebee before raising her smartphone to take a selfie.

Then, she opened Netflix sharing and uploaded the photo she had just taken to her account, even giving the image a name—Beauty and the Robot!

Around them, others with smartphones were doing the same thing, taking photos with Optimus Prime and Bumblebee and sharing them on social media.

Online, the number of people who could see Optimus Prime and Bumblebee through social media was countless.

This spontaneous internet social marketing was having an increasingly significant impact on the promotion of the film.

Transformers had already become one of the hottest topics on Netflix sharing.

Jessica Felton called out to Lindsay Bill, “Let’s go, we need to pick up the gowns at the store.”

Lindsay Bill put away her phone and accompanied her into the commercial plaza, saying, “They could have just delivered them.”

“We’re here to see the samples today,” Jessica Felton said with a smile. “They’ll be sent directly to my place in three days.”

Lindsay Bill asked, “You rarely attend company premieres. What’s different this time?”

Jessica Felton softly replied, “Transformers is different.”

Lindsay Bill curiously asked, “Don’t tell me… Are you a Steelie?”

Jessica Felton slightly shook her head. “I’m not, but Ronan is. He’s a… how should I put it? Ronan is a die-hard Transformers fan. He says this series represents his passion.”

She and Lindsay Bill took the express elevator to the top floor. “This series means something special to Ronan. Of course I have to attend the premiere.”

The elevator arrived, and the two stepped out one after the other. Lindsay Bill said, “Jesse, it hasn’t been long, but I feel like you’ve changed a lot.”

“Have I?” Jessica Felton didn’t think so. “I just hadn’t met the right person before.”

She smiled and said, “When two people are together, they have to give to each other.”

Lindsay Bill nodded slightly and didn’t say anything more. They arrived at the haute couture service area and went inside together.

Starting in April, the promotion for Transformers entered its final phase. In addition to conventional promotional methods, several special columns and viral videos were created to help those unfamiliar with the animated series, such as “Transformers: The Animated Series Chronicle” and “What You Must Know Before Watching Transformers.”

Many sponsors also launched a series of promotional activities.

In the film, Bumblebee initially appears as a Volkswagen Beetle to evoke nostalgia among Steelies.

For commercial and advertising purposes, Bumblebee soon transforms into a Chevrolet Camaro sports car.

General Motors reached an agreement with Shai Entertainment, including Bumblebee, the ambulance, and Ironhide, totaling ten million dollars in advertising sponsorship.

This was also one of the largest advertising sponsors for Transformers.

In such films, car advertisements were the least likely to cause resentment.

As the hype for Transformers grew, sponsors held various related activities.

For example, as Bumblebee’s exposure increased, sales of the Chevrolet Camaro sports car soared, prompting General Motors to launch the “Transform the Future with Chevrolet” campaign.

There was also Hasbro, the original toy manufacturer, which released numerous toys based on the film’s character designs. These toys used the latest “Automatic Transformation Technology,” where when one part “transformed,” the other related parts would automatically “transform” as well.

Previously, Hasbro rarely developed toys based on film and television settings; usually, they would first develop toys and then create film and television images around them.

Transformers was a film by Relativity Entertainment, with Ronan personally serving as producer. Hasbro was confident and had prepared early.

In the 1980s and even the 1990s, Hasbro’s Transformers, through animated series and toys, had swept the world, cultivating tens of millions of Steelies.

Many people born in the 1970s and 1980s grew up watching Transformers and had a special affection for the series. From the day they learned that a live-action film was being made, an inexplicable excitement welled up in their hearts. That kind of anticipation and excitement could only be understood by Transformers fans.

From time to time, Steelies would search the internet and various media for news related to the Transformers live-action film, read every report about the film in newspapers and magazines, and even look for things related to the film in their own cities.

For example, posters covering almost every bus stop and subway station advertisement column would always catch their eye.

For Steelies, the masked robots on the small square television screen were not just cartoon characters but towering titans with powerful mechanical shells that could transform into various machines—tow trucks, police cars, even fighter jets.

Think back to the 1986 Transformers animated film; the deaths of the popular characters Optimus Prime and Megatron had caused a huge uproar among fans.

Hasbro also paid a heavy price for its reckless operational strategy.

Whether it was Rodimus Prime or Galvatron, in the eyes of Steelies, they simply didn’t have the charm of Optimus Prime and Megatron.

As for the later so-called successors who claimed to be Optimus Prime? That monkey called Optimus Primal? Who would acknowledge him!

Thus, under the promotion of Embassy Pictures, many Steelies began to rally, and a massive promotional campaign quickly emerged on the internet.

“Waiting for Optimus Prime to come home!”

This was the slogan of Optimus Prime’s fans.

There were also the equally popular Megatron fans—Waiting for the Decepticons to strike!

In today’s film industry, any movie that wants to be a blockbuster must rely on promotional hype.

Technologically, the promotional momentum was equally frenzied.

Promotional articles like “Transformers represents the most advanced movie special effects standards in the world today!” were everywhere.

This was not entirely untrue.

For promotional purposes, Shai Entertainment, in collaboration with Industrial Light & Magic, revealed some behind-the-scenes special effects.

“Every frame of Transformers computer CGI generated by Industrial Light & Magic takes 38 hours to render, breaking the record set by Weta Workshop in 2002 for The Lord of the Rings: The Two Towers with 20 hours per frame for Treebeard. If all the polygons used to build the Transformers in the film were connected end to end, they could go from Earth to the Moon and back, with enough left over to build two Roman Colosseums.”

As the media bombarded the public with promotions for Transformers, copies of the film were being shipped worldwide.

Relativity Entertainment was most focused on the North American market.

Embassy Pictures’ promotional investment in the North American market was also the highest. To build momentum, they organized a special military screening at Edwards Air Force Base. Apart from a few crew and media personnel, most of the attendees were members of the U.S. military, especially soldiers and officers who had participated in the on-location filming.

Approximately 600 active-duty military personnel and their families attended this secret premiere of Transformers.

Movies have never existed in isolation as audiovisual products; they are always closely connected to the social environment.

The U.S. military needed an outstanding recruitment advertisement, the Pentagon needed a film with a wide enough reach to reshape the image of the U.S. military globally, and Relativity Entertainment needed the military’s professional skills as well as support for various advanced weapons and equipment.

Thus, this Hollywood and Pentagon collaboration, Transformers, was born.

The Transformers are back!

Although there were competitors like 10,000 BC and The Wedding Crasher, which had been released a few days earlier during the Independence Day period, none of them could stop the return of the Transformers.

For every boy of that era—and a surprising number of girls—Transformers had been such beloved toys.

After a long absence, the Transformers had finally returned in full force!

Chapter 1034: Decepticons Strike

The Independence Day holiday was approaching, and countless Steelies flocked to Rhode Island, as if on a pilgrimage, to Hasbro’s grand auditorium. They were there to witness with their own eyes the most cherished memories of their childhood or youth, brought to life for the first time on the big screen in a live-action film.

This held special commemorative significance for the Steelies, for Hasbro, and even for Relativity Entertainment.

Transformers had returned to its birthplace!

The Autobots and Decepticons were back home.

Hasbro’s grand auditorium had transformed into Cybertron this evening.

This was a night for the Transformers and the Steelies.

A thirty-foot-tall Transformer, in the form of the live-action film, stood before the auditorium. Optimus Prime, in particular, stood at the very center, his blue and red square-shaped form nearly identical to his animated counterpart, yet more aligned with the aesthetics of this era.

Optimus Prime held his thermal blade in his left hand and a massive oil drum cannon in his right, exuding an aura of majesty, as if always ready to fight to save Earth and humanity.

How could humans not love such a machine hero, with his grand cosmic vision, free from vulgar tastes, and fighting for the equality of all beings?

Opposite Optimus Prime stood his brother and old rival, Megatron. His domineering form and the evil aura he exuded had the fans of the Decepticons enthralled, willing to go through fire and water for him!

This pair, loving and fighting each other until the end of the universe!

The story that was popular from the late 1980s to the mid-1990s, appearing countless times in comic books, animated series, stickers, and elementary school stationery, had finally returned with Relativity Entertainment and the Transformers crew, ready to make a grand comeback!

Even the current stars walking the red carpet knew that the premiere’s protagonist was none other than the Transformers!

Ronan stood on the steps in front of the auditorium, looking at Optimus Prime and Megatron below, feeling a surge of emotions.

Everyone had their own sentiments, and he was no exception. Although he wouldn’t let sentiment cloud his judgment and lead to wrong decisions, it still had a significant impact.

Ronan recalled his elementary school days when he had saved up for more than half a semester to get two dollars and fifty cents. He went to the shop across from the school—no, back then it was called a distribution point—and bought a Megatron figure that smelled strongly of plastic.

It was the kind that didn’t even transform.

As for the large Optimus Prime and Megatron figures that cost ten dollars each, he didn’t even dare to think about them.

The concept of “legitimate” didn’t exist back then.

For a rural child born in the early 1980s, during the height of the Transformers animated series, both the large Optimus Prime and Megatron figures and legitimate toys were distant dreams.

“What are you thinking about?” Jessica Felton walked over.

Ronan turned to look at her and said again, “Dear, you look beautiful tonight.”

Although Ronan had been saying this since they changed clothes at the hotel, Jessica Felton was still happy to hear it. She had given up her usual concise business suit and specially ordered an evening gown just to make her boyfriend happy.

Jessica Felton wore a moon-white evening gown that showcased her best features. She took Ronan’s arm and asked, “Do you like Optimus Prime or Megatron more?”

Ronan looked at the pair of Cybertronian brothers who loved and fought each other and said, “At first, I liked Optimus Prime. Later, I changed to liking Megatron.”

“Why?” Jessica Felton asked curiously.

Ronan smiled and said, “Because Optimus Prime can’t beat Megatron. In the G1 animated series, every time Optimus Prime defeats Megatron, it’s not a fair fight, and Megatron is more domineering!”

Shaking his head, he continued, “Unfortunately, the movie has to have Optimus Prime win.”

Apart from anything else, Optimus Prime’s motto “Freedom is the right of all sentient beings” and his special status as a Cybertronian traitor destined him to be the winner.

After all, this was a movie made for humans, not for the Cybertronian Transformers.

So, Ronan didn’t let his emotions and personal preferences affect the filming and production of the Transformers live-action movie.

The two didn’t stay at the entrance for long and soon entered the VIP lounge of the grand auditorium. Brian Goldner, Hasbro’s Chief Executive Officer, immediately came over with his wife.

Jessica Felton wasn’t very good at such occasions, but she could handle them. After all, as a producer over the past few years, she had dealt with many people and the media.

Brian Goldner said to Ronan, “Now we just have to wait and see how the market and box office perform.”

Ronan was more confident than him: “There won’t be any problems.”

Brian Goldner expressed his concerns: “The two movies that premiered first during the Independence Day schedule both failed.”

Ronan understood Brian Goldner. Transformers, G.I. Joe, and Baby Alive were Hasbro’s three major trump cards. If the Transformers movie adaptation didn’t go well, it would be a huge blow to Hasbro.

Hasbro had once acquired the company that owned the Peppa Pig copyright, but the Peppa Pig copyright was now in the hands of Relativity Entertainment. Hasbro would inevitably have to place more hope in their own trump card series in the future.

“Don’t worry,” Ronan reminded him. “Brian, don’t forget that the Transformers North American opening weekend pre-sales alone have reached thirty million dollars. Also, Relativity Entertainment is not 20th Century Fox.”

The two movies that had a wide release during the same period had both performed poorly in the market.

Warner Bros’ The Wedding Crasher, although a remake of a classic movie from the 1980s, had a mediocre market response, earning only three million two hundred and ten thousand dollars on its first day in North America.

In comparison, 20th Century Fox’s 10,000 BC was even more disastrous.

20th Century Fox seemed determined to steal the Transformers thunder and had played their second Dragon Ball, deliberately releasing 10,000 BC three days before the weekend.

In the past, 20th Century Fox’s collaboration with Roland Emmerich had been filled with beautiful memories.

This time, it was destined to leave a bitter taste.

10,000 BC earned only six million one hundred and twenty thousand dollars on its first day in North America!

The audience reception was even worse, with a Cinemascore live audience rating of only “C-”, which was nothing short of a major disaster for a commercial blockbuster.

The next day, the box office for 10,000 BC plummeted, earning only four million eight hundred and fifty thousand dollars on its second day.

Although this was partly due to it not being a weekend or holiday, for a newly released film and its high production budget of one hundred and thirty-five million dollars, it was still frighteningly low.

Based on the first-day audience live ratings, Cinemascore estimated that the final North American box office for 10,000 BC would not exceed fifty million dollars.

For Ronan and Relativity Entertainment, 20th Century Fox’s second Dragon Ball was already in place, bringing them one step closer to summoning the dragon.

The red carpet premiere continued, and the main creative team of Transformers did their best to attract more attention for the film.

Especially those who had signed long-term contracts with Relativity Entertainment and had always had a pleasant collaboration.

Black actor Tyrese Gibson pointed at the giant models of Optimus Prime and Megatron and said to the media reporters, “I don’t mind being a supporting actor in this summer’s biggest movie. What do I have to lose? In Titanic, the most eye-catching thing was the sinking ship, but that doesn’t mean Leonardo and Winslet didn’t act well. Now, me, Optimus Prime, and Megatron, we’re buddies, and we have feelings when we act!”

Michael Bay, on the other hand, put on the air of a top commercial director and seriously said to the media, “My expectations for Transformers have far exceeded those of the movies I’ve directed in the past. Some say Transformers will bring a visual revolution to the audience, but I’m not limited to that. I hope everyone can feel the kind of shock through Transformers that past movies have never brought you!”

As time passed, more and more people entered the theater.

The main creative team and invited guests all came to greet Ronan. Many had heard that this wealthy man had an official girlfriend and almost all of them looked at Jessica Felton with curious eyes.

Jessica Felton faced it calmly. Although she knew some things were bound to change, in her heart, she was still the editor and producer who relied on her skills and abilities.

The female lead of Transformers, Candice Swaneepoel, came up to Ronan, greeted him, glanced at Jessica Felton, and suddenly lowered her voice, saying, “Ronan, can we talk alone?”

Ronan wasn’t stupid and smiled, saying, “You can say it here.”

Candice Swaneepoel looked disappointed and said, “Forget it, I’ll call you another day.”

With that, she ignored Jessica Felton and left directly.

Ronan turned to look at Jessica Felton, and Jessica Felton smiled encouragingly at him, holding Ronan’s hand even tighter.

It was getting late, and the guests gradually entered the main hall. As the time approached eight o’clock in the evening, Michael Bay led the main creative team into the screening hall.

The large theater, which could accommodate over a thousand people, was packed. The moment they entered, all the guests and audience stood up, giving the crew a warm round of applause.

The audience came to the theater to see a truly exciting film!

The big screen lit up, and the opening sequences of Shai Entertainment, Embassy Pictures, and Hasbro appeared one after another. Then, using a method similar to The Lord of the Rings: The Fellowship of the Ring, the story of Cybertron and the AllSpark was briefly introduced.

This was followed by an exceptionally intense and explosive special effects action scene.

At the U.S. military base in Qatar, nightfall brought an unexpected visitor.

An F-15 fighter jet on routine patrol returned and landed on the helicopter landing pad. However, the U.S. military’s command system was interfered with by an unknown energy source, which came from the F-15 fighter jet.

A large number of combat vehicles and American soldiers quickly surrounded it.

Suddenly, the theater echoed with a metallic transformation sound, reminiscent of the G1 animated series but even more metallic.

All the audience members were stunned, their mouths wide open. The Transformers had achieved their first true transformation on the big screen!

The giant robot that stood up was none other than Megatron.

Then, Megatron issued a command that instantly thrilled all the Steelies: “Decepticons, attack!”

Chapter 1035: That Unforgettable Bond

To achieve the best visual effects, Transformers was also shot using an IMAX camera.

As Megatron revealed his true form, the massive screen was filled with an incredibly realistic depiction of how a heavy combat aircraft transformed into a towering humanoid machine. Thousands of parts moved simultaneously—contracting, extending, adjusting—completing the seemingly impossible transformation in an instant.

“Decepticons, attack!”

With that command, Megatron merged his arms into one, forming a massive laser cannon. Without hesitation, he fired at the U.S. military, obliterating vehicles and personnel in a single blast.

Startled by Megatron and his long, thick laser cannon, the U.S. forces finally reacted, unleashing a barrage of gunfire toward him.

Not far away, Duke, the male lead, rushed out of his tent, paused in shock, and immediately ordered his squad to prepare for battle.

The ground suddenly erupted with flying sand and concrete debris as a massive mechanical scorpion burst from the earth. Tanks and armored vehicles were reduced to scrap metal under the relentless firepower of the Scorponok.

In the sky, an F-22 streaked through the air, targeting the airfield and runway. Soon, all the aircraft were engulfed in flames.

A red robot, transforming mid-descent in a design reminiscent of the G1 animation, landed on the ground, igniting a series of explosions as it clashed with Megatron and Scorponok.

The Decepticons’ overwhelming firepower and the lack of preparedness among the U.S. forces quickly turned the battle into a one-sided slaughter.

Duke rallied his special forces team, using their limited weapons to counterattack against Scorponok. Unfortunately, without heavy weaponry, they could only slightly slow down the mechanical scorpion’s assault.

Human heavy weaponry also posed a threat to the Decepticons.

This was a necessary choice in collaboration with the Pentagon. Otherwise, if the filming depicted a one-sided massacre of the U.S. military, the Pentagon would never have been so generous in sponsoring the production.

After all, the Pentagon provided everything from personnel to weapons and military bases—all free of charge.

This saved the Transformers production team over thirty million dollars in expenses.

Moreover, the audience for this film was ultimately human. Would most viewers enjoy watching humans being slaughtered helplessly by alien monsters?

This setup was also a commercial consideration.

The Transformers had an overwhelming advantage over humans, but they were not invincible.

The sound of gunfire, shouts, and explosions, combined with towering flames, created an indescribable impact in the full IMAX shots, immediately immersing the premiere audience in a visually stunning experience.

When Megatron shattered the ceiling of the U.S. command center and his massive mechanical hand grasped the server, the screen returned to normal, marking the end of this less-than-five-minute IMAX sequence.

Having accepted the Pentagon’s sponsorship, Michael Bay naturally did not forget to showcase the bravery of the U.S. military. Facing the most dangerous situation, the U.S. commander forcibly cut off the server’s power.

This opening scene, like the intense and bloody beach landing battle in Saving Private Ryan, not only set the tone for the entire film but, more importantly, evoked the audience’s emotions and interest, drawing them in to continue watching.

Of course, for this type of film, the audience was there for the special effects, explosive action, and giant robots—everything else was secondary.

Thus, despite the dual storyline, the plot was straightforward, and the pace was as fast as the car chase scenes Michael Bay was known for.

Beyond robots and American soldiers, a commercial film couldn’t do without a beautiful woman.

So, Candice Swaneepoel, playing the female lead Mikaela, made her debut as a high school student. She was a girl who grew up in a repair shop, but her father’s business was struggling. Mikaela wanted to fix the yellow Volkswagen Beetle left by her late mother and decided to auction off her great-grandfather’s map, sextant, and telescope on Amazon to raise money for the necessary parts.

This seemingly old Beetle was, of course, Bumblebee, and the map left by Mikaela’s great-grandfather was related to the AllSpark.

The film’s pace was rapid. On one side, Duke and his communications expert Epps had called in the Air Force, engaging in a spectacular land-air integrated attack against Scorponok in the desert. On the other side, Mikaela quickly befriended Bumblebee.

The names Duke and Epps immediately reminded those familiar with Hasbro toys of the G.I. Joe series.

However, the film was relatively conservative in this regard, testing the market’s reaction. Apart from the names Duke and Epps, there wasn’t much explanation about G.I. Joe.

Meanwhile, Bumblebee, transforming from a Beetle into a Camaro, had already tangled with Barricade, who had tracked him down via Amazon.

Like Optimus Prime, Megatron, and Starscream, Bumblebee’s design was more metallic and modern but still retained the basic silhouette from the G1 animation.

Compared to previous films, Bumblebee was smaller and cuter, like a Husky that hadn’t fully grown.

The film entered Michael Bay’s most skilled segment—car chases, fights, and destruction. Bumblebee battled Barricade, and the beautiful woman and robot fought side by side…

In the fierce battle, Bumblebee took down Barricade.

In the desert, after the U.S. soldiers had their way with the earth, they finally drove off the aliens.

Scorponok, outnumbered, couldn’t withstand the U.S. soldiers’ relentless assault.

The U.S. military deployed a large number of aircraft—F-16s, gunships, AWACS, and drones—unleashing a dense barrage of firepower on Scorponok.

The Decepticons were not invincible. Even the powerful Scorponok had part of its tail blown off under the concentrated fire.

This was a living recruitment ad.

Young man, come join us! You’ll get to use the world’s most advanced weapons, fight aliens, and shoot freely on foreign soil.

With such great conditions, what more could you ask for?

Battle after battle ensued—from the Decepticons’ trio attacking the U.S. military base to Barricade chasing Bumblebee and the female lead, and then Duke’s special forces team and various aircraft taking turns against Scorponok. In just over ten minutes, three intense battles had already unfolded.

Many noticed that the supporting female and male characters had appeared, and the main villain, Megatron, had made his entrance. But where was the male lead? Where was the protagonist?

Optimus Prime made his grand entrance in the twentieth minute, leading his bromance squad!

When the screen once again filled the giant screen, the film used a close-up to vividly depict Optimus Prime’s transformation. Tens of thousands of parts moved simultaneously, and a highly intelligent mechanical life form, more than twenty years after its creation, finally made its most stunning debut.

The audience’s most anticipated storyline—the love-hate relationship between Optimus Prime and Megatron—truly began.

Seeing the lifelike Optimus and Megatron, the Steelies were thoroughly excited. These two characters alone satisfied them, let alone the intense action and explosive scenes.

I am Michael Bay, and I speak for explosions!

Without explosions, Michael Bay would be nothing more than a third-rate commercial director. But with explosions, under the guidance of an excellent producer, he was a first-rate commercial director.

Male audiences were thrilled, and female audiences were equally happy.

There was once a famous saying about Transformers: men watch the battles, women watch the transformations…

Just look at Megatron’s arms merging into that massive, long laser cannon—what a thick, long rod!

And Optimus Prime, who could casually pull out a black, thick rod from his body during battle, not any smaller than Megatron’s.

“Optimus Prime and Megatron, my dream!”

Many Steelies expressed similar sentiments. The film’s nostalgia was perfectly timed, especially with the designs of the Autobots and Decepticons, which, while modern, stayed true to the beloved animation and toys.

Some might ask, what is nostalgia? The answer is simple.

Nostalgia is about evoking memories to make people willingly open their wallets.

At this point in the film, the action was intense and explosive, but the plot and setting were, frankly, terrible—classic Michael Bay.

I am Michael Bay. As long as there are explosions, collisions, and more explosions, plot and logic don’t matter.

But under Ronan’s restraint, Michael Bay showed some restraint. The explosions weren’t overused, and the plot was somewhat polished.

For example, after Optimus Prime’s appearance, the film used his projection and narration to flesh out the world of Cybertron.

Especially the introduction of the deep bond between Optimus and Megatron.

The deeper the love, the fiercer the hatred when separated.

In Blizzard’s Warcraft, there was a pair of passionate brothers who, after becoming enemies, one pursued the other across the universe for tens of thousands of years!

Optimus and Megatron were no different.

Megatron was a star on Cybertron, a super champion in the arena, with a naturally charismatic and demonic aura.

Optimus was even more remarkable—he had once held the most mysterious and untouchable job in the universe: a librarian!

One could imagine the emotional collision when these two old friends, after crossing countless star systems, met again on Earth.

The eggplant hit the little heart, the lever met the lubricant, and the strongman hung two steel balls…

In Optimus Prime’s narration, he also mentioned a plot point related to the sequel: Megatron was influenced by an ancient evil force on Cybertron, spreading genetic superiority and authoritarian rule, believing that the Decepticons, who could fly and had greater combat power, should rule Cybertron. This led to the Cybertronian civil war between the Autobots and Decepticons.

Chapter 1036: Cosmic Spokesperson

The AllSpark, inscribed with the solemn oaths of Optimus Prime and Megatron, brimming with the fervent emotions of mechanical brothers, became the core of their relationship that spanned the cosmos.

With the AllSpark, they were complete Transformers, freed from the curse of infertility!

Megatron sought to reclaim the AllSpark, to return to the golden days on Cybertron, and to fill the universe with their descendants.

Who could understand the pain of an infertile Transformer? Who could grasp the efforts of a leader striving for the survival of his race? Who could fathom the great sentiment of one who would fall into darkness for the sake of his homeland, Cybertron?

Starscream couldn’t understand. Bumblebee couldn’t understand. Not even Optimus Prime could understand!

Megatron’s suffering was his alone to bear, as was the burden of rebuilding his homeland and reviving his race.

For this, he was willing to turn against Prime, to destroy other planets.

But the AllSpark was hidden by humans. America even established a special organization for it—“Sector Seven.”

This organization was formidable, led by a dedicated committee, including a man named General Hawk!

Unlike the comedic agents of the past, the operatives of Sector Seven displayed immense combat prowess and cutting-edge black-tech weaponry beyond standard military equipment.

They even captured Bumblebee, who had sacrificed himself to rescue Mikaela.

They were taken to Sector Seven’s headquarters at Hoover Dam.

Meanwhile, Duke and Epps, leading their special forces team, along with the Secretary of Defense they had just met, were also summoned to Hoover Dam by Sector Seven.

The film’s multiple plotlines converged here, and the battle between the Autobots and Decepticons was about to erupt.

Having obtained the map from Mikaela, Optimus Prime, Ironhide, Ratchet, and the others pursued the trail to Hoover Dam. It was here that Optimus Prime uttered the line that best reflected his ideology—“Freedom is the right of all sentient beings!”

Powerful America, no longer content with Earth, had finally extended its ideals and ideology into the vast cosmos.

Poor Prime became the recipient of this ideology, fully embracing it. From a Cybertronian machine, he became the cosmic spokesperson for America’s so-called democracy and freedom.

For this, he was willing to part ways with his old friend, to abandon the last hope of his race’s revival, to betray his home planet.

Behind the seemingly affable Autobot leader lay a coldness that outsiders could never touch.

For the beliefs instilled in him by America, for the sake of freedom being the right of all sentient beings, as the youngest leader in Autobot history, Optimus Prime would never let any opportunity for victory slip away—and he would pay any price, even if it meant sacrificing the Autobots he cared about.

Beneath Optimus Prime’s sincere, gentle, and upright exterior lay a relatively cold and ruthless spark.

Following Hollywood tradition, every famous American building had its hidden purpose. The Hoover Dam, built in the 1920s and 1930s, was constructed to conceal the AllSpark.

At this point in the film, nearly all suspense had vanished. The only thing left for the audience was to await the ultimate showdown between the Decepticons and Autobots.

When it came to these large-scale battle climax scenes, Michael Bay never disappointed.

When explosions were needed, when crashes were needed, when streets had to be shattered, Michael Bay always delivered with astonishing energy.

As for the AllSpark’s energy signal being blocked by the Hoover Dam’s reinforced concrete, and the Autobots and Decepticons tracking it in their own ways—none of that mattered.

Plot logic? Basic coherence was enough. Even without logic, it didn’t matter.

None of it compared to the grand battle between Autobots and Decepticons.

But one thing Michael Bay, reminded by Ronan, did exceptionally well.

Because both factions of robots in the film adhered to the G1 cartoon designs, with their glowing eyes and faction symbols clearly visible, there was no difficulty in telling them apart. The audience wouldn’t be left confused during action scenes, unable to distinguish who was who.

Especially for major characters like Optimus Prime, Megatron, Bumblebee, Starscream, and Ironhide—even in the most chaotic scenes, they were instantly recognizable.

The film once again entered Michael Bay’s most skilled segment.

There was never any doubt about this commercial director’s ability to deliver explosive action. As long as he restrained his own bad taste, Michael Bay’s special effects and action sequences were guaranteed to be spectacular.

Mikaela and her Bumblebee, carrying the AllSpark, left the defenseless Hoover Dam, meeting up with Optimus Prime and the other Autobots before speeding onto the highway.

The Decepticons weren’t far behind. Frenzy, Bonecrusher, and Scorponok gave chase one after another.

Car chases, fights, collisions, and explosions followed in rapid succession. In just a few minutes of footage, dozens of General Motors vehicles were destroyed, delivering a massive visual impact that sent adrenaline soaring.

At such moments, the one charging ahead was always the bravest and most skilled Autobot leader.

Optimus Prime transformed and set off, first using his black cannon to strike down Frenzy, then engaging Bonecrusher and Scorponok in single combat.

The three Transformers fought from the highway bridge all the way down to the ground below.

Optimus Prime displayed formidable combat skills, his twin thermal blades springing from his hands, slicing through Bonecrusher’s head as if cutting melons. Back on the highway, he caught up to Frenzy just as the Decepticon was getting up, punching through his chest and crushing the evil spark before he could transform and fly away.

The already injured Scorponok knew he was no match for Optimus Prime. The only Decepticon who could truly challenge him was Megatron. He quickly burrowed underground, using his tunneling ability to escape the battlefield.

This battle delayed Optimus Prime’s pursuit of the convoy. Mikaela and the others, now in the city, faced the Decepticon forces—Starscream, Blackout, and the others—especially the aerial units Starscream and Blackout, who worked together to scatter the Autobots and blow off Bumblebee’s legs.

Mikaela wasn’t the helpless female lead of old films. She was the new era’s strong, beautiful, and trendy leading lady. She rescued Bumblebee and teamed up to take down Frenzy…

Though the scenes of her running with her fiery figure and the somewhat inexplicable shots of her stumbling to show off her body might seem odd, the male audience, who made up the majority, loved it.

Why were Mikaela and the little fox so popular? Was it their acting? Their character designs?

Anyone who had seen the movies knew the answer.

In the moment of crisis, Megatron arrived, and the balance of power shifted overwhelmingly in the Decepticons’ favor. The best option was to send the AllSpark away. Thus, Mikaela inevitably stepped onto a path filled with danger and explosions.

The female lead’s constant display of her figure was unstoppable—Michael Bay’s determination to create the universe’s ultimate decorative presence was unshakable.

On screen, the newly created Transformers, driven mad by the AllSpark’s touch, fired wildly at buildings and vehicles, even more vicious than the Decepticons.

Unfortunately, these newly spawned Transformers quickly met their end. Optimus Prime arrived at the critical moment, and after another stunning transformation, the Autobot leader, now ready to unleash carnage, effortlessly beheaded them with his flaming blade.

Then, Megatron spotted Optimus Prime, and the film reached the direct confrontation between the two leaders.

Buildings were effortlessly pierced through, cars were crushed like toys, and streetlights toppled like dominoes. The combat prowess of the two leaders was truly formidable.

This was the scene the audience had been waiting for, the moment countless Transformer fans had been anticipating!

True brothers were meant to fight and kill each other, to beat each other with sticks.

Optimus Prime’s black cannon struck Megatron, and Megatron retaliated with his long, hard weapon. They thrust at each other, their hearts and hands intertwined.

But a third party soon intervened. Led by Duke, the American soldiers joined the fray. Optimus Prime shifted his affections, willing to sacrifice his life for humanity.

Megatron was enraged. “I chased you from Cybertron to Earth, across multiple star systems, and you’re not moved?”

After taking a direct hit from Optimus Prime’s cannon, his hands transformed into a laser cannon, blasting Optimus Prime away.

Los Angeles’ Century City was nearly reduced to ruins, and the Relativity Tower swayed precariously in the background.

Optimus Prime vs. Megatron—it was a fight to the death!

“Mikaela, if I can’t kill Megatron, place the AllSpark into my chest. I will destroy it with my life!”

Optimus Prime quickly realized the solution—only by destroying the oath he had made with Megatron could Earth be saved.

Amid the stirring music, the screen was once again filled with their battle. The two leaders clashed again, fighting in the most common Transformer way—close-quarters combat!

Megatron, radiating malevolence, transformed one hand into a massive, spiked curved blade. Optimus Prime, aside from his left-hand thermal blade, also drew the thermal battle axe from his back—a weapon used countless times in the animated series!

The fight between Optimus Prime and Megatron was simple, brutal, and direct. Under the slashing of blades and axes, parts flew off, and streets and buildings were shattered.

Even though Megatron had a slight advantage, he couldn’t easily defeat Optimus Prime…

The Pentagon had objections. “We sponsored you thirty million dollars, and you’re just going to stand by? Even if we’re the mistress, can’t the mistress rise to the top?”

The third party intervened again. A fleet of F-22 fighter jets arrived, some driving off Starscream and Blackout, others firing missiles at Megatron.

The Decepticon leader was instantly engulfed in explosions and flames. The cunning Starscream, along with Blackout, chose to flee without hesitation.

Optimus Prime seized the opportunity for a final, loving strike, severing one of Megatron’s legs. Megatron fell near where Mikaela was hiding. Seizing the chance, Mikaela shoved the AllSpark—the witness of their love—into Megatron’s chest.

“You left me no choice, my brother.”

After Optimus Prime said these words, the red light in Megatron’s eyes faded completely.

The camera deliberately zoomed in on Optimus Prime’s hand as he picked up a fragment of the AllSpark from Megatron’s chest. Those familiar with Hollywood’s style would guess that this, like Megatron’s body being thrown into the sea later, was setting up for a sequel.

Chapter 1037: Losing Reason

The premiere had ended, and Ronan did not attend the press conference. Instead, he and Jessica Felton prepared to return to their hotel.

As they exited the Hasbro Grand Hall and were about to get into the car, Ronan once again saw the towering life-sized models of Optimus Prime and Megatron standing before the theater entrance. He paused for a moment.

He had never denied his love for Transformers.

No matter what, this series, under Relativity Entertainment, was far more exciting than the one Michael Bay had directed.

This series would likely continue for a long time.

Transformers had left him with mostly fond memories, even if some of them now seemed ridiculous.

The most absurd memory he had of Transformers was a bizarre comic called Huluwa vs. Transformers.

He vaguely remembered the plot.

It seemed that the Transformers had come to Earth, fighting chaotically over the AllSpark—just a wild, unstructured villain purge.

Then the Autobots encountered the Huluwa brothers and sister, while the Decepticons received help from Poseidon, the sea god. Another chaotic battle ensued, and of course, the good guys won—socialist Huluwa defeated capitalist Decepticons.

When the opportunity arose, perhaps he could collaborate with a TV network to develop an animated series like this.

After all, National Television Network had once worked with Hasbro to produce Nezha vs. Transformers.

As for live-action films, a pile of scrap metal exploding for ten years would be no problem at all.

Optimus Prime, without a doubt, was the absolute protagonist, the pillar of the series.

As for Megatron, his fate in the live-action films could be summed up in one sentence—constantly killed, constantly revived!

The audience didn’t need to worry too much.

Profit-wise, the merchandise alone would ensure Relativity Entertainment’s earnings.

For Transformers fans, how many flaws or criticisms the movie had didn’t matter.

A Steelie had once said, Even a hundred years from now, when I’m old and toothless, wrapped in a blanket and rolled out to the balcony to sunbathe, if a red truck pulls up in front of my building, I will still flip over, grab my wooden gun, and ask with bright, determined eyes: “Optimus Prime! Where are we saving the Earth today?”

From the other side of the car, Jessica Felton, busy scrolling on her smartphone, noticed Ronan’s daze and softly reminded him, “What are you thinking about? Get in the car.”

Ronan ducked into the car and said to the driver, David, “Back to the hotel.”

Jessica Felton asked with concern, “Are you alright?”

Ronan smiled and said, “The movie made me a little sentimental.”

“It shows,” Jessica Felton said, linking her arm with his. “You really love Transformers.”

Ronan didn’t deny it. “When you love something as a child, your biggest dream is to see it again, and when you do, you want it to be even better than before…”

Jessica Felton bluntly said, “Dear, that’s a bit sappy.”

Ronan shook his head. “It’s not sappy. It’s that childhood is gone and can never return.”

Only in front of Jessica Felton would Ronan ever show such emotions. With anyone else, he would never reveal them.

Jessica Felton leaned in for a light kiss and waved her phone. “Let’s talk about something happy. Fans have already started sharing their thoughts on the premiere through Netflix sharing.”

Ronan pushed aside his nostalgia, took the phone, and quickly browsed through the comments.

“The effects in Transformers are incredible. If this movie sits at the pinnacle of CGI effects, last year’s Pirates of the Caribbean 3 and this year’s Spider-Man 3 can only draw circles on the steps beside it. The effects are on a completely different level. Transformers makes it hard to believe these giants are computer-generated—they feel like they exist in reality.”

Ronan was confident about this. If someone claimed the movie had a great story or profound themes, that would be nonsense.

But in his eyes, Transformers was grand in scale, visually stunning, and used the most advanced special effects in the industry.

Inside the Hasbro Grand Hall, professionals from Cinemascore were tallying the reactions of ordinary moviegoers.

Unlike the frenzied Steelies, they were more concerned with the opinions of average audiences.

“I was blown away, mostly by the special effects. Many scenes left me stunned. Visually, this movie is flawless.”

This was the opinion of a young woman, and most ordinary viewers agreed.

“This film has incredible grandeur and spectacular visuals. The story is simple, but the technical effects are impeccable.”

Transformers wasn’t meant to teach life lessons or pretend to be artistic. It wasn’t for audiences to flaunt their taste in forums or in public.

This film had only two purposes: first, to take money from the audience’s pockets, and second, to make sure they felt it was worth every penny.

On platforms like IMDb and Netflix sharing, where audiences could post their reviews, a flood of comments appeared immediately after the premiere.

Ordinary viewers overwhelmingly favored Transformers.

“I’ve lost my mind after watching Transformers! I want to buy Optimus Prime! I want to buy Megatron! I want to buy Bumblebee!”

“The classic Transformers—even if the premiere was just a bunch of posters, fans like me would be so excited we’d go into shock. I tried to stay calm, but as soon as the movie started, I lost all reason.”

“The film can only be described as dazzling. When the mechanical sounds of transformation echoed one after another, the entire theater was left breathless…”

One Steelie even uploaded a photo of themselves in tears after the movie on Netflix sharing, with a caption:

“Tonight, I felt like I was back in the days when I hated being called Bumblebee, when everyone wanted to be Megatron. Back then, the Decepticons were far more popular than the Autobots. Looking back, the Autobots never won fairly—it was all the director and writers helping them. That’s why so many of my peers back then would say in Megatron’s voice—‘The enemy has been detected. Prepare to fire…’”

The next day, Cinemascore released the on-site audience ratings, averaging an “A”!

Then, Transformers began its wide release across North America. From the first day of screening, the previously sluggish North American film market reignited with excitement.

Most ordinary moviegoers were full of praise.

“I was completely blown away by Transformers! Those 110 minutes made me feel like a kid again. Incredible!”

“This was a spectacular experience, unlike anything I’ve seen before!”

“This was freaking awesome! Transformers is unparalleled, incredibly shocking, unstoppable!”

“Every second is packed with action. After watching, you might not be able to resist the temptation to add another eight dollars to the box office.”

On the first day of release, as IMDb lifted its restrictions, Transformers scored an average of 8.3 on the site!

On Rotten Tomatoes, however, the reception was disastrous—rotting from the start.

From the moment Michael Bay was chosen as director, Ronan had anticipated this outcome.

The feud between Michael Bay and film critics could fill two days of discussion.

Critics were far from fond of Michael Bay’s new film.

“This noisy, crude film will leave you in more pain than joy.”

“A nauseating, force-fed commercial for cars, toys, and war!”

Many professional reviews used sharp, biting, even abusive language to mock Michael Bay, which was the politically correct stance in the film criticism industry.

Todd McCarthy from The Hollywood Reporter launched a full-on assault against Michael Bay.

“From the moment Michael Bay, who only knows how to blow things up, became the director of this film, Transformers lost its last chance of being even a passable movie. He has no plan, no style, can’t tell a story, and doesn’t understand pacing. He only knows how to pile on special effects, chasing the biggest and loudest.”

However, this was destined to remain a niche opinion. No matter what they said, it couldn’t change the fact that audiences were lining up outside theaters to buy tickets for Transformers. The theaters themselves were confident in the box office.

On the first day of its North American release, Transformers eased the slightly anxious minds of everyone at Relativity Entertainment and Hasbro.

With 4,311 theaters across North America, the film grossed $39.65 million on its first day, making Transformers the top-grossing film in North America for a single day.

Under the explosive impact of Transformers, 10,000 BC, which was already struggling, saw no improvement, earning less than $6 million that day.

As for the other film released at the same time, The Wedding Crasher, it was completely negligible.

On the second day of release, 10,000 BC remained stagnant, while Transformers, boosted by the weekend effect, saw another increase in box office, closing the day at $41.95 million.

The opening weekend passed quickly. 10,000 BC earned only $12.34 million in its first North American weekend, making massive losses inevitable.

Transformers, however, dominated 4,311 theaters across North America, grossing a staggering $114.62 million, easily claiming the top spot on the North American box office chart.

The box office results fully demonstrated the popularity of Transformers. Audiences chose to see Transformers in theaters for the Autobots and Decepticons, for the explosions, and to stimulate their visual and auditory senses.

Frenzied audiences, high screening rates, and sufficient screens all guaranteed Transformers’ impressive opening weekend.

After so many years, Transformers had cultivated a massive fanbase in North America, as the Los Angeles Times put it:

“As a sentimental bond connecting those born in the seventies and eighties, Transformers holds a particularly prominent position. Thus, there are now Transformers fan clubs, annual conventions, and online fan interactions, all of which provide the most basic audience for the Transformers live-action film.”

Chapter 1038: A Popular Victory

Time flies, and the children of yesteryears have long grown into adults, some even starting families of their own. Yet, like Ronan, many still hold a special place in their hearts for their childhood friend, Transformers.

Since the 1990s, as the fanbase matured and new toy lines were released, Transformers enthusiasts around the world became increasingly active. As early as 1994, the first BotCon Transformers convention was held in the United States, eventually evolving into an annual event.

This gathering became the largest congregation of hardcore Transformers fans worldwide.

Their passion for the franchise was undeniable.

For many, this film was the realization of a childhood dream. The moment Optimus Prime and Megatron transformed on the big screen, the movie became an eternal memory.

On the other hand, this also highlighted a problem—the plot was incredibly thin, leaving little lasting impression beyond the action and explosions. The only thing truly memorable was the transformation itself.

Inevitably, some fans felt the movie fulfilled their dreams, while others believed it ruined their cherished childhood memories.

Yet, aside from a few stubborn holdouts, the vast majority of Steelies kept returning to the theater.

Whether driven more by love or resentment, even the most devoted fans couldn’t say for sure. All they did was buy tickets, watch their childhood companions come to life in the most realistic way possible, then buy more tickets, rewatch the film, analyze every slow-motion sequence to understand the transformation and fight details, and revel in the joy of it all. Their enthusiasm for related merchandise was equally boundless.

This was one of the reasons Transformers continued to dominate the box office.

Despite nearly universal criticism from film critics, it did nothing to dampen the audience’s enthusiasm.

Most viewers agreed that the action and visual effects delivered an incredible sensory experience. Online, voices echoed: “The theater isn’t a classroom—who cares about depth and philosophy?”

After all, how many people go to the movies to ponder life or social philosophy?

Film was born as entertainment, later elevated to art, but at its core, it remains a form of amusement.

Meanwhile, at a famous port in the East, countless containers filled with Transformers merchandise passed through customs, loaded onto massive cargo ships, and set sail for destinations worldwide.

Only after the last ship departed did the staff at Embassy Pictures’ Eastern branch finally breathe a sigh of relief.

This was the sixth shipment since May. Judging by the company’s distribution efforts, Transformers merchandise was clearly a global hit.

Compared to Hasbro’s products, Relativity Entertainment’s movie merchandise maintained high quality while cutting costs by nearly two-thirds. Production was fast, quality control strict, and supply abundant.

For export goods, local factories prioritized these orders, adhering to the strictest standards.

The low costs left Relativity with massive profit margins.

The manager of Embassy Pictures’ Eastern branch didn’t need to see the reports to know that Relativity’s orders had sustained many local contract manufacturers.

Between Cars and Transformers alone, Relativity had placed orders worth one hundred million yuan in the region.

Though this inevitably led to a surge in counterfeit products, the manager, well-versed in local conditions, knew the truth: even without Relativity’s collaboration, would piracy have been any less rampant?

Born and raised here, he knew the answer all too well.

Turning to the driver, he said, “Let’s go, back to the city. We’re going to see Transformers too.”

In his youth, he had watched countless Transformers cartoons and bought Optimus Prime and Megatron toys from street vendors.

Around 1990, major television stations in the region began airing Transformers, and like many others, he became deeply attached to the franchise.

In those golden days, vibrant colors and dazzling transformations filled his vision, while the sounds of mechanical friction and energetic rock music filled his ears. The fantastical sci-fi concepts and endless technological jargon kept young minds racing.

Back then, they were like little spectators on the edge of a cosmic stage, experiencing the full spectrum of emotions through battles of good versus evil, beauty versus ugliness, and right versus wrong.

In an era when domestic protectionism was still vague and censorship loose, Transformers easily passed approval and entered the Eastern market during the summer season.

China Film Group, the distributor, was highly optimistic about Transformers, even considering it a strong contender for the year’s box office crown in the Eastern market.

China Film Group, in collaboration with Wanda, New Film Association, and New Century cinemas, launched the “Transformers Mobilization” 20th Anniversary Special Exhibition. Hundreds of new and classic toy versions were available for fans to try and purchase, including several discontinued limited editions provided by Hasbro and Relativity.

Special promotions like student discounts and half-price early and late shows were introduced to attract more fans.

The generation that grew up in the 70s and 80s now formed the backbone of the Eastern film market.

Even during the summer, Transformers became a cultural phenomenon, quickly dominating theater schedules with the highest screening rate.

In major first-tier cities, cinemas scheduled a Transformers showing every thirty minutes. In theaters with stronger ties to Relativity, the interval was as short as fifteen minutes during the first week, with a screening rate exceeding sixty percent.

Unsurprisingly, Transformers shattered box office records in the Chinese market.

On its opening day, it grossed nearly thirty-five million yuan, the highest single-day box office in Eastern film history. The next day, it broke its own record with thirty-nine million yuan—a staggering figure for the market at the time.

By the end of its first weekend, it had surpassed one hundred million yuan, setting new records for the highest weekly box office and fastest pace to reach that milestone. Excluding Titanic, whose data was incomplete, Transformers became the most successful imported film in the Eastern market.

The franchise held immense appeal in the region.

Given the current limitations of theaters and market development, the potential for Transformers in the East in the coming years was beyond imagination.

At one point, it even became the all-time box office champion, holding that title for a long time—until a certain film with self-purchased tickets appeared.

The record-breaking performance immediately sparked a media frenzy in the East. The attention drew even more audiences, many of whom, unlike the initial Steelies, had no nostalgic connection to the franchise.

“Transformers will be this year’s box office champion in the Eastern market. It embodies everything a blockbuster should—especially its high-tech spectacle, which delivers a powerful impact. Not only does it satisfy the transformative nostalgia of the post-80s generation, but under its massive influence and media coverage, it has also captured the attention of trendy audiences.”

This comment from an official media outlet across the Pacific perfectly summarized the Transformers craze sweeping the East.

To promote the film, Embassy Pictures’ Eastern branch went to great lengths, even hyping up the fight choreography—inspired by free-style martial arts—as a tribute to kung fu.

As long as the commercial returns were high, none of this was an issue.

Of course, not everyone in the region welcomed this foreign invader.

Some local arthouse directors and producers publicly complained in the media, escalating their grievances: “Our theaters would rather give screens to American films than domestic ones. Look at Transformers’ screening rate! Why not go all the way to a hundred percent? Have you no shame left?”

But most people weren’t so shortsighted. Soon, local filmmakers countered, arguing that “audiences should have the right to choose.”

In the past, the film market had been relatively closed, lacking sufficient competition. Many had grown accustomed to easy wins. Now that the wolf had arrived, instead of strengthening themselves to fight it, they blamed those who let the wolf in.

This wasn’t the environment’s fault. After all, theaters operated on commercial principles—whatever film drew audiences got more screenings. It was basic market logic.

To some extent, if one chose the path of arthouse cinema, they shouldn’t criticize the market, especially not under the banner of nationalism.

Take Transformers—did its high box office in the region really mean most of the money went to Hollywood?

Embassy Pictures only took a thirteen percent share.

The high box office meant higher earnings for the local film fund, business taxes, domestic distributors, theaters, and even potential subsidies for arthouse films.

Under the current system, screening rates were determined by market response—a business decision aimed at maximizing profit.

And as artists, those who chose this path must understand that high art often means niche appeal. If they opted for the heights, they shouldn’t resent the standards of popular taste.

Chapter 1039: Endless Business Opportunities

As Transformers continued its global release, market data from all regions was promptly compiled and sent to Ronan’s office. One report after another, delivered by Connie, landed on Ronan’s desk.

“Just received a notice from Embassy Pictures’ Eastern branch,” Connie said, placing a document down. “The latest batch of Cars and Transformers merchandise—seventy-five shipping containers in total—has been loaded and set sail from the East. The official report will arrive this afternoon.”

“Good,” Ronan replied. “Send a notice to Garcia. We must ensure a steady supply of derivative products. Prepare for the next phase and place orders with the Eastern factories in advance.”

“I’ll handle it right away,” Connie said immediately.

Ronan quickly flipped through the documents on his desk. Transformers had already grossed nearly one hundred million dollars in its first week overseas, with the global box office now exceeding two hundred million. The film was set to open in even more countries and regions, ensuring a rapid climb in international earnings.

The merchandise sales were equally impressive. Excluding Hasbro’s contributions, Relativity Entertainment’s promotional and sales channels alone had generated approximately seventy-five million six hundred thousand dollars in North America from derivative products. Overseas figures were still pending, but the revenue was expected to surpass North America’s.

The long-accumulated passion and nostalgia of the Steelies had erupted with the promotion and release of the live-action Transformers film.

Connie knocked and entered, saying, “Hasbro’s Chief Executive Officer, Brian Goldner, is here. He’s waiting in the reception room.”

Ronan set aside his work and went to the reception room. As soon as he entered, Brian Goldner greeted him with an enthusiastic hug.

The head of Hasbro, grinning from ear to ear, exclaimed, “This is a tremendous success! We’ve waited so long for this day!”

For years, he had been urging Relativity Entertainment, and now, with the live-action Transformers film released, Hasbro—despite its significant investment beyond just the rights—was undoubtedly one of the biggest winners.

Ronan smiled and said, “Good things take time. Isn’t the long wait precisely for today’s success?”

Brian Goldner laughed heartily. “You’re absolutely right.”

Clearly in high spirits, he continued, “Over the past period, Transformers have temporarily surpassed Barbie dolls to become the most popular toy in America. More than a decade ago, Transformers were already a sensation, and now, riding the wave of the Transformers movie, Bumblebee, Optimus Prime, and Megatron are making a comeback!”

Mattel and Hasbro were the two largest toy manufacturers in North America, locked in fierce competition, each vying to outdo the other.

Ronan said, “Relativity Entertainment and Hasbro working together can achieve even greater success.”

Brian Goldner was now brimming with confidence in Ronan and Relativity Entertainment. He shook Ronan’s hand firmly and said, “I’ve always believed in that.”

He then asked, “When will the G.I. Joe series be launched?”

Ronan paused briefly before replying, “There’s no rush. Let’s first gauge the market response before making a decision. The more thorough the preparation, the higher the chances of success when the project launches.”

“Regarding films…” Brian Goldner said without hesitation, “Hasbro will follow Relativity Entertainment’s lead.”

At this point, Hasbro had not yet become the Hasbro of the 2010s and was not bold enough to independently invest in film production.

In the past, Hasbro had been dissatisfied with how most of the profits from their toy-based film adaptations were taken by Hollywood producers and distributors. Relying on their existing animation production department, they established their own film production company and began investing in live-action films based on their toys.

However, film production was not an easy path. The American film industry was essentially Hollywood—a highly exclusive circle. Ryan Goldner and David Ellison had taken a more circuitous route.

Hasbro’s failure was predictable. The high-budget, large-scale Battleship flopped spectacularly.

Brian Goldner did not stay long. After discussing a few matters regarding G.I. Joe with Ronan, he hurriedly took his leave and headed downstairs to Embassy Pictures.

He was well aware that while Ronan made the decisions, the specifics of marketing and distribution still required coordination with the distribution company.

Back in his office, recalling Brian Goldner’s words, Ronan specifically reviewed the survey data on G.I. Joe. After all, Duke and Epps had already appeared in Transformers.

Perhaps due to the lack of a dedicated post-credits scene, or perhaps because names like Duke and Epps were relatively common in the United States, their appearance did not spark significant attention. Only fans of G.I. Joe toys and animations noticed their presence.

Relatively speaking, discussions within this group had not truly spread widely. Online information about this had not yet reached a flood-like level.

Regarding the live-action G.I. Joe film, the current focus was on scriptwriting and other preparatory textual work.

Once such a film was officially scheduled, it would mean an investment of hundreds of millions of dollars. Ronan, of course, had to be cautious and even considered waiting until after the release of Transformers 2 before formally preparing for it.

After dominating the Independence Day holiday, Transformers quickly faced a formidable competitor in its second weekend. Warner Bros’ new installment in the Harry Potter series chose the weekend immediately following Independence Day for its wide release.

The young wizard, waving his little magic wand, had reached Harry Potter and the Order of the Phoenix.

As the second-largest IP in the Hollywood and global commercial film market after Star Wars, the power of Harry Potter was undeniable.

The young wizard’s irresistible charm for teenagers had effortlessly secured the North American box office crown for the week.

However, Harry Potter and the Order of the Phoenix’s North American opening weekend gross of seventy-seven million one hundred thousand dollars was only average for the series.

Transformers dropped to second place.

During the opening weekend and the subsequent four weekdays, the film had consumed too much of the Steelies’ enthusiasm, leading to a slightly larger drop in the second weekend’s box office—nearly fifty-five percent.

But for Relativity Entertainment, a North American second-weekend gross of fifty-one million five hundred twenty thousand dollars was entirely acceptable.

Combined with the previous four weekdays’ earnings, Transformers had smoothly surpassed two hundred million dollars in North America, reaching two hundred two million thirteen thousand dollars.

As for 20th Century Fox’s second “dragon ball,” 10,000 BC, it had completely sunk. This weekend, it grossed less than four million dollars, and its total North American box office since release was under thirty million dollars.

Even the most optimistic individuals knew that the film’s North American box office would struggle to reach forty million dollars, let alone fifty million.

With two hundred million dollars in North America in just ten days, the toy-based film Transformers had achieved tremendous success. Moreover, its final North American box office was highly likely to exceed three hundred fifty million dollars.

Overseas, the number of countries and regions screening Transformers continued to grow. This week, the overseas box office increased by nearly ninety million dollars, bringing the film’s global total to nearly four hundred million dollars.

Under these circumstances, not producing a sequel would be an outrage—even God would be furious!

Shai Entertainment, in collaboration with Hasbro, held a press conference announcing the official greenlighting of Transformers 2. The original creative team, including director Michael Bay, male lead Henry Cavill, and female lead Candice Swaneepoel, would all return for the sequel.

And, of course, the true male lead—Optimus Prime!

Apart from the box office, the film’s earnings from merchandise and derivative products were equally staggering.

By the second weekend of its North American release, the latest data reports showed that since Transformers’ wide release, each theater had sold an average of fifteen hundred Transformers toy models, generating an average of one hundred fifty thousand dollars per theater from this alone.

The development of derivative products was a major trend in Hollywood films, and Transformers, being a toy-based movie, was no exception.

Although the toy rights belonged to Hasbro, according to the early agreement between the two parties, Relativity Entertainment held an absolute dominant position in film-related derivative products, sharing sixty percent of the profits from each item.

For other image and text licenses, as the owner of the film rights, Relativity Entertainment could share eighty percent of the profits.

Beyond the essential toys, dolls, stationery, and T-shirts, Relativity Entertainment had also launched Transformers novels and photobooks, which sold equally well. In just ten days, over one million copies had been sold.

Transformers series toys or other merchandise outside the film had no connection to Relativity Entertainment.

However, driven by the live-action film, sales in this area had also skyrocketed. Any Transformers-related merchandise had become a hot item this summer, and Hasbro, as the rights holder, was raking in profits.

The internet was another significant sales channel. Websites like eBay, Amazon, and Netflix Rental had set up dedicated Transformers sales sections. All kinds of film-related merchandise had become online bestsellers. The ninety-nine-dollar movie version of the leader-class Optimus Prime model, engraved with the slogan “Freedom is the right of all sentient beings,” had topped the sales charts on these sites.

Beneficiaries also included numerous sponsors. For example, Chevrolet’s Camaro was one of the most popular sports cars in North America. Candice Swaneepoel, the film’s female lead, had become a red-hot Hollywood newcomer, and the CT sunglasses she wore in the film, priced at thirty-nine dollars, had become a hot product after the film’s release.

A blockbuster film always created countless business opportunities.

Additionally, Shai Entertainment was preparing to collaborate with Hasbro to launch a new animated series, Transformers: Prime!

Compared to the highly motivated Relativity Entertainment and Hasbro, 20th Century Fox was in low spirits.

Chapter 1040: Ambition

New York, Upper East Side. James Murdoch stepped out of his apartment and met Jim Prather, who was waiting for him. Together, they got into a car and headed toward the newly purchased mansion of Rupert and his wife.

“How are things?” James Murdoch glanced at the somewhat overcast sky through the car window. “Is there any hope of salvaging things overseas?”

Jim Prather knew he was referring to 10,000 BC. As a professional manager, he had to be honest: “Overseas might be even worse than North America.”

James Murdoch was not one to hesitate: “Don’t invest any more overseas. Let’s cut our losses.”

“Understood.” Jim Prather felt a pang of guilt. “I take responsibility for the failure of these two projects…”

James Murdoch waved his hand dismissively. “Now is not the time for that. Haven’t you had some successes recently? The Simpsons did quite well.”

For now, he had no intention of making Jim Prather the scapegoat.

In Hollywood, every studio had its share of successes and failures. This summer, 20th Century Fox had released three films—Pharaoh and the Gods and 10,000 BC had flopped commercially, but The Simpsons had been a hit.

The film, adapted from the animated series, had been in theaters since early June and had already grossed over one hundred and fifty million dollars in North America.

Jim Prather fell silent. Deep down, he didn’t want to be held accountable either.

Though two out of three summer films had failed, this was not uncommon among Hollywood’s Big Six. However, the production budgets for Pharaoh and the Gods and 10,000 BC had both exceeded one hundred million dollars, while The Simpsons had been a mid-sized production.

Still, The Simpsons had turned a decent profit, which would help offset the losses from the other two films.

James Murdoch suddenly asked, “Jim, do these two failed films have anything in common?”

“Hmm…” Jim Prather had already given this some thought. “They’re both historical war epics.”

James Murdoch asked, “Are there any other projects of this type in the pipeline?”

Jim Prather replied, “There’s Robin Hood, with a budget of one hundred and thirty million dollars…”

The moment the number was mentioned, the air in the car seemed to freeze.

Even for a company like 20th Century Fox, over one hundred million dollars was a massive investment.

Though they couldn’t pinpoint the exact issue, Hollywood studios had their own survival instincts and ways of evaluating projects. James Murdoch asked, “Can the Robin Hood project be terminated?”

Jim Prather shook his head with a bitter smile. “It’s already in post-production. We’ve invested hundreds of millions. Terminating it now would be a huge loss.”

“Then finish it.” James Murdoch made the decision swiftly. “After completion, organize several screenings to gauge the reaction before deciding on the scale of marketing and distribution.”

20th Century Fox would learn from the failures of Pharaoh and the Gods and 10,000 BC. Each of these epic films had cost two hundred million dollars in total, including production and marketing, and there was little chance of recouping that in the short term.

Since the turn of the century, the marketing and distribution costs of big-budget films had been rising, sometimes even surpassing production budgets.

Jim Prather quickly agreed. “Understood.”

Abandoning Robin Hood, which was already in post-production, was impossible. However, the consecutive failures of two historical epics had made the executives at 20th Century Fox, including Jim Prather, extremely cautious about the genre.

“I’ve already issued an official notice,” Jim Prather added. “For the foreseeable future, 20th Century Fox will not greenlight any more epic projects.”

James Murdoch nodded slightly. “A timely decision.” He thought of something else and reminded him, “Also, Ridley Scott and Roland Emmerich—20th Century Fox won’t be working with them for the next few years.”

“I understand.” Jim Prather said, “The management has already reached a tacit agreement.”

Such things were never said outright, but no one wanted to work with failures.

James Murdoch asked, “What about the other big-budget projects?”

Jim Prather replied, “No more epics. The major projects currently in production or planning include the X-Men spin-offs, the disaster film Super Storm, the sci-fi sequel Terminator 4, and the big-budget game adaptation Dragonball Evolution.”

Hearing this, James Murdoch felt relieved. “Abandon all epic projects except Robin Hood and redirect the saved funds and resources into these.”

Jim Prather agreed again. “Understood.”

The car left Manhattan and arrived at Long Island, stopping in front of a luxurious estate.

Upon entering, James Murdoch exchanged greetings with his siblings—his potential rivals—before being summoned by Rupert Murdoch to the study.

Compared to his other children, Rupert Murdoch favored James Murdoch and had granted him significant power, first over the UK media, led by Sky TV, and then over 20th Century Fox.

To the outside world, this was an unmistakable signal: the future of the Murdoch family’s media empire would be in James Murdoch’s hands.

James Murdoch believed this as well.

“I heard Fox had two big flops this summer?” Rupert Murdoch asked directly.

“Pharaoh and the Gods and 10,000 BC,” James Murdoch admitted. “They might cause some short-term losses for the company.”

Rupert Murdoch sat behind his desk and pushed a few documents forward. “Don’t be careless. Keep a close eye on the company’s cash flow.”

James Murdoch picked up the documents and said, “I understand, Father.”

In reality, most of the funding for these two projects came from 20th Century Fox, with some from investment institutions. At the very least, 20th Century Fox’s losses wouldn’t be as severe as they appeared.

But this brought other problems. The investment institutions had lost confidence in 20th Century Fox and were unwilling to continue funding its other big-budget projects.

This forced 20th Century Fox to use its own funds to complete major projects like Wolverine, Super Storm, Terminator 4, and Dragonball Evolution.

There was also the issue of bank loans. A significant portion of the funding for Pharaoh and the Gods and 10,000 BC had come from bank loans.

Before coming to New York, some banks had already started demanding repayment, and a few were even considering recalling loans for other film projects.

20th Century Fox faced numerous challenges, but James Murdoch remained calm. He was confident in his ability to resolve these issues.

After years of effort, he had turned the UK media business into his own domain. Now, it was time to shift his focus back to 20th Century Fox.

Rupert Murdoch cautioned, “The film industry has its peculiarities. Don’t take it lightly.”

James Murdoch immediately assured him, “Father, I will prove myself just as I did in the UK.”

Rupert Murdoch was quite satisfied with his youngest son’s achievements in the UK. He nodded slowly, then suddenly changed the subject. “I have a plan, and News Corporation has been preparing for it for some time.”

James Murdoch had never heard of this and asked curiously, “Father, what plan?”

Rupert Murdoch said, “I intend to make an acquisition offer to Time Warner and its subsidiary, Warner Bros!”

Even James Murdoch, with all his experience, was momentarily stunned.

The plan was truly shocking!

“Why Time Warner and Warner Bros?” This contradicted James Murdoch’s own plans.

Only James Murdoch would receive such an explanation from Rupert Murdoch. “Time Warner’s media business has been declining since its split with AOL, but they possess some of the best content in the world. The Harry Potter series alone has generated nearly ten billion dollars for Warner Bros.”

He glanced at James Murdoch. “Additionally, Marvel’s films have proven that the era of superheroes has arrived. We missed out on Marvel, but DC Comics has just as much, if not more, potential. News Corporation’s media business combined with Warner Bros’ top-tier content—this would be a union of strengths and a perfect complement. If the plan succeeds, we will become the largest media conglomerate in the world, and 20th Century Fox will become the leading studio in Hollywood.”

James Murdoch couldn’t help but say, “It’s too difficult.”

Rupert Murdoch replied, “That’s why it’s still just a plan. I’ll release the news to gauge Warner’s reaction.”

“Father!” James Murdoch hesitated before speaking. “According to you, News Corporation needs high-quality content, and 20th Century Fox can no longer meet the demand. I completely agree. But Warner Bros isn’t the only option, is it?”

Under Rupert Murdoch’s gaze, James Murdoch continued, “Relativity Entertainment! A young, dynamic company with countless high-quality projects. If we could acquire Relativity Entertainment…”

“Do you think I haven’t considered that?” Rupert Murdoch said coolly. “Relativity’s shares are too concentrated. Acquiring it would be even harder than merging with Warner Bros.”

James Murdoch wasn’t ready to give up. “What if Ronan Anderson agrees?”

Rupert Murdoch said, “I’ll consider it as a backup option.”

Chapter 1041: Once Upon a Mountain

By mid-July, the most attention-grabbing news in the North American business world was News Corporation’s acquisition proposal to Time Warner’s wholly-owned subsidiary, Warner Bros.

This sent shockwaves through the media and entertainment industry, as the success of this proposal would mean the birth of an unprecedented super entertainment media conglomerate in the United States and even the world.

Upon receiving the news, Ronan immediately convened a meeting with the senior executives of Relativity Entertainment. He then held a private discussion with Robert Iger and Chief Financial Officer Mary to prepare for the potential massive changes in the industry.

“I don’t think Warner will accept News Corporation’s proposal,” Robert Iger shared his insights. “Although the split between America Online and Warner a couple of years ago had a significant negative impact on the entire Warner group, causing their media business to stagnate, Warner’s development in the entertainment business has been sufficient to compensate for these losses and even bring in more revenue.”

He further added, “If the two companies merge, given Rupert Murdoch’s strong influence, the original management and major shareholders of Warner would find it difficult to safeguard their own interests.”

From the perspective of the cash flow, Chief Financial Officer Mary stated, “Given the current situation of both companies, even if Warner agrees to the acquisition, News Corporation would have to offer a price of over sixty billion dollars.”

Robert Iger nodded slightly, “Possibly even more.”

Mary continued, “News Corporation and its subsidiary, 20th Century Fox, are entirely focused on the entertainment media industry. In recent years, Fox’s performance has been poor, and the media industry, which is the pillar of News Corporation, has not been able to generate significant cash flow. Rupert Murdoch’s acquisition can only be completed through a combination of stock exchange and cash, with the former being the primary method.”

She paused briefly before adding, “Even if the deal is successful, it would weaken the Murdoch family’s control over News Corporation.”

Ronan had been contemplating and finally said, “We should prepare for both possibilities.”

Robert Iger agreed, “We must prepare for the worst.”

“This merger would not be good news for any other entertainment media company,” Ronan slowly stated. “It would mean the emergence of a colossal company that could bring immense impact and even a crushing advantage over other companies in the industry.”

Mary did not comment, but Robert Iger looked serious.

The merger of News Corporation and Warner was definitely not in the best interest of Relativity Entertainment.

Robert Iger said, “We are not the only ones who don’t want News Corporation’s plan to succeed. Other giants in Hollywood and the media industry probably don’t want to see this happen either. Based on the data we have on News Corporation and 20th Century Fox, the biggest challenges to Rupert Murdoch’s plan are the opposition from Warner and the issues of funding and shares.”

At this point, Ronan reminded, “There’s also the political factor! Antitrust!” He said to Robert Iger, “Bob, you should contact other companies in Hollywood and the media industry.”

Robert Iger understood Ronan’s intention: “Prepare to restrict News Corporation’s plan through policy.”

Ronan nodded slightly, “I believe every company will take some action.”

Large companies often have connections with authorities in Washington, D.C., Congress, and other institutions.

After the small meeting ended, Ronan returned to his office. Connie had already sent over the latest report.

Before reading it, Ronan carefully recalled to ensure he remembered correctly. He had seen related news on the other side of the Pacific. Rupert Murdoch’s News Corporation had tried to acquire Warner more than once but had never succeeded. Eventually, Disney acquired the struggling 20th Century Fox film company.

The Hollywood Big Six thus became the Big Five, and Walt Disney even changed the Fox brand name.

The failure of News Corporation’s acquisition of Warner had caused quite a chain reaction.

However, Ronan also remembered that the specific timing was unclear, but it should have been after 2010.

News Corporation now had such plans and attempts, which might be due to some effect brought by Relativity Entertainment.

Ronan composed himself and quickly read through the materials sent by Connie.

These were detailed materials about the acquisition plan between News Corporation and Warner, carefully collected by Relativity Entertainment’s Market Research Department.

This acquisition proposal was made on a weekday in July at a luncheon hosted by the American Newspaper Publishers Association at their Manhattan headquarters.

The actual participants were Rupert Murdoch’s top assistant, Chase Carey, and Time Warner’s Chairman and Chief Executive Officer, Jeff Bewkes.

The former tentatively proposed this plan to the latter, and the news subsequently spread. News Corporation also confirmed it in media interviews.

However, Warner has not made any response so far.

If the deal is successful, the merger of News Corporation and Time Warner would integrate the two media giants.

Time Warner’s profitable cable channels such as TNT, TBS, CNN, and HBO would be integrated with 20th Century Fox’s FX, Fox News, and Fox Broadcasting Network.

Warner Bros. and 20th Century Fox Film Corporation would also merge, and the combined company would dominate the film and television studio business.

This would be a super giant conglomerate even more terrifying than Walt Disney for the U.S. entertainment media industry.

Relativity Entertainment also quickly prepared for the worst-case scenario.

Regardless of the outcome, the most important thing was Relativity Entertainment’s own strength.

Without sufficient strength, any large company could easily overwhelm them.

This summer season, Relativity Entertainment was in full swing.

“The Incredible Hulk” had been screening in North America for fourteen weeks and was officially taken off the theater schedule. Its North American box office finally reached two hundred and sixty-one million, two hundred and eighty thousand dollars.

Currently, the global box office for this film had exceeded four hundred million dollars, and overseas screenings would continue for a long time.

Through box office shares and income from TV series and DVDs, Relativity Entertainment had no problem recovering the entire investment in “The Incredible Hulk.”

Even the possibility of creating tens of millions of dollars in profits was significant.

The success of this film further showcased the charm of Marvel superheroes to the market.

More importantly, with the film’s popularity, the concept of the Avengers was spreading worldwide.

These were the foundations for the future success of “The Avengers.”

Without the groundwork laid by these films, “The Avengers” would not have achieved such tremendous success.

The massive sales of “The Incredible Hulk” attracted more fans beyond comic enthusiasts. Many people were also paying attention to the next Marvel Avengers series film, “Thor,” which would not be released for several months. “Thor” already had considerable buzz.

Embassy Pictures and Marvel Entertainment were also conducting some targeted promotional activities.

Additionally, the DVD sales of “District 9,” which had already been taken off the theater schedule, were impressive. In the two weeks since its release, North American sales reached thirty-eight million, nine hundred and fifty thousand dollars.

This was not comparable to films like “Lord of the Rings,” “Pirates of the Caribbean,” and “The Bourne Ultimatum,” which sold over a hundred million dollars in DVDs in their first week in North America.

But no one would consider “District 9” to be of that caliber.

Compared to the investment, Relativity Entertainment had made a fortune with “District 9.”

Meanwhile, “Transformers” had spent its third weekend in North American theaters. Corresponding to the number of weeks since its release, the film further slipped in the North American box office rankings, dropping to third place.

However, this third-place ranking was substantial.

The decline in “Transformers” box office in North America had significantly narrowed. In its third weekend, it grossed twenty-seven million, one hundred thousand dollars in North America, bringing its cumulative North American box office to two hundred and forty-eight million, nine hundred and ten thousand dollars.

The overseas performance remained steady. Such a special effects blockbuster was truly popular in the global market. Over time, the film’s box office outside North America gradually caught up with the North American box office, and surpassing it was just a matter of the next few days.

“Transformers” would achieve the feat of breaking five hundred million dollars in global box office on the following Tuesday or Wednesday.

In contrast, the sales of the film’s merchandise remained high. It was hard to say about Hasbro’s products, but Relativity Entertainment’s global distributors, through Embassy Pictures, had been receiving continuous calls urging for more stock after less than two weeks of distribution.

To meet market demand, with sufficient orders guaranteed by Relativity Entertainment, the number of overseas contract manufacturers had increased to twelve.

The film’s DVD was also being urgently pressed, with Relativity Entertainment’s first batch of DVD orders reaching ten million copies.

“Harry Potter and the Order of the Phoenix” was ranked ahead of “Transformers.” The charm of the young wizard had never been in doubt, and the gradually growing Golden Trio of Gryffindor would unleash even greater appeal in the future.

This week’s box office crown was claimed by an animated feature—“Kung Fu Panda”!

Once upon a time, there was a mountain, and in the mountain, there was a temple, and in the temple, there was a panda selling noodles…

This animated film, produced by Shai Entertainment Animation Studio and distributed by Embassy Pictures, attracted a large audience to the theaters with its super cute panda, combined with kung fu and comedy, and the so-called mysterious Eastern culture.

Of course, the Eastern culture depicted in “Kung Fu Panda” was essentially what Hollywood perceived as Eastern culture.

But due to Ronan’s presence, the film had no sensitive points and passed the censorship of the Big Scissors on the other side of the Pacific without any cuts.

Frankly, Eastern culture was not something that could be encompassed by a panda that practiced flashy emptiness.

Regardless, “Kung Fu Panda” achieved great success in the North American film market. On its opening weekend, it was shown in 4,225 theaters and grossed seventy-one million, two hundred and fifty thousand dollars.

The North American box office in the first week already matched the production budget. Shai Entertainment Animation Studio had another successful animated film besides the “Minions” series.

Chapter 1042: Following the Money

Unlike Pixar, Shai Entertainment Animation Studio had always been dedicated to producing “idiot-to-hero” animated stories that appealed to audiences of all ages. Everyone had experienced similar struggles or harbored similar dreams, and these entertainment-driven animated blockbusters allowed them to empathize, at least on an entertainment level.

This time, the panda had successfully charmed its way into the North American film market.

As the saying went on the other side of the Pacific, the panda could have relied on its strength to make a living, but instead, it chose to thrive by being cute.

According to mythological legends, this ancient creature, recorded as the Iron-Eating Beast, was both fierce and adorable and had once served as Chi You’s mount.

One thing that had to be acknowledged was that, in terms of film culture, the only Eastern element that had truly gained international popularity was kung fu.

The box office results for Kung Fu Panda were immediately sent to Ronan.

With such a strong opening in North America and the typically stable performance of animated films, the final North American box office was bound to exceed two hundred and fifty million dollars.

Its performance in international markets would not be far behind.

For other films primarily featuring Eastern elements, Ronan might have been concerned, but the combination of kung fu and pandas had an extremely broad appeal.

The Eastern market was the only one to open simultaneously with North America. Unlike the lukewarm reception of Pixar’s animated features, Kung Fu Panda was wildly popular on the other side of the Pacific.

Both praise and criticism of the film filled the Eastern media.

The former believed that Eastern culture had truly broken through national borders and gone global, even having a significant impact. Some overly optimistic or ulterior-motivated individuals claimed that Hollywood was helping the East promote martial arts culture worldwide.

Behind this, one could not ignore the influence of Embassy Pictures’ Eastern branch, which was taking the path of being a good friend to the Eastern people.

Of course, the ultimate goal was still the increasingly bulging wallets of the Eastern people.

These Hollywood businessmen, who would sell even the United States for commercial interests, would not hesitate to do the same with others.

The critical voices accused the United States of not giving up its imperialist ambitions, plotting conspiracies through national treasures!

It was not that complicated. Hollywood was simply following the money.

Some astute filmmakers in the Eastern film industry, however, saw something in Kung Fu Panda—Eastern culture, when packaged internationally, could also achieve global popularity and box office success.

The film’s background, architecture, music, five styles of martial arts, dragon totems, firecrackers, noodles, buns, and, of course, the setting of a panda as the protagonist and kung fu as the selling point, were all Eastern elements in their presentation.

But the core of the film was purely Hollywood.

“Word is, a film group from the East has sent a team of dozens.”

During the lunch break, Jessica Felton had specially bought lunch and brought it to Ronan’s side. After eating and resting, she casually mentioned, “I heard there’s a team dedicated to studying animation production. They’ve already gone to Shai Entertainment Animation Studio to learn.”

She tried making Ronan a cup of green tea. “I heard they’re very interested in Kung Fu Panda.”

Ronan picked up the cup of tea Jessica had placed in front of him and took a slow sip. “Shai Entertainment will deepen its cooperation with the Eastern people in production,” he said simply.

He did not say more. Many decisions were still in the planning stages.

In terms of animation production alone, projects like Peppa Pig, Kung Fu Panda, and Transformers were all within the scope of potential future collaborations.

Additionally, Shai Entertainment and the Pacific Investment Foundation would welcome more legal investments from the East.

Jessica did not press further. Instead, she asked, “How was the tea I made?”

“Not bad,” Ronan took another sip. “Ninety percent of my skill.”

Jessica crossed her arms habitually. “This is much simpler than making coffee. Just add tea leaves and pour in hot water…”

Ronan deliberately said, “Doesn’t making coffee involve the same two steps?” He did not dwell on the topic and asked, “How is the post-production of Fast & Furious 4 coming along?”

Jessica smiled. “It’s almost wrapping up.” She said openly, “Once this film is completed, I’ll officially move to your place.”

Just then, there was a knock at the door. Ronan said to come in, and Connie pushed the door open. She first nodded slightly at Jessica before speaking to Ronan. “Charles Roven from Warner Bros called. He wants to confirm if you can attend the premiere of The Dark Knight.”

This weekend, The Dark Knight would be released nationwide in North America. Unlike other film premieres, due to the deification plan, this premiere would be solemn, dignified, and heavy.

Although the new Batman film series would soon have nothing to do with Relativity Entertainment, considering that Warner Bros had not yet responded to 20th Century Fox’s invitation, along with the DC Justice League universe plans, Ronan thought for a moment and said, “Tell them I will attend the premiere.”

Hearing the name of the Batman film, Jessica, for some reason, did not first think of the big bat but of a pale-faced Joker!

She could not help but lightly tap her forehead. This was clearly the influence of Warner Bros’ publicity.

Indeed, the dead had a greater impact on films than the living.

“There’s one more thing,” Connie did not say it directly.

Hearing this, Jessica knew it was time to leave.

She stood up and said to Ronan, “I’ll go back first.”

Ronan did not try to keep her and nodded lightly. “I’ll call you if anything comes up.”

Jessica left.

After the office door closed, Connie continued, “The team from the East wants to obtain the licensing rights to our film library…”

Over the years, Relativity Entertainment had accumulated and acquired a film library of over thirty thousand titles, not inferior to Hollywood’s Big Six.

Ronan thought for a moment and said, “Tell George Clint that licensing can be discussed, and the price should follow Hollywood conventions. Also, the licensing period should not be too long, preferably within five years.”

Connie quickly took note.

The copyrights in the film library were the most stable source of income for large film companies. Thanks to Netflix’s dominant platform, Relativity Entertainment’s film library now brought in hundreds of millions of dollars in profits each year.

As soon as Connie left, Scott Swift arrived with a piece of significant news.

“Last month, I went to the East again.”

Having secured quite a few investments in the Eastern market, crossing the Pacific had become a monthly routine for Scott. Even during the busiest times, he made sure to visit at least once a quarter. He felt deeply about it. “The development over there is too fast. It’s changing day by day, and the wealth and finances controlled by the rich are growing rapidly.”

Ronan nodded slightly. “They’re creating an economic miracle.” He looked at Scott. “What, have you secured new investments again?”

Scott said seriously, “There are a few potential investors. Among them, one has come to Los Angeles. He controls a fortune that is enormous even by North American standards and is very interested in the film industry.”

“Tell me more,” Ronan was curious.

Scott handed Ronan a document and briefly introduced, “This man’s surname is Lin. He controls a massive conglomerate consisting of hotels, shopping malls, cinema chains, real estate development, and urban commercial complexes.”

Ronan also saw the introduction in the document. This man named Lin Jian had once been very famous. His Qianlu Group had gone on a global buying spree and had made significant gains in Hollywood and the North American film industry.

His sudden appearance and connection with the Pacific Investment Foundation, combined with past memories, made Ronan wonder what benefits this could bring to Relativity Entertainment.

Ronan quickly browsed through the document and asked, “What are his or his company’s intentions?”

“This Mr. Lin is very interested in investing in the Pacific Foundation,” Scott said frankly. “Of course, this kind of investment is more about building a relationship.”

Ronan could roughly guess that the other party probably did not lack investment channels, and the so-called investment was more like testing the waters.

Scott continued, “He also hopes to have further cooperation with us, especially in the film industry. The Qianlu Company has one of the largest cinema chains in the Eastern film market and plans to enter the film production industry. According to Mr. Lin, he aims to build an Eastern Hollywood.”

Ronan nodded slightly. If it were not for some irresistible factors, that man might have gone further in the film industry.

“A businessman from the East who wants to enter the film industry,” Ronan said slowly. “Does he have any thoughts on Hollywood’s film industry and film companies?”

Scott said, “Yes, Mr. Lin did not hide it. Although it’s difficult to achieve in the short term, he hopes that Qianlu Films will become a company with international influence in the future, having a place in the international film industry.”

Ronan’s fingers lightly tapped the desk. “An interesting idea with a long-term vision.”

“What’s most important is that he’s very wealthy,” Scott said with a smile. “He expressed to me his hope that you can find time to meet with him.”

Ronan reopened the documents on the Qianlu Group and Mr. Lin, reading them carefully. The more he read, the more he considered how Relativity Entertainment could benefit from this.

Sitting in his position, this was something he had to consider.

“Alright, Scott,” Ronan made a decision. “My schedule is full this week. If he’s in Los Angeles next week, I can meet with him.”

Scott said, “He should be in Los Angeles.”

There was still a lot of work to handle this week, and there were several events he had to attend personally, such as the premiere of The Dark Knight invited by Warner Bros.

This superhero film was very likely to achieve legendary status.

Chapter 1043: Deification

Disheveled hair, a pallid face, dark circles under the eyes, crimson lips and scars, a terrifying gaze, an eerie laugh, and the venomous serpent’s tongue flicking out—every inch of him exuded evil, sending shivers down the spine.

A massive poster stood prominently at the entrance of the grand hall, as if the entire premiere was a memorial for the departed.

For over half a year, Warner Bros had wielded its vast promotional machine, leveraging Heath Ledger’s passing to elevate the Joker to near-divine status.

In truth, the only thing standing between Heath Ledger and the Joker’s deification was the film’s official release.

The premiere’s atmosphere was somber. Not only were all the guests dressed in dark formal attire, but even the red carpet had been replaced with a black one.

Under Warner Bros’ relentless publicity, it seemed everyone was still immersed in the grief of Heath Ledger’s death.

If he had been alive, such excessive promotion might have backfired. But society is always more forgiving of the departed.

Regardless of its connection to Heath Ledger, this was a film steeped in dark themes, making the black carpet eerily fitting.

When Kim Ledger, representing Heath, walked the black carpet with his wife, fans on both sides raised their Joker posters. The once noisy theater entrance fell into sudden silence, as if everyone was paying tribute to the late Heath Ledger in their own way.

Even though he could never attend another premiere, Heath Ledger still stole the spotlight, turning the event into a memorial service.

Ronan had little interest in the premiere and had entered the grand hall early. Occasionally glancing through the VIP lounge window at the massive poster outside, he could only sigh—this was a night of deification.

Perhaps aware that he wasn’t the night’s star, Christopher Nolan arrived at the VIP lounge early and now stood beside Ronan.

“Are you ready to become a top-tier director?” Ronan said softly. “After this film, Batman will become an extraordinary name.”

Christopher Nolan smiled. “I’ll do what I need to do. I can’t let outside influences sway me easily.”

Compared to directors or actors who rose to fame overnight, Christopher Nolan had climbed the ladder step by step. It had taken him a decade to reach this point, and his mental fortitude was undeniably stable.

Those who achieved overnight success were the most likely to lose themselves amid drastic changes.

A prime example in directing was the eccentric pair of siblings who, after their first film, fell into obscurity and lived off past glories.

Ronan knew Nolan well and had no such concerns. Instead, he asked, “How’s Inception coming along?”

Christopher Nolan gave a brief update. “We’re still filming around the world, but overall, it’s going smoothly.”

Ronan hadn’t seen Nolan in a long time. “Has Warner Bros discussed sequels with you?”

“A while back, Charles Roven called me specifically,” Christopher Nolan said without hesitation. “He asked about my willingness to continue directing Batman in the future. I gave a clear answer—I’ll fulfill the trilogy contract, but beyond that, it’s none of my concern.”

He showed a hint of indignation. “If it weren’t for the trilogy contract, I would have left after the third film. Warner Bros and DC Comics went too far—they shouldn’t have sidelined Relativity Entertainment.”

Ronan chuckled. “It’s fine. Don’t let this affect your work. Relativity isn’t backing out unconditionally.”

Regardless of how genuine Christopher Nolan’s indignation was, it displayed a stance aligned with Relativity Entertainment.

At that moment, Ronan spotted Kevin Tsujihara and, after a word to Christopher Nolan, walked over.

“Good evening, Ronan,” Kevin Tsujihara greeted, shaking his hand. “I thought you wouldn’t come.”

Ronan replied, “This is our joint project. Of course I’d be here.”

Kevin Tsujihara welcomed Ronan warmly. Regaining the rights to the new Batman films had put him in high spirits. “Relativity and Warner Bros have years of collaborative history. I hope we can continue working together in the future.”

His tone suddenly shifted. “Ronan, your last offer was way too high!”

Ronan responded, “Relativity voluntarily gave up Wonder Woman. Suicide Squad is just a minor DC property. The success of those two old film remakes is uncertain. Warner Bros didn’t really lose much.”

Kevin Tsujihara made a point of adding, “Don’t forget the financial compensation.”

Ronan shrugged slightly. “Compared to the gains from the Batman series, what’s a little financial compensation?” He deliberately lowered his voice. “I’ve heard that Warner Bros and DC Comics plan to continue with sequels after the trilogy, directly tying into your Justice League plans.”

This was practically public knowledge, so Kevin Tsujihara saw no need to deny it. “There are such plans. Ronan, your Avengers project is moving swiftly. DC needs to catch up.”

“Marvel Entertainment has already released two successful films,” Ronan boasted casually. “DC has fallen far behind. They really need to pick up the pace.”

Kevin Tsujihara was well aware of this. “Rest assured, Warner Bros and DC have plenty of experience. We’ll catch up soon.”

Ronan hoped Warner Bros and DC would speed up—faster was better, as it would mean less genuine caution and market research.

But he would never say this to Kevin Tsujihara. Instead, he changed the subject, probing, “20th Century Fox has sent an acquisition offer to all of Warner. Warner hasn’t responded. What are your thoughts?”

Kevin Tsujihara laughed. “My stance is clear. Many inside and outside Warner know I’m firmly against it.” More than one person had asked, and he always gave the same answer, but he wouldn’t say more. “As for the other board members and major shareholders, I can’t speak for them.”

Ronan didn’t hide his own stance. “Kevin, you’ve made a wise decision.”

As Warner Bros’ Chief Executive Officer, Kevin held significant weight within the entire Time Warner group—some might even say he was the third or fourth most influential figure on the Time Warner board. His influence on corporate decisions was not to be underestimated.

Apart from 20th Century Fox, no one in Hollywood wanted to see this acquisition succeed.

Ronan soon joined Christopher Nolan in the screening room, and Kevin Tsujihara’s gaze shifted away from them.

He was acutely aware that for the Justice League plan to catch up with the Avengers, Warner Bros and DC needed to accelerate.

Marvel Entertainment had another film, Thor, coming this year, and The Avengers was likely to hit theaters in 2009. Time was not on their side!

No matter what, next year had to mark the beginning of the Justice League cinematic universe. Green Lantern had to premiere next summer!

Kevin Tsujihara sought out Charles Roven, hoping that after The Dark Knight’s release, he would push for faster production on Green Lantern and get Zack Snyder involved in the Justice League universe sooner.

Christopher Nolan’s departure was inevitable. Given the current circumstances, Zack Snyder was the best successor for DC’s superhero films.

Warner Bros was determined to extend The Dark Knight’s near-manic influence across the entire DC Justice League universe!

The Dark Knight soon began its premiere screening.

From the opening scene, the film set a tone—constantly empowering the Joker, who, though seemingly a side character, was the true protagonist.

One might even say he was overpowered in every way.

This method of empowering a side character was fresh even by Hollywood standards, giving audiences a uniquely thrilling experience.

Under normal circumstances, some might have questioned or even resented this approach.

But Heath Ledger’s death had raised everyone’s tolerance for the Joker to unprecedented heights.

There was no denying that Warner Bros had executed a nearly flawless film marketing campaign.

This was undoubtedly a special case study worthy of being recorded in history and textbooks, offering invaluable lessons for all of Hollywood.

Compared to Warner Bros’ deification plan, Relativity’s past use of Robert Ludlum’s death for promotion paled in comparison.

One thing was certain—the Joker would become one of the most captivating villains in Hollywood history.

The Dark Knight was steeped in darkness, so serious it was suffocating, yet it radiated an irresistible charm.

The bank heist, the duel between the real and fake Batman, the Joker’s battle against the mob, the Hong Kong chase, the Joker’s assassination attempts—the film never gave the audience a moment to breathe. The relentless pace was like a rapid drumbeat, driving emotions higher and higher.

The film delved deeply into its characters. The line between good and evil had blurred. The Dark Knight, representing justice, was rendered helpless under the Joker’s relentless pressure, ultimately resorting to turning himself in. Harvey Dent, the Bright Knight and district attorney, Bruce Wayne’s greatest hope and a beacon against evil, transformed after a fire and hatred into Two-Face, a man who left life and death to the flip of a coin.

The last remnants of comic book color from Batman Begins were entirely discarded. The Dark Knight was a completely realistic crime film—utterly serious, utterly dark, utterly tragic.

Batman won the personal battle against the Joker but lost the war for Gotham’s soul. Harvey Dent’s fall had severe consequences. To salvage everything, Batman took the blame for Harvey’s death, becoming a reviled figure and the true Dark Knight.

The just Batman ended up a fugitive, while the deranged Two-Face was mourned as a hero. Even the notorious Joker concluded the film in triumph.

Never before had a superhero movie ended on such a dark note.

Chapter 1044: Glory Unmatched

An overnight ascension to godhood!

This was the most accurate description of The Dark Knight after its release.

The film made its official debut in North America, and the Joker, fueled by Heath Ledger’s passing, Warner Bros’ masterful marketing, and his unparalleled sinister charm, achieved legendary status! The Dark Knight became a legend due to its unparalleled professional acclaim and audience reception! Director Christopher Nolan became a legend for helming such a film!

But the one who garnered the most attention, who became the focal point of public and audience discourse, was not Bruce Wayne, nor Christopher Nolan—it was the Joker!

This former lunatic who once played second fiddle to Batman had now evolved into the “Clown Prince”!

Warner Bros also showcased to the world, through an unparalleled classic marketing case, how to maximize the impact of a deceased actor’s legacy.

This was an absolute classic in global film history, a textbook example of promotion and marketing.

Of course, the foundation of it all was that The Dark Knight itself was of impeccable quality.

This was the most unique superhero film to date.

After its official release, in the eyes of many, it was more accurate to say The Dark Knight was a dark and heavy crime drama rather than a superhero film adapted from comics.

The praise was overwhelming.

“This is no exaggeration—conceptually, creatively, in performance, and direction, it surpasses all Batman films, even all superhero movies.”

“The Dark Knight elevates the lowbrow comic book superhero film to an unprecedented height, rendering discussions about art films versus commercial films meaningless. Not only does it capture the essence of classical tragedy, but it also delves into contemporary hot-button issues like terrorism and overreaching authority. Most importantly, the film is flawlessly entertaining!”

“The Dark Knight is the first comic book adaptation to achieve true artistic greatness!”

“I will undoubtedly regard The Dark Knight as the greatest film! A perfect fusion of commerce and art, a masterful balance of depth and accessibility, with sweeping orchestral scores, heart-pounding action, and powerhouse performances that utterly shatter the audience’s emotions!”

The praise came from media, critics, and ordinary viewers alike—almost unanimous.

In some ways, a film becomes legendary when enough people sing its praises.

It must be said that The Dark Knight’s pre-release marketing was too powerful. Warner Bros had maximized the film’s sudden advantages.

Naturally, The Dark Knight became the hottest film of the summer season.

Neither Spider-Man 3 and The Hulk in May, nor Mission: Impossible 3 on Memorial Day, nor Transformers on Independence Day could match its fervor.

Even before the box office exploded, the merchandise had already taken off.

The main character action figures released ahead of the film caused a buying frenzy, especially the Joker doll.

Designed by Warner Bros and DC Comics, produced by Relativity Entertainment, the Joker doll was priced at $9.99 but sold out immediately upon release.

After The Dark Knight’s premiere, online prices for the Joker doll surged to $30, yet they were snatched up instantly, soon becoming unavailable even online.

The Joker doll’s explosive sales were partly due to Heath Ledger’s passing—his figurine held commemorative value and was expected to appreciate further.

Relativity Entertainment, handling part of the orders, began flooding the other side of the Pacific.

A medium-sized city on the other side of the Pacific, whose economy relied heavily on foreign trade and toy manufacturing, now revered Relativity Entertainment as a deity. Invitations for Ronan and Robert Iger to visit poured into Relativity Tower.

According to sources from across the ocean, Relativity Entertainment had brought nearly one billion dollars in annual film merchandise orders to the city over the past few years, stimulating a series of related industries and generating tens of billions in GDP.

Most importantly, this was foreign exchange!

Though not as coveted as in the 80s and 90s, its significance remained undeniable.

Relativity Entertainment’s revenue share from The Dark Knight, combined with Warner Bros and DC Comics’ commercial strategies, would continue to benefit them until the end of next year.

From the midnight screenings onward, theaters across America were packed, with lines stretching far beyond what was seen the previous weekend. Many popular theaters had queues hundreds long, spilling outside.

With the increasing number of theaters and screens in North America, such a spectacle hadn’t been seen in a long time.

Moreover, The Dark Knight’s midnight screenings set a new North American record before they even began—3,260 theaters, surpassing the 2,915 set by Pirates of the Caribbean 3: At World’s End in 2006.

No one doubted The Dark Knight would break the North American midnight box office record!

At midnight, just as Ronan had finished his “justice” with Jessica Felton, Connie’s text notification arrived.

“The Dark Knight’s box office report?”

Over the past few months, whenever they were in Los Angeles, the two had been inseparable. Jessica Felton had also learned much about Ronan’s work and habits. Turning over from beneath him, she asked, “With such successful marketing, the midnight box office must be terrifying, right?”

Ronan glanced at the message, teasingly holding back, “It broke the North American box office record.”

Jessica Felton seized Ronan’s vital spot, threatening, “Spill it! How much?” She slightly parted her lips, revealing two rows of perfect white teeth. “Or else…”

Ronan complied, “Eighteen million six hundred thousand dollars. The highest midnight box office in North American history.”

Hearing the number, Jessica Felton smiled, “Warner Bros’ marketing wasn’t in vain.”

Ronan said, “This is a case study every Hollywood company should learn from.”

Jessica Felton leaned in, whispering, “Forget movies and work. Let’s continue.”

Ronan, of course, didn’t refuse. A combo of suppression, armor-breaking, and charge skills soon had Jessica Felton declaring defeat.

The next day, The Dark Knight’s reputation exploded in every aspect.

CinemaScore gave it an “A+” from theatergoers, Metacritic’s 55 critics awarded it a 90, and IMDb users rated it an average of 9.7.

Of course, not everyone was convinced.

“How brilliant is the Joker, how fascinating his methods, how exquisite his psychological warfare—fundamentally, it’s because he was designed that way. His perfection comes from his character setup, not from the plot making him compelling.”

Not everyone failed to see the protagonist’s halo around the Joker.

Unfortunately, faced with the overwhelming tide of public opinion, especially the sympathy for the deceased actor and the marketing push, such views were immediately torn apart upon utterance.

People have endless sympathy for the dead but not for the living.

Times change, but the core movie audience does not—teenagers will always be the backbone of the market, eager to spend on films and merchandise they love.

Commercially speaking, The Dark Knight was cool enough, which was key to attracting audiences—not its darkness or weight.

As the North American audience born in the 90s grew up, lighthearted films would dominate the commercial market.

Strictly speaking, most of this generation didn’t care for heavy themes. Overly dark films would be rejected by the majority.

If The Dark Knight had been released five or six years later, without Heath Ledger’s massive influence from his passing, after the main movie audience had shifted, whether it could achieve such monumental success in North America would be hard to say.

Film is, after all, a cultural product heavily influenced by its social environment.

Of course, The Dark Knight’s style also paved a new path for Hollywood, especially Warner Bros and DC Comics.

But the film’s box office and commercial success were unstoppable.

By Friday’s end, media outlets were already proclaiming a new single-day box office champion—initially reported as $67.8 million, later corrected to $71.9 million.

Such single-day figures were beyond explosive, crushing all previous North American single-day records.

The film’s pre-release marketing was too thorough, piquing countless curiosities, driving many to see The Dark Knight as soon as possible. The advance screenings and Friday showings consumed much of the enthusiasm, so when Saturday passed and Sunday arrived, the Saturday box office inevitably dipped slightly.

But the decline wasn’t significant and wouldn’t greatly affect The Dark Knight’s trajectory.

On Saturday alone, the film grossed another $64.67 million in North America!

Over the North American opening weekend, The Dark Knight shattered records, achieving the strongest debut in North American history.

Across 4,355 theaters, it earned $164.56 million!

The Dark Knight’s glory had reached its peak—unmatched!

Though The Dark Knight’s massive opening weekend was partly due to rising ticket prices, the nearly 21 million admissions also set a new North American weekend record.

Some media even speculated whether The Dark Knight could challenge Titanic’s North American box office myth.

This was mere fantasy. Setting aside other factors, The Dark Knight’s marketing and distribution strategy, along with the number of IMAX screens, made this an impossible task.

Especially the former—the pre-release hype had driven too many audiences into theaters in the first week.

This was mostly positive, but it also affected the film’s long-term performance.

Chapter 1045: Changing Plans

In the office of Relativity Tower, Ronan looked at the box office report for The Dark Knight and nodded in satisfaction.

“According to the agreement we signed with Warner Bros.,” George Clint said, “we can take nearly fifty percent of The Dark Knight’s box office revenue, as well as profits from related merchandise and derivative products. Although the agreement lasts until next year, based on market data projections, Shai Entertainment’s total revenue from The Dark Knight—both online and offline—will be around one hundred and sixty million dollars.”

Ronan reminded him, “Keep a close eye on things. This might be our last direct collaboration with Warner Bros. Better safe than sorry.”

George Clint replied, “We’re not outsiders, nor are we a small company. Warner Bros. won’t easily break the unspoken rules between major companies. Of course, we won’t skimp on oversight either. We have professional teams involved in everything from distribution to financial aspects.”

Large Hollywood companies often collaborated, and while there was no shortage of scheming, they generally adhered to the basic rules of the game for various reasons. But in business, nothing was guaranteed, which was why Ronan had issued the reminder.

Relativity Entertainment’s investment in the Batman series had yielded massive returns, not to mention the free rights to produce at least three more films, along with tens of millions of dollars in compensation.

“As for those three film rights, the script for It has already begun production, and director Drew Goddard has officially signed on,” George Clint added. “And then there’s A Star Is Born and Suicide Squad…”

Ronan thought for a moment and said, “George, start working on the script for Suicide Squad. Keep it simple—focus on the Harley Quinn character. I’ll release this project when the time is right.”

George Clint asked, “The right time?”

Ronan replied, “It depends on Warner Bros. and DC Comics’ superhero adaptations.”

Sometimes, even if a superhero adaptation was a box office hit, terrible audience reception could drag down the entire series.

Suicide Squad wasn’t a Marvel Comics property—it belonged to DC Comics.

According to industry regulations, whether in promotion or the film itself, any adaptation must clearly bear the DC Comics brand.

George Clint didn’t stay long—he had plenty of his own work to attend to—and soon took his leave.

Ronan called for Finch and asked, “How’s the person I asked you to find?”

“Already found a suitable candidate,” Finch replied. “They’re currently undergoing electronic training and will be ready next month.”

Ronan nodded slightly and said, “Jessica’s safety must be guaranteed.”

Finch reminded him, “You should talk to Miss Felton about this in advance so she’s prepared.”

“I know,” Ronan said with a smile. “I’ve already had a preliminary discussion with Jesse. She’s very easy to communicate with.”

Since he had chosen Jessica Felton, and their relationship was becoming widely known, Ronan was concerned that some might target her. That was something he absolutely could not tolerate.

So, he had arranged for professional female security personnel for Jessica Felton.

In many matters, it was always better to be prepared.

At noon, Ronan met with company executives, including Robert Iger, to formally host a luncheon for the visiting delegation from the China Film Group.

The China Film Group had been negotiating with Relativity Entertainment for the past week regarding film library licensing rights, and the two sides currently had significant disagreements.

It seemed the China Film Group was still operating under the mindset of Hollywood’s early days in the Eastern market, hoping to secure playback rights for a batch of older films at extremely low or even free licensing costs.

But times had changed. The Eastern film market was developing rapidly, and neither Relativity Entertainment nor other Hollywood studios could offer such favorable terms anymore.

When the assistant of a high-ranking official brought up the good relationship between the two sides during the banquet, Ronan naturally deferred everything to Shai Entertainment.

Such specific matters should be handled by the relevant company.

The China Film Group also invited Ronan to this year’s Pacific Rim Film Forum, which was to be held in the East.

Ronan politely declined. Most Eastern affairs were handled by his subordinates. For various reasons, he would have to choose the right time to visit again.

Although Relativity Entertainment’s cooperation with Eastern companies had driven industrial and even local economic development, strictly speaking, this was still a purely commercial endeavor.

On his way back in the evening, Ronan brought up the security arrangements with Jessica Felton again. Jessica understood that Ronan meant well and had no objections.

Both were adults—they wouldn’t make a fuss over such matters.

Real life could sometimes be melodramatic, but neither Ronan nor Jessica Felton wanted their relationship to turn into a soap opera.

As Jessica put it, adult relationships weren’t that complicated—if you like someone, you love them; if you don’t, you part ways.

This was a very typical American view of love.

Ronan didn’t see a problem with it—after all, Jessica had grown up here.

On Tuesday morning, Scott Swift called to inform Ronan that he had arranged a meeting with Mr. Lin from the East for Wednesday morning at Relativity Tower.

Ever since his last conversation with Scott, Ronan had been considering the Qianlu Group from the East and wanted to speak with Lin Jian to see if he had any plans to enter Hollywood in the coming years.

For Relativity Entertainment to continue its rapid growth and advance further in Hollywood, it needed to leverage every possible advantage.

Oh, and wasn’t this Eastern billionaire’s son raised in the United States?

Ronan quickly dismissed any thoughts about the young man—it was completely unnecessary.

In the afternoon, he received Diego Harris, the executive president of DC Comics, who had come specifically to retrieve the final script for The Dark Knight Rises.

Since Ronan had served as the lead producer for Batman Begins and The Dark Knight, the final draft of the third film’s script had remained in his possession.

After exchanging pleasantries, Ronan casually asked about the progress of DC’s superhero film projects, but Diego Harris responded vaguely.

Regardless of whether they had considered it, with the release of the Avengers Initiative films, DC’s Justice League movie plan had made Marvel and DC comic adaptations direct competitors.

The competition in the film market far exceeded that in the comic industry. Unless one company acquired the other, cooperation like Justice League vs. Avengers in the comics was impossible.

Marvel had already taken a two-step lead, focusing more on its own plans, while Warner Bros. and DC Comics saw Marvel as a competitor that needed to be suppressed, rushing to catch up.

This mindset first emerged among the top executives of Warner Bros. and DC Comics, then trickled down, quickly affecting the production teams working on the Justice League universe.

At Warner Bros. Studios, in the soundstage where Green Lantern was being filmed, Charles Roven waited until director Martin Campbell finished shooting for the day before calling him into the office.

Martin Campbell, in his sixties, looked exhausted after a long day. “Charles, what’s the matter?” he asked.

Charles Roven said, “Sit down, Martin. Let’s talk.” Once Martin was seated, he asked, “Is the filming going smoothly?”

“According to plan,” Martin Campbell said, rubbing his bald head. “The filming isn’t too complicated, but post-production will take more time.”

Charles Roven said, “Let’s pick up the pace a bit. Try to improve the crew’s efficiency.”

As the employer, Martin Campbell couldn’t outright refuse, so he replied diplomatically, “I’ll do my best. One thing I can guarantee is that the film will be completed on schedule.”

Even the scheduled time felt tight to him. For a project with such a massive investment, there should be more ample time for filming and production.

Charles Roven cleared his throat and said, “Martin, Warner Bros. has a new requirement. They want Green Lantern released in May next year, so you must complete all production by the end of March.”

Martin Campbell couldn’t help but be surprised. “Wasn’t it originally set for July?”

“The earlier, the better,” Charles Roven didn’t hide it. “Green Lantern isn’t a standalone film. Warner Bros. and DC Comics must consider the entire plan.”

Hearing this, Martin Campbell was somewhat displeased. “Initially, it was set for next year’s holiday season, then changed to July in the summer season, and now it’s been moved up to May. Charles, to be frank, the time is too tight!”

Charles Roven slowly said, “I’ve carefully reviewed your filming and production schedule. I believe you can complete Green Lantern within the timeframe.”

The other party was the producer, backed by the production company and the rights holder. Martin Campbell was just a director—the power disparity was enormous. Not wanting to quit mid-production, he had no choice but to follow the new plan.

Martin Campbell considered it carefully for a moment and said, “Alright, I can finish on time.” But he specifically emphasized, “Charles, this schedule is already extremely tight. The crew may have to work overtime, and production costs will increase accordingly.”

Charles Roven, thinking of Kevin Tsujihara’s demands, said, “That won’t be a problem.”

Martin Campbell added, “The schedule can’t change again. Otherwise, you might as well replace the director.”

“I guarantee it!” Charles Roven reassured Martin Campbell. “This is the last change. There won’t be any more adjustments.”

Martin Campbell stood up, preparing to leave. “I’ll go back and work overtime. The plan needs to be revised, and the crew’s pace needs to pick up.”

Chapter 1046: The Profound Impact

In addition to Green Lantern and Martin Campbell, Charles Roven had also sought out Zack Snyder, who was currently in post-production for Watchmen.

This British director was an extremely important piece of the Justice League cinematic universe, and the sooner he could fully engage with the plan, the better.

In the office, Charles Roven asked, “Zack, I bring good news—Warner Bros has finalized the release schedule for Watchmen.”

Zack Snyder was a die-hard DC Comics fan, and his love for Watchmen was far from ordinary. He immediately asked with concern, “What’s the exact release date?”

Charles Roven replied, “Early March next year, either the first or second weekend.”

“March of next year,” Zack Snyder nodded slightly and said, “Alright, I can finish all post-production by the end of this year.”

Hearing this, Charles Roven felt relieved, but thinking about how Warner Bros and DC Comics needed to catch up with Marvel Entertainment, he reminded him, “We still need to pick up the pace. Finish Watchmen as soon as possible, then dive into the DC Justice League film plan.”

Zack Snyder said, “I will complete Watchmen at the fastest possible speed.”

Charles Roven added, “Zack, you are the helmsman that Warner Bros and DC Comics unanimously look up to and highly value. The sooner you enter the plan, the better it will be for the series.”

“I understand,” Zack Snyder could sense the importance Warner Bros and DC Comics placed on him from Charles Roven’s words. He said, “I will do my utmost to lead this plan to success, catching up to and surpassing Marvel Entertainment’s Avengers Initiative.”

This was a candidate personally selected and strongly recommended by Charles Roven. He was very satisfied with Zack Snyder’s confidence. “Good! Zack, I believe you can do it.”

Zack Snyder revealed a confident smile.

The massive success of Dawn of the Dead and 300 had given Zack Snyder immense confidence, especially 300, which fully embodied his strong personal style, making him feel that success in the film industry was not difficult at all. Achieving the status he once had in advertising and the industry was inevitable.

Zack Snyder said, “Charles, ever since finishing the filming of Watchmen, I’ve been considering the plan for the series, especially the new Superman film.”

Charles Roven immediately became interested and asked, “Do you have any specific ideas?”

Zack Snyder looked thoughtful and said seriously, “Filming 300 and Watchmen has given me many ideas, especially regarding visual style. Recently, I watched a preview of The Dark Knight, and Christopher Nolan’s take on Batman has been very inspiring to me.”

The names Christopher Nolan and The Dark Knight piqued Charles Roven’s interest even more. Continuing the style and model of successful films had always been Hollywood’s safest production method.

Not to mention anything else, what had Relativity Entertainment achieved today? The massive number of sequel films was absolutely key. Those successful sequel films, without exception, continued the successful model of their predecessors.

Batman Begins and The Dark Knight had both achieved tremendous success, especially The Dark Knight, which had broken the North American opening box office record in its first week. Its box office and commercial response were on par with Titanic, and it was bound to achieve massive success.

There was no reason for Warner Bros and DC Comics to abandon such a successful model.

Charles Roven also secretly sighed, Zack Snyder was a perceptive man. “Tell me about your ideas for the new Superman film?”

“They’re just some preliminary thoughts,” Zack Snyder smiled and tried to be concise. “First, regarding visual style, I think a heavy, intense dark style is very suitable for DC comic adaptations. Charles, my last two films, 300 and Watchmen, both used this dark visual style, which shares common ground with The Dark Knight’s style. The Dark Knight has already proven that this visual style can be widely accepted by the market.”

Charles Roven agreed with Zack Snyder’s statement. The success of Batman Begins and The Dark Knight was one of the reasons Warner Bros and DC Comics had chosen Zack Snyder.

In terms of visual style alone, Zack Snyder was relatively close to Christopher Nolan.

There was no reason not to use a successful style and instead experiment with new, untested styles. That would be absolutely foolish.

Charles Roven didn’t interrupt and made a gesture for him to continue.

Zack Snyder continued, “Secondly, regarding the setting of Superman as a god among men. We all know that Superman is nearly perfect in both moral and ability aspects, a symbol of an era. But now, perfect superheroes are no longer popular. Instead, superheroes like Spider-Man and Iron Man, who are inherently flawed, are beloved. So, Christopher Nolan’s two Batman films have made me realize one thing: to give Superman a new life on the big screen, we must, like Christopher Nolan did with Bruce Wayne, pull Superman down from his pedestal and make him a human! A person who needs to face various problems!”

Charles Roven nodded repeatedly. Humanization could be said to be one of the key points of success for Batman Begins and The Dark Knight.

Zack Snyder didn’t stop there. “This new Superman film must be a reboot, not a sequel to previous films. Superman will be confused because of his abilities and identity, he will exile himself, he will doubt life, he must rediscover himself, especially his self-awareness, his self-awareness regarding his Kryptonian and Earth identities.”

“These ideas are very good,” Charles Roven said, as if he could see Superman being reborn under Zack Snyder’s hands. “Zack, go ahead with your ideas.”

Zack Snyder, after Relativity Entertainment, once again felt a strong sense of trust. He said, “I will come up with a plan for the new Superman film project as soon as possible and submit it to you within three months.”

Charles Roven lightly patted the armrest of his chair. “Very good, Zack, I’m looking forward to your plan.” He also reminded him, “Speed and efficiency are also key. Don’t forget, the DC Justice League universe is already far behind Marvel’s Avengers universe.”

He looked at Zack Snyder and added, “You’ve worked with Ronan Anderson before, you should know his efficiency is extremely high. If we want to catch up, we must speed up.”

Zack Snyder said, “This won’t be easy, but I’m willing to take on the challenge.”

Charles Roven smiled, not hiding his appreciation for this British director.

Zack Snyder was confident, and this confidence came from the tremendous success of his last two films.

“There’s one more thing, Charles,” Zack Snyder remembered something else and said, “I’ve been exposed to DC Comics since I was young and have read many comic weeklies. DC Comics has considerable depth and plot highlights.”

Charles Roven interjected, “You’re absolutely right. Take Batman Begins and The Dark Knight, for example. Christopher Nolan gave Batman a new life on the screen, but Bruce Wayne and many plot points were not original to Nolan; they came from DC’s comic The Dark Knight Returns.”

Zack Snyder said, “Comics are the foundation of film adaptations and can bring many influences to films. Many classic comic plots have always been talked about by comic fans. I think that restoring these comic classics in films as much as possible will bring better results.”

Charles Roven thought for a moment and said, “This aspect still needs to be considered on a case-by-case basis.”

Zack Snyder said, “I understand, these definitely can’t be overused.”

There were indeed many aspects that could be utilized, such as the death of Superman, Superman and Batman’s mothers both being named Martha, etc. If these appeared in the films, comic fans would surely be talking about them.

Being a DC Comics fan himself, Zack Snyder’s ideas were inevitably influenced by this identity.

Charles Roven didn’t explicitly oppose this, which also strengthened Zack Snyder’s confidence in this regard.

The massive success of The Dark Knight had a huge and profound impact on Warner Bros and DC Comics, which had not yet fully manifested.

Both companies were completely immersed in the explosive good reputation and commercial success of the film, wanting to extend the film’s influence and successful model as much as possible.

In some ways, The Dark Knight made Warner Bros and DC Comics, bringing a rare classic to the superhero film genre, but it also limited them.

The heavy, oppressive, and profound dark style had given both companies a taste of success, so they naturally wouldn’t give it up easily.

Even after hitting their heads bloody, they wouldn’t give it up easily.

Speaking of which, if it were another Hollywood company, after achieving such success with The Dark Knight, would they give up this successful model?

So, the choice of Warner Bros and DC Comics was inevitable.

Ronan had only given a push from behind, making Warner Bros and DC Comics further accelerate the entire process. Both companies, in their hurry to catch up with Marvel’s Avengers Initiative, had hastily started a sprinting mode, not caring if the shoes fit.

Since their cooperation hadn’t ended yet, through Christopher Nolan’s team, Ronan could get a lot of the latest news about Warner Bros’ DC comic adaptations. The release schedules for Watchmen and Green Lantern were also immediately passed to him.

Ronan only had Connie note down the release dates of the two films so she could remind him to pay attention to them later. Then, he focused his energy on business reception.

Under Scott Swift’s formal introduction, Ronan stood in Relativity Entertainment’s business reception hall and met a business team from the East.

The boss of this company from Qianlu, Lin Jian, had personally come to visit, seemingly very sincere.

Chapter 1047: A High Starting Point for Internationalization

In the reception room on the top floor of Relativity Tower, Ronan, introduced by Scott Swift, met the guest from the East.

This Eastern tycoon named Lin Jian had a typical square face, bright eyes, and a straight back, exuding a sturdy and capable aura.

After a few polite exchanges, they quickly got down to business.

Ronan switched to fluent Mandarin: “Mr. Lin, I heard from Scott that you came to Los Angeles from the East to seek business opportunities?”

Lin Jian’s assistant was somewhat surprised by Ronan’s fluent Mandarin, realizing his role as a translator was unnecessary.

Compared to his assistant, Lin Jian remained composed, smiling as he said, “Back in our country, I heard from friends who had dealt with Mr. Anderson that your Mandarin was excellent. Today, I see it’s truly well-deserved.”

Ronan smiled and replied, “I’m just very interested in Eastern culture and studied it for a while. I suppose I have a bit of a talent for it.”

Lin Jian was eager to enter the entertainment industry and had significant interests in Hollywood. Although the man sitting beside him was worth tens of times more than him, despite maintaining a poised demeanor, he subtly tried to close the distance between them.

“To be honest, Mr. Anderson, your Mandarin is very standard,” Lin Jian, a successful Eastern businessman, skillfully built rapport. “Even more standard than mine.”

Ronan smiled again. “Mr. Lin is too kind. Perhaps my teacher was from your capital, so I wasn’t influenced by regional accents.”

Lin Jian returned to the main topic: “This trip to Los Angeles, through my contact with the Pacific Investment Foundation, has greatly broadened my horizons.”

Scott Swift added, “Mr. Lin, working with the Pacific Investment Foundation will show you the real side of Hollywood’s industry.”

“I am personally very grateful for this investment opportunity.”

Although the return on this so-called investment opportunity was low compared to investing in domestic real estate, Lin Jian knew that to break into the international market and become an international conglomerate, especially to invest in the coveted entertainment industry, he would have to pay a certain price. “I suggest we start formal negotiations next week.”

Scott Swift said, “No problem. The Pacific Investment Foundation has been waiting for Mr. Lin to make a decision.”

Ronan also politely added, “Mr. Lin’s trust is an honor for the Pacific Investment Foundation.”

This was a two hundred million dollar investment, a typical move to test the waters.

It wouldn’t result in any loss, had stable returns, and showed a certain level of sincerity.

Back in his home country, Lin Jian had specifically studied Relativity Entertainment and Ronan Anderson. He had even personally contacted several companies that had worked with Relativity Entertainment. In terms of business operations, Relativity Entertainment was one of the few major Hollywood groups that treated Eastern companies as equals.

“I believe!” Lin Jian said with a smile. “This is a mutually beneficial cooperation.”

Seeing the other party show some sincerity, Ronan appropriately said, “I heard Mr. Lin wants to invest in Hollywood?”

Lin Jian put away his smile and said very seriously, “Yes, the Qianlu Group is gradually investing in commercial complexes in our country. Theaters are an essential part of these complexes, which can turn foot traffic into theater audiences.”

This was the mainstream business model for major chain theaters worldwide. Large chain theater companies’ cinemas were basically built around shopping malls.

Ronan was well aware of this. He had watched movies in Qianlu theaters more than once.

Lin Jian continued, “The Qianlu Group has already established a cinema chain company and is building theaters nationwide. Our goal is to become the largest cinema chain company in the country, with the most screens nationwide.”

This statement was both a presentation of facts and a display of capital to Ronan.

This month, Transformers was released in the East. Although it hadn’t been taken off the screens yet, in less than thirty days, it had earned nearly five hundred million yuan at the box office.

This further showed Hollywood the enormous potential of the Eastern market, and Eastern businessmen like Lin Jian saw the value that might exist in their own market.

It was precisely because of this that Lin Jian had further plans for the entertainment industry.

“While expanding the cinema chain company, the Qianlu Group plans to enter the film production business,” Lin Jian continued. “In this regard, the East is far behind Hollywood. We cannot deny that even if we strive to catch up, it won’t happen in just a few years.”

Ronan listened very carefully, not because Lin Jian was from the East, but because Lin Jian and his Qianlu Group could be very useful to Relativity Entertainment.

What was valuable deserved attention.

Lin Jian then said, “The film industry has its particularities. Building from scratch requires a development period. But your company’s Transformers sold well in the Eastern market, showing me the enormous potential of this industry. As a businessman, I naturally don’t want to miss such a good opportunity…”

He stopped there and turned to say, “So, acquiring a relatively mature film company and operating films in an international way is a shortcut for the Qianlu Group.”

Ronan seemed to agree with his point, adding, “Indeed, acquisition is undoubtedly the best way. I don’t know if Mr. Lin has learned about Relativity Entertainment. Acquisition has played a key role in Relativity Entertainment’s journey to where it is today.”

He wasn’t just agreeing; he had his own hidden motives, though they were deeply concealed at this stage. “In production, Relativity Entertainment acquired Artisan Entertainment; in distribution, it acquired Embassy Pictures and PolyGram Pictures; in the network, it secured Netflix…”

Lin Jian knew that everything Ronan said was true. He had carefully studied Relativity Entertainment. The company’s short development history was a history of acquisitions.

After being introduced to Scott Swift by his partners and carefully studying the Pacific Investment Foundation, its background, Relativity Entertainment, and Ronan Anderson, Lin Jian was determined to invest in the film industry. After coming to Los Angeles and making contact, he discovered something else.

Hollywood’s exclusivity was extremely strong. As an Eastern businessman, he wasn’t ignored, but few people took him seriously.

To enter a new circle, one must have connecting bridges and communication channels.

Lin Jian was very clear about this and quickly found a suitable choice. Relativity Entertainment, which could treat Eastern people and companies as equals, was undoubtedly the best option.

Moreover, he wasn’t foolish enough to touch Relativity Entertainment’s interests.

“So, Mr. Lin’s planned film company wants to have a high starting point,” Ronan said, his words very pleasing, with no one else detecting the deep intentions hidden behind them. “Starting with an international route from the beginning is indeed a high starting point.”

Hearing the other party state his intentions, Lin Jian wasn’t surprised and further said, “My ideal Qianlu Film Company is one that has a certain international influence.”

Ronan nodded slightly. “So, Mr. Lin came all the way from the other side of the Pacific to Los Angeles?”

Lin Jian said, “Hollywood is the largest film industry base in the world, and I was lucky to meet Mr. Scott Swift, and even luckier to meet Mr. Anderson…”

Ronan smiled and asked, “I wonder what Mr. Lin wants to get from Relativity Entertainment, from Hollywood?”

Due to cultural traditions, Lin Jian was somewhat surprised by Ronan’s direct question, but he quickly adjusted his mindset, knowing that these foreigners valued practical interests more.

In fact, the business circles of the two countries were consistent in this regard, so Lin Jian only pondered for a moment before saying, “Mr. Anderson, I have been in Los Angeles for some time. Your Pacific Investment Foundation is the only potential partner that has treated the Qianlu Company equally and with respect. I have also heard many people in our country talk about their cooperation with Relativity Entertainment. I believe Relativity Entertainment is a company that can treat the East as equals.”

Ronan said, “Business cooperation must not only be mutually beneficial but also equal and mutually supportive.”

Lin Jian tentatively said, “The Qianlu Group and I have had little direct dealings with Hollywood before. To make a mark, we need to find partners. I hope Relativity Entertainment can provide an opportunity. Of course, the Qianlu Group attaches great importance to this and will give sufficient compensation.”

He emphasized, “I want to acquire a film company in Hollywood!”

This answer was completely within Ronan’s expectations. “Acquire a Hollywood film company? Relativity Entertainment does have the ability to facilitate and provide sufficient guarantees for both parties in the transaction.”

Relativity Entertainment now had this capability and didn’t need to exert much effort. Ronan thought for a moment and asked, “I wonder which company Mr. Lin has his eye on?”

Lin Jian hesitated slightly but, thinking of how difficult it was for outsiders to open Hollywood’s doors, selectively said, “There are a few targets, with Lionsgate Films being the first choice.”

“Lionsgate Films,” Ronan nodded slightly. “They are old friends of Relativity Entertainment.”

Lin Jian took the opportunity to say, “If Relativity Entertainment can facilitate between Qianlu and Lionsgate, Qianlu will be very grateful.”

Ronan waved his hand. “Mr. Lin, it’s too early to talk about this.” He reminded, “Since its establishment, Lionsgate Films has not developed smoothly. Among the medium-sized film companies in Hollywood, it’s only an unremarkable one with relatively limited strength. Acquiring such a company…”

Lin Jian asked, “Is it not suitable?”

“I have learned about Mr. Lin’s company and just heard about Mr. Lin’s goals,” Ronan was concise and to the point. “I don’t know if Mr. Lin has heard, but the real upper end of Hollywood’s industry chain is distribution. Lionsgate Films has decent production capabilities, but its North American distribution is very average and lacks international distribution capabilities. Such a company cannot be said to have international influence.”

Since Lin Jian had set Lionsgate Films as one of his potential targets, he naturally had enough understanding and knew that Ronan was telling the truth.

Ronan softly said, “Mr. Lin, since you are willing to invest in the Pacific Foundation, I remind you that to have a high starting point for internationalization, Mr. Lin must carefully consider the acquisition target.”

Chapter 1048: No Effort Without Gain

Nearly two hours later, Lin Jian exited Relativity Tower with his assistant and got into the car, returning to their hotel.

As the car drove away, Relativity Tower quickly disappeared among the buildings of Century City.

Lin Jian switched to his hometown dialect and asked his assistant, “What do you think?”

The assistant, who had followed Lin Jian for many years and was one of his most trusted people, thought for a moment before saying, “Among all the people and companies we’ve met in Los Angeles, Ronan Anderson and Relativity Entertainment have the best attitude, but since it’s our first meeting, it’s hard to judge what they’re really like.”

Lin Jian nodded slightly and said, “Apart from Relativity Entertainment, we don’t have better options.” He sighed, “Back when Sony acquired Columbia Pictures through CAA’s Michael Ovitz, we met them too. They had their noses in the air. Forget about the cost we’d have to pay; just that attitude made me sick.”

The assistant said, “I feel that such arrogance will inevitably carry over into the cooperation process, leading to many unexpected situations.”

“This isn’t our home turf,” Lin Jian saw clearly. “Attitude sometimes decides everything.”

He said to his assistant, “Maintain contact with Relativity Entertainment. Ronan Anderson is not simple; I can’t figure him out.”

The assistant replied, “Understood, boss.”

Lin Jian recalled their first meeting, which matched what he had heard from those in China who had worked with Relativity Entertainment. Ronan Anderson was quite friendly toward the East, and at the very least, mutual respect was undeniable.

Moreover, with his decades of social experience, he could tell that this wasn’t an act but genuine respect.

In this regard alone, if Qianlu Group wanted to make moves in Hollywood, finding a suitable partner, Ronan Anderson and Relativity Entertainment were undoubtedly the best choices.

The words Ronan Anderson had spoken also seemed sincere.

Since Lin Jian wanted to enter this industry, he had naturally done his homework before coming. Based on his research and what Ronan Anderson had said, it wasn’t hard to see that this film industry giant’s words held no deception, and his warnings were crucial.

For example, Lionsgate Films didn’t have international distribution rights. Even if the acquisition succeeded, could it really achieve the international influence he wanted?

But things were definitely not that simple.

Lin Jian’s years of business experience told him that Ronan Anderson was likely a person friendly toward the East, but he was also a businessman!

No effort without gain—what lay behind Ronan Anderson’s sincerity?

Lin Jian couldn’t see or think of it for now; he could only remain vigilant and observe carefully.

He would maintain close contact with the Pacific Investment Foundation and Relativity Entertainment. In the next couple of days, he would visit Relativity Tower again to meet with Relativity Entertainment’s Chief Executive Officer, Robert Iger.

Lin Jian also reminded himself to stabilize his mindset and not rush for quick results.

This trip to Los Angeles wasn’t about achieving all goals at once, but about establishing smooth communication channels with Hollywood to lay the groundwork for future work.

In the reception room of Relativity Tower, Ronan said to Scott Swift, “You’ve had more contact with them. Do you feel their intention to acquire in Hollywood is strong?”

“Very strong,” Scott Swift said. “They have funds, and quite terrifying liquid funds at that. It’s not just them; many Eastern companies are going global, entering international markets, and starting a frenzy of acquisitions.”

He also reminded, “Additionally, Qianlu Group is a company primarily engaged in real estate. In the East, those who can grow big and strong in this industry all have deep backgrounds.”

Ronan naturally knew a lot. After a brief thought, he said, “Scott, maintain close contact with Qianlu Group. Relativity Entertainment might have opportunities to cooperate with them in the future.”

“I understand,” Scott Swift replied. “I will treat Qianlu Group as a top-tier client.”

Ronan nodded slightly and didn’t say more. After all, some ideas were still in the initial planning stage and weren’t suitable to disclose to Scott yet.

Leaving the reception room, he went directly to Robert Iger’s office and discussed until noon.

Since the topic needed to continue, Ronan called Jessica Felton to cancel their lunch and had lunch with Robert Iger instead, continuing their morning discussion.

Ronan needed Robert Iger’s rich operational experience and strong execution ability to help him perfect those initial ideas.

Turning ideas into executable plans also required step-by-step effort.

Moreover, Qianlu Group and that Mr. Lin were quite extraordinary.

Even though Ronan hadn’t studied them carefully before, he knew that Mr. Lin must have an exceptionally powerful force behind him. Considering the future massive scale of the Eastern market, from the beginning, he had shown cooperation sincerity based on Relativity Entertainment’s interests and maintaining sufficient vigilance.

Next, it depended on whether the other party was willing to grasp the hand Relativity Entertainment extended.

While holding some hope, Ronan wouldn’t place the key to his plans on Qianlu Group. If both parties could reach cooperation, Qianlu Group could leverage Relativity Entertainment’s advantages in Hollywood, and Relativity Entertainment might use Qianlu Group’s massive cash flow to reduce financial difficulties.

Of course, if Qianlu Group wasn’t willing to cooperate, it didn’t matter; Relativity Entertainment would proceed with the original plan.

Ronan also had Connie notify the Eastern branch to further collect comprehensive information about Lin Jian and Qianlu Group.

In the following days, Relativity Entertainment and the business delegation led by Lin Jian held several dialogues. Ronan and Robert Iger also had face-to-face meetings with Lin Jian one after another.

As people on the other side of the Pacific would say, the talks were conducted in a friendly and cordial atmosphere, fully exchanging views, enhancing mutual understanding, and exchanging gifts. They reached preliminary cooperation intentions on several business initiatives, laying the foundation for establishing a strategic cooperative relationship in the next stage.

Although no other cooperation was reached outside the Pacific Investment Foundation, after multiple contacts and face-to-face meetings, a smooth communication channel was established.

Most importantly, Lin Jian himself was ambitious. With Ronan’s “sincere” cooperation, he also felt that acquiring a small company wouldn’t be particularly helpful for Qianlu Group’s planned international film industry expansion.

For someone like Lin Jian, either don’t do it, or do it big and strong.

So, companies like Lionsgate Films were somewhat beneath his notice.

Today’s Lionsgate Films was no longer the Lionsgate that once rivaled the Big Six.

Starting a few years ago, Lionsgate Films had unknowingly been greatly influenced by Relativity Entertainment, and its development speed had been relatively slow. Although it had become a mid-sized film company in Hollywood, it was at best a tail-end existence among mid-sized companies, with a somewhat awkward position.

Ronan still had some impression. The initial target of Qianlu Group was the Hollywood Big Six, but the Big Six weren’t companies that could be bought with money. Then, they lowered their sights to Lionsgate Films but were still rejected. Finally, they had to choose a not-so-large film company.

Now, with Relativity Entertainment as a seemingly reliable potential partner, Qianlu Group naturally wanted a big and strong target.

Although the two sides were far from trusting each other, they had a good start, and Lin Jian was willing to spend time on necessary investigations.

Just as Qianlu Group’s business delegation and Relativity Entertainment were communicating in a friendly and cordial atmosphere, The Dark Knight passed its second weekend in North American theaters.

This superhero movie was still an invincible presence in the North American market, with a very stable box office performance. The second weekend saw a drop of just over fifty percent from the first weekend, grossing eighty-three million six hundred sixty thousand dollars over three days.

In just ten days, The Dark Knight’s North American box office had accumulated a staggering three hundred thirty-three million two hundred ten thousand dollars!

Almost every step of the film’s North American screenings was creating new North American box office records.

At the same time, the film also began its overseas screenings this weekend, exploding overseas as well, with a first-week box office of nearly two hundred million dollars.

It was clear to all that The Dark Knight’s North American box office had a high probability of exceeding five hundred million dollars, and a global box office of over one billion wasn’t too difficult.

The Dark Knight had completely taken the world by storm!

With this one film, the Joker was deified! Bruce Wayne was basically deified! Christopher Nolan also gained countless brain-dead fans.

In these ten days, the most talked-about related news event was no longer the Joker and Heath Ledger, but the battle for the top spot on the IB website’s Top 250 list between The Godfather, The Shawshank Redemption, and The Dark Knight.

To snatch the first-place throne, the fans of these three films had abandoned all basic face, giving their own films high scores while giving the other two low scores. The three-way war had turned everyone’s heads into dog heads.

Ronan didn’t let Relativity Entertainment participate in the score-brushing war behind Warner Bros; just watching was enough.

As an old film company, Warner Bros’ promotional methods were endless. First, they played the dead man card, then they stirred up the fans’ emotions to create an explosion…

But whether this explosion was good or bad was hard to say.

Frankly, many behaviors of brain-dead fans were very easy to attract hatred.

As The Dark Knight passed its second weekend in North America, the 2007 North American summer season also came to an end.

In this era, the North American film market’s summer season was still limited to May to July, not yet including August.

It wouldn’t take long for the concept of the summer season to expand to include August, and even the last week of April.

As long as it could make money, expanding the schedule was never a problem.

The North American film summer season was the result of Steven Spielberg and George Lucas’ commercial film operations back then.

Chapter 1049: Uncle Can’t Tolerate This

This summer, Relativity Entertainment was undoubtedly one of the winners, with multiple films under its banner all achieving impressive results.

The Hulk in May, though unlikely to recoup its total investment through box office alone, ensured profitability through its offline performance and advanced the Avengers Initiative by a significant step.

Cars in June performed well at the box office and was a massive hit in theaters, with merchandise sales nearly matching the Harry Potter series.

The Teddy Bear achieved great success with minimal investment, shattering the childhoods of countless people while bringing Relativity Entertainment nearly two hundred million dollars in North America and over four hundred million globally. The film was still screening in North America and overseas, making it easy to surpass five hundred million worldwide.

Transformers in July needs no introduction—it was a smash hit both online and offline. The love-hate relationship between Optimus Prime and Megatron captivated audiences worldwide, with global box office already approaching seven hundred million dollars.

Kung Fu Panda, the latest release, was steadily climbing the North American box office and would soon surpass two hundred million dollars. The film took an international approach, resonating even more strongly overseas, where its box office had already exceeded North America.

Though these five films had not yet ended their theatrical runs, they had already generated over twenty billion dollars in global box office revenue.

Relativity Entertainment was like a money magnet, continuously attracting massive funds. While ensuring a healthy cash flow, most of these funds became the company’s reserves to prepare for upcoming major plans and potential troubles.

“Currently, the company’s liquidity is operating normally, and cash reserves are abundant.”

In the financial department’s office, Mary said to Ronan, “As of the end of July, aside from liquid funds, we have fourteen and a half billion dollars in reserves. This figure is expected to increase to twenty billion by the end of the year.”

Ronan nodded slightly and asked, “What about credit?”

Mary immediately replied, “The loan from Bank of America is down to the last installment. If we need to mobilize funds, Bank of America can provide us with five billion dollars in short-term loans, and long-term collateral loans can double that amount.”

Relativity Entertainment was no longer the small company it once was.

Ronan continued, “Mary, start preparing early. I require that by the second half of 2008 or 2009, when the group needs it, without affecting normal operations, we can mobilize at least thirty-five billion dollars in the shortest time possible. You need to make plans and contingencies.”

Mary understood Ronan and Robert Iger’s plans and said, “I understand. I will give you a satisfactory answer.”

Ronan wasn’t worried about funding because there was one last guarantee: Relativity Entertainment remained the absolute majority shareholder of Netflix Streaming Media. With strong performance backing, Netflix’s stock price had maintained a steady and rapid upward trend, and its total market value breaking one hundred billion this year was inevitable.

Though 2008 was approaching, Ronan had already done much preparatory work. The economic crisis would have some impact, but it wouldn’t significantly affect Netflix Streaming Media.

From what he remembered, the internet industry wasn’t heavily impacted by this economic crisis.

In contrast, real estate, finance, and insurance were the hardest-hit sectors.

Ronan had little investment in these industries.

Accompanying the economic crisis was Hollywood’s cash crunch. With the financial sector under strain, many big-budget films requiring financing would inevitably face funding issues.

Even their own liquidity would encounter difficulties.

Another issue was Hollywood’s famous strike.

In the Hollywood industry, the Producers Guild’s agreements with various unions, including the Directors Guild, Actors Guild, and Writers Guild, were typically on a twenty-year cycle.

The last cycle, in 1988, saw Hollywood’s famous major strike. The Directors Guild, Actors Guild, and Writers Guild all prepared to strike, demanding a share of the profits from television broadcasts and videotape rentals and sales.

The Producers Guild quickly resolved issues with the Directors Guild and Actors Guild. These two unions hadn’t even started striking before they withdrew from the strike’s initiation and participation.

Then, the Producers Guild rejected the Writers Guild’s demands, leading to the Writers Guild’s major strike.

Frankly, scripts are the foundation of a film, and their importance is self-evident. However, Hollywood’s neglect of scripts and screenwriters is also a fact. In the inherent mindset of the Producers Guild, composed of Hollywood’s major and medium-sized companies, screenwriters are a bunch of worthless goods.

Wanting the same treatment as the Directors Guild and Actors Guild? That’s a pipe dream!

Now, 2008 was approaching, and the agreements between the Producers Guild and Hollywood’s major unions were about to expire. Negotiations had already begun.

The Producers Guild wanted to resolve Hollywood’s major unions with minimal cost and in the most self-interested way as quickly as possible.

Frankly, from Ronan’s perspective, seeing the Directors Guild, Actors Guild, and Writers Guild made him feel nothing but disgust. Wouldn’t it be better for these union organizations to stay quietly as mascots? Why do they have to jump out occasionally to annoy people? And they even demand increased employee salaries and bonuses—Uncle can’t tolerate this, neither can Aunt, nor can Grandpa!

Ronan’s thoughts were actually the same as the members of the Producers Guild.

Thus, even though the Producers Guild had begun contact with the major unions, the results were very unsatisfactory, with zero progress.

Times were changing, Hollywood was changing, the film market was changing, and the demands of labor and capital were also changing.

Now, emerging DVDs and internet streaming platforms led by Netflix had become major sources of film-related income. However, according to the 1988 agreement, these were generally unrelated to directors, actors, and screenwriters.

Those with backend profit agreements were special cases, not the norm.

This profit was indeed eye-catching and naturally became a point of conflict between labor and capital.

Labor demanded a share of the profits from new businesses like DVDs and the internet, but how could capital easily give up its interests?

The first few contacts between the two sides basically ended in failure.

The Producers Guild, composed of Hollywood’s Big Six, Relativity, and DreamWorks, formed a negotiation team.

In this regard, the interests of the major companies were completely aligned.

In the next six months, this negotiation team needed to resolve Hollywood’s many unions.

Actually, the focus was on the Directors Guild, Actors Guild, and Writers Guild. The demands of other organizations weren’t high, and they mostly followed the crowd.

Hollywood’s major and medium-sized companies also had a certain tacit understanding. The Directors Guild and Actors Guild were easy to handle. Although they wouldn’t agree to their demands, reaching an agreement after some compromise wasn’t difficult.

However, the Writers Guild…

In the general view of the Producers Guild, the Writers Guild was asking for too much.

Ronan was a crucial member of the Producers Guild, so he saw clearly that the Directors Guild and Actors Guild and the Producers Guild would likely repeat the 1988 scenario, where the so-called strike would ultimately fizzle out.

Given Hollywood companies’ general disregard for screenwriters and scripts, a major screenwriters’ strike was inevitable.

As a member of capital, Ronan wouldn’t foolishly jump out to be a good guy. The demands of the Writers Guild also harmed Relativity Entertainment’s interests.

Pressing down the demands of the major unions as much as possible was in Relativity Entertainment’s best interest.

This inevitable strike involved significant interest conflicts and wasn’t something that could be easily mediated.

Thus, Ronan had done a lot of preparatory work in advance.

Leaving the group’s financial department, he went directly to Shai Entertainment and talked with George Clint for a while, specifically visiting the screenwriting department to urge multiple screenwriting teams to complete their current scripts by October as planned.

Currently, the screenwriting department had completed several scripts, and nearly ten scripts were in progress. Even if the upcoming strike lasted several months, it wouldn’t significantly impact Shai Entertainment’s 2008 filming and production plans.

Projects like It, The Hunger Games, and Beauty and the Beast had finalized scripts, and even without screenwriters, the crews could proceed with preparations.

However, some unexpected situations would still affect Shai Entertainment’s filming and production plans.

For example, the Resident Evil series: after Resident Evil 3, the husband-and-wife team of Paul Anderson and Milla Jovovich took a break to prepare for the fourth installment, only to find that the female lead, Milla Jovovich, was pregnant, forcing them to delay the fourth film.

The filming and production of Resident Evil 4 would have to wait until next year after Milla Jovovich gave birth and recovered.

This was somewhat an irresistible factor.

Another zombie film series, Dawn of the Dead 3, also had its script fast-tracked by Ronan because Dawn of the Dead 2 achieved a slightly higher North American opening box office than the first, with thirty-eight million six hundred fifty thousand dollars, securing the top spot on the North American box office chart for August for Relativity Entertainment.

This film, primarily set on a small island, followed the usual zombie movie tropes but was widely discussed by fans of the genre.

Especially several video clips that spread widely through Netflix and other social media.

The female lead of Dawn of the Dead 2 was Alexandra Daddario. The film featured multiple scenes of her being chased by zombies and desperately fleeing.

From the promotional period, Alexandra Daddario, wearing a white tight short-sleeved shirt, fully showcased what could be called an “earthquake at Mount Everest” to the fans.

On Netflix, some fans said that the scenes of Alexandra Daddario escaping from zombies alone brought millions of male viewers to the film.

Those familiar with Hollywood films would notice that some very clichéd plots were repeatedly used and continued to succeed.

Chapter 1050: The Appeal of Dawn of the Dead 2

Simple, brutal, and gripping—that was the best way to describe Dawn of the Dead 2.

With the second film’s North American opening weekend box office surpassing its production budget, it was already a success. Naturally, the third installment couldn’t be overlooked.

Ronan pushed forward with the scriptwriting and secured approval for the third film.

A trilogy was the right way to maximize a Hollywood blockbuster.

Then, Ronan turned his attention to Alexandra Daddario—not because of her, as even the most die-hard fans of Dawn of the Dead would admit. Besides, his girlfriend, Jessica Felton, was in no way inferior to Alexandra Daddario.

Once upon a time, Jessica Felton had undoubtedly had a better figure than Alexandra Daddario, but in recent years—especially since they officially started dating—he wasn’t sure if it was just his imagination. After all, they had only been friends before.

As someone who had watched countless films, Ronan had a vague, uncertain understanding.

For Hollywood actresses, going topless was nothing out of the ordinary—it was practically a routine part of the job. So, those who had seen many Hollywood films had likely seen the bare chests of most famous actresses, especially Oscar-winning ones, on screen.

Some of these scenes had even become legendary online.

For example, Jodie Foster in The Accused, Nicole Kidman in Eyes Wide Shut, Halle Berry in Monster’s Ball, Scarlett Johansson in Under the Skin, and Elizabeth Olsen in Oldboy.

There were far too many cases like these. After all, how could one be a true Hollywood star without shedding some clothes?

There had even been unofficial online polls ranking Hollywood’s most beautiful chests, and thanks to the widespread popularity of the Avengers films, Black Widow (Scarlett Johansson) and Scarlet Witch (Elizabeth Olsen) had been overwhelming favorites.

But whenever one name was brought up, even the most devoted fans of Johansson and Olsen had nothing to say.

That name was Alexandra Daddario.

Recalling the TV series True Detective, Alexandra Daddario had, in just a two-minute nude scene in the first season, left countless viewers with nosebleeds. Many had saved that episode to watch repeatedly.

What made Alexandra Daddario unforgettable were her striking blue eyes.

Much like Amanda Seyfried’s large eyes, Daddario’s blue eyes were either praised as mesmerizing and captivating or dismissed as “Husky eyes.”

Back then, any webpage featuring Alexandra Daddario would inevitably turn into a battleground of opinions.

In Ronan’s view, Alexandra Daddario would actually be a great fit for Wonder Woman—she had the looks, and her legs weren’t short, even if she couldn’t match Gal Gadot’s flawless beauty and endless legs. With her, even the worst films could earn an extra star from straight male audiences.

Ronan vaguely remembered that in his final years on the other side of the Pacific, a certain film website had ranked the “Most Watched Actresses,” and Alexandra Daddario had surpassed even Hollywood goddesses like Charlize Theron to claim the top spot.

He recalled it happening after that earthquake film—San Andreas, starring Dwayne Johnson and Alexandra Daddario.

Ronan had seen San Andreas in theaters, and Alexandra Daddario had left a deep impression.

No matter how intense the plot or how heroic Dwayne Johnson was, the real showstopper was Alexandra Daddario’s devilish figure.

Snapping back to reality, Ronan realized that Dwayne Johnson was under a long-term contract with Relativity Entertainment, while Alexandra Daddario was collaborating with Shai Entertainment. This made San Andreas a viable project to push forward.

The United States was a country prone to natural disasters.

“Happy America, shootings every day” described its social and humanitarian crises.

Hurricanes, wildfires, and earthquakes were frequent natural disasters.

The Los Angeles-to-San Francisco corridor in California sat on the infamous San Andreas Fault, theoretically a high-risk zone for earthquakes.

Hollywood had already made films about massive earthquakes along the San Andreas Fault, like Earthquake in 1974.

Disaster films, if done well, never lacked an audience in North America.

With all these favorable conditions, Ronan didn’t hesitate—he decided to fast-track San Andreas.

Since the writers’ strike was looming next year, he wanted the script finished before then.

To speed things up, he personally drafted the outline and background settings.

For this type of film, the most reliable and safe approach wasn’t resolving the disaster but highlighting human emotions and family bonds in the face of catastrophe.

Looking at past successful disaster films, their main plots followed this formula—Twister, The Day After Tomorrow, and 2012.

Films that focused solely on resolving the disaster itself often fared worse.

This was also why Ronan had rejected the Super Storm project—it had been too fixated on the disaster itself.

In his view, the disaster wasn’t the key to a successful disaster film.

For Hollywood, San Andreas was a straightforward disaster film with no groundbreaking creativity. The premise was simple: earthquakes, tsunamis, and fires all stemmed from tectonic shifts—no outlandish meteor strikes or global freezing viruses, just one earthquake after another.

As for the plot, it was the kind where you could guess the ending from the opening scene.

The protagonist would have a broken family, strained relationships with his wife and daughter, and a dark past that would later serve as a turning point. The wife’s new husband would inevitably be a hypocritical villain who would crumble under pressure, setting the stage for the family’s reconciliation after the disaster.

In Ronan’s outline, the plot was just a framework. For this type of film, as long as the story aligned with mainstream audience tastes and had basic internal logic, it was enough.

Character development was even more important than the plot.

The male and female leads were based on Dwayne Johnson and Alexandra Daddario.

Dwayne Johnson’s character, the father, would have an incredibly muscular physique, and both leads would possess almost superhuman skills.

This would be another outstanding product from Shai Entertainment’s Hollywood assembly line.

In a way, films like this carried a superhero vibe. Dwayne Johnson’s character could easily be classified as a superhero.

Before long, America’s superheroes would become like a monthly visitor, saving cities—or even the planet—every month.

Confident, Ronan spent just half a morning finalizing the story outline and character designs. He sent them directly to Shai Entertainment’s writing department via internal software, instructing them to complete the script by December.

Next, he called Andrew, the production director, to push the project’s approval and have someone negotiate contracts with Dwayne Johnson and Alexandra Daddario. They were the top choices; if terms couldn’t be met, alternatives would be considered.

As for the director, Ronan had a primary candidate in mind: Roland Emmerich, who had just suffered a crushing defeat at 20th Century Fox.

The failure of 10,000 BC had completely severed Roland Emmerich’s relationship with 20th Century Fox, which had even blacklisted him from future collaborations. His status and value as a director had plummeted—industry estimates suggested his directing fee had dropped by at least half.

The German director was in a tough spot.

But Ronan believed Roland Emmerich still had value—provided he directed the right kind of film.

Disaster films!

That was Roland Emmerich’s forte.

Ronan mentioned this to Andrew, instructing him to discreetly reach out to Roland Emmerich to discuss potential collaboration on a disaster film.

After a busy morning, Ronan had lunch with Jessica Felton before leaving Relativity Tower, heading to her small villa on the outskirts of Beverly Hills.

Finch had already coordinated with the security team. By the time Ronan and Jessica arrived, a cargo van and an SUV were parked outside the villa, ready to transport their belongings.

Inside, packed luggage sat in the center of the living room, waiting to be moved.

Post-production for Fast & Furious 4 was in its final stages, and Jessica Felton wasn’t as busy as before. At Ronan’s suggestion, she was preparing to officially move into Future World Estate with him.

This marked another significant step forward in their relationship.

Chapter 1051: The Vault

Several suitcases were carried out by Finch and the bodyguards, leaving only Ronan and Jessica Felton in the small villa. Ronan picked up the two remaining handbags and gently patted Jessica Felton’s shoulder.

Jessica Felton slung her bag over her shoulder but didn’t leave immediately. She stood at the entrance, looking at the empty house.

Ronan stood beside her, also gazing in that direction. In truth, the house’s layout hadn’t changed at all. Jessica Felton had only taken her clothes and some personal daily items.

“This house isn’t going anywhere,” Ronan said, easing Jessica Felton’s possible emotions. “You can come back anytime to visit.”

Jessica Felton took one of the handbags from Ronan’s hand and said, “It’s not what you think. When I bought this house, I hesitated for a long time, considered it carefully, and finally took out a mortgage. I didn’t expect that as soon as the loan was paid off, I’d have to move out.”

Ronan laughed. “If you want, I can have someone help you sell it. The housing market is just right now. It might not be so good later.”

In recent years, the U.S. government had been using real estate as one of the main tools to stimulate the economy. The entire U.S. housing market was thriving, and prices were soaring. But history had proven time and again that when an economy became too dependent on real estate, the outcome was never good—especially with Wall Street involved, which seemed to be draining the life out of Americans.

Jessica Felton shook her head slightly. “Let’s keep it. If we ever have a fight, I’ll have a place to stay.”

Ronan said, “We’ll try to resolve any issues through communication.”

“Once emotions are stirred, people can become irrational. Women are emotional,” Jessica Felton said, a very intelligent woman. “If I ever get angry and run away, I’ll hide somewhere you can easily find me.”

Ronan wrapped his free arm around Jessica Felton’s shoulders and said, “Jesse, meeting you is my luck.”

Jessica Felton gently bumped her forehead against his shoulder. “Mine too.”

Ronan took her hand and led her outside. “Let’s go. They’re all waiting for us.”

Jessica Felton took one last look at the house and followed Ronan.

The two left the small courtyard in front of the villa and placed the handbags in the trunk of the Rolls-Royce Phantom before getting into the car.

Soon, the small convoy of three cars started up and turned onto Mulholland Drive, heading straight for the Future World Estate.

“Is someone following us?” Jessica Felton asked.

Ronan noticed it too. “Some reporters and paparazzi.”

Jessica Felton tapped her forehead. “I’ll have to live in the spotlight from now on.”

Fortunately, she had already prepared herself mentally.

Ronan gently patted her hand. “It’s not as bad as you think.” He turned to Finch in the passenger seat. “Anything special?”

Finch understood what Ronan meant. “It’s hard to tell for now. There have been a lot of reporters following us lately.”

Jessica Felton didn’t understand their conversation but sensed something was off. She looked at her boyfriend with a hint of surprise.

Ronan said, “I’ll explain when we get home.”

Jessica Felton didn’t ask further and nodded. “Okay.”

The three cars passed through the modern white marble gate and entered the Future World Estate.

Beyond the gate was a front garden. Since the estate was built against a mountain, the buildings made full use of the terrain. The main road was somewhat winding, nestled among the lush greenery, like an enlarged “S.”

The part of the garden closest to the gate and walls was mostly trees, tall and dense, obscuring the villas behind them.

Although she had been here countless times and had spent months in this estate with Ronan, Jessica Felton felt a different mood as she looked around.

The meticulously maintained garden and the flat lawn came into view, followed by the white three-story main building.

The main building had a modern, tech-inspired design with sharp, angular lines. The white structure paired with light blue glass gave the impression of blue skies and white clouds.

This was completely different from the dark and heavy feel of traditional mansions. Instead, it exuded the vibrant energy of the high-tech industry.

The car stopped in the small plaza paved with light white granite in front of the main building. Jessica Felton got out first and looked at the large sky-blue characters on the wall—Future World!

If nothing unexpected happened, she would be living here for a long time, perhaps even becoming the lady of the house.

Housekeeper Nikita came to greet them. Jessica Felton composed herself and greeted her before accompanying Ronan as the servants carried the luggage to the third floor.

“Do you need my help?” Ronan asked, seeing Jessica Felton opening the suitcase to unpack. “I can help with the luggage.”

Jessica Felton came out of the walk-in closet connected to the master bedroom and said, “No need. Just watch. Nikita and I can handle it.”

Nikita opened the suitcase with the clothes and took out the garment bags. She and Jessica Felton went back into the walk-in closet. “The walk-in closet wasn’t used much before. I had it cleaned and reorganized. This is the formal wear area, and the shoe and hat area is through this door…”

Ronan didn’t join them. Jessica Felton didn’t have many clothes, mostly professional suits. She was a relatively simple person in life, devoting most of her time and energy to work.

The master bedroom’s walk-in closet was very large. The women’s section had never been used before. Ronan looked around for a while before going downstairs to have tea sent to the third floor.

Among women with financial means, Jessica Felton had relatively few clothes, shoes, hats, and bags. By the time Ronan returned from downstairs, with Nikita’s help, the two had almost finished unpacking.

From clothes to shoes, bags, and makeup, the huge walk-in closet still looked empty.

“Have some water.” Ronan called the two to sit down and rest.

Nikita was about to leave but was stopped by Jessica Felton. The two drank half a cup of tea and then went back into the walk-in closet, whispering about something.

Someone who could control a large Hollywood production team was definitely not a fool and was good at handling interpersonal relationships.

Of course, some things should be done in moderation. After Jessica Felton had shown appropriate friendliness, the room was left with just her and Ronan.

Ronan asked, “What were you discussing?”

Jessica Felton smiled and sat across from Ronan. “Women’s topics. Not suitable for you.”

Ronan shrugged slightly. “Okay, I won’t pry into your secrets.” He then asked, “Your clothes are all professional suits. Do you need to buy new ones? If so, just tell Nikita. There are people who can come to provide the service.”

Jessica Felton thought for a moment and said, “How about this? You accompany me shopping this weekend.”

Ronan asked, “Do you have time this weekend?”

“I was supposed to meet with Sandra Bullock to discuss a collaboration, but she had to change the time at the last minute.” Jessica Felton, busy and a bit thirsty, finished the water in her cup and picked up Ronan’s. Before drinking, she said, “It’s about the Miss Congeniality project. I have two choices for the female lead: Sandra Bullock and Charlize Theron. Both have their advantages. Can you give me some advice?”

Ronan thought for a moment and said, “Sandra Bullock is clearly more suitable. The female lead is a typical ditzy girl. Charlize Theron’s style and path don’t fit, and her market appeal is also a problem.”

Jessica Felton nodded slightly. “That’s what I thought too.” She took a sip of water and pulled Ronan up. “First day of moving. Take me around to see everything.”

Ronan accompanied her downstairs. “Aren’t you already familiar with it?”

Jessica Felton shrugged. “Besides the living room, dining room, bedroom, and gym, I’ve hardly been anywhere else.”

Ronan thought about it and realized it was true. He immediately took Jessica Felton on a tour of the estate.

They first went outside, seeing the forest ahead, the garden and lawn in the middle, the leisure area on the left, and the small golf and tennis courts on the right.

Then they returned to the villa, walking through each floor from the first to the third. Finally, they went to the basement.

“I rarely see you drink.”

Walking through the large underground wine cellar, Jessica Felton brushed past the bottles of wine. “I didn’t expect you to have so much.”

Ronan said, “Most of it came with the wine cellar when I bought the estate. Over the years, I’ve bought some more. Tom and Will used to come by occasionally for a drink. Hmm… Tom gave me quite a few bottles.”

He smiled. “I never drink alone.”

Jessica Felton nodded slightly and suggested, “Pick a time and invite Tom and Will to bring their partners over.”

Ronan, of course, wouldn’t refuse. “Sure. I’ll call them later and see when they’re free.” He thought for a moment and added, “Jesse, you can invite your friends too.”

“Okay.” Jessica Felton agreed and then left the wine cellar. After walking through a corridor, she saw a large alloy door. “Is this the vault?”

Ronan said, “Yes. There are some valuable items inside. I’ll have Nikita add your fingerprints and iris scans later…”

Jessica Felton jokingly declined. “No need. I’m afraid the things inside are too valuable. I might run off with them.”

Ronan didn’t insist. “Then wouldn’t I be in a bad situation? Losing both you and the money.”

Jessica Felton laughed and walked forward, discovering another, much smaller alloy door. “Is this also a vault?”

“Yes.” Ronan scratched his head. “A small vault.”

Jessica Felton was curious. “Why are there two vaults? Isn’t there something even more valuable inside?”

Chapter 1052: Prevention is Better Than Cure

The security level of this small vault was higher than that of the larger one, and only Ronan could open it. Inside were extremely important documents.

To be precise, they were video files.

Jessica Fielding, like any woman, was curious. She looked at Ronan and asked, “Can I ask what’s inside?”

Ronan didn’t want to lie to Jessica Fielding, but he instinctively wanted to tell a white lie. For a moment, he didn’t know how to respond.

Jessica Fielding knew Ronan very well and noticed his rare moment of embarrassment.

It wasn’t much, but as someone exceptionally close to him, she could sense it.

Honestly, Jessica Fielding was even more curious. She knew what kind of person her boyfriend was—his face was as thick as the load-bearing walls of Relativity Tower. He had swindled the entire management of Walt Disney without batting an eye.

Whatever was in this vault could make Ronan feel embarrassed—it must be extraordinary.

But Jessica Fielding wasn’t an ordinary woman. She wasn’t impulsive, ignorant, or a lovestruck fool with nothing but romance on her mind.

Excessive curiosity had never been good for relationships.

Jessica Fielding acted as if she hadn’t noticed Ronan’s fleeting embarrassment and said, “It’s a bit chilly down here. Let’s go back up.”

Ronan took her hand and led her back, saying, “Alright, let’s go.”

Thinking about the video files in the vault, Ronan decided to leave them there forever, never to see the light of day again.

As for taking them out to watch together, that absurd idea never even crossed his mind.

Back in the first-floor living room, dinner was ready. Tonight’s menu leaned toward Chinese cuisine, which Jessica Fielding wasn’t very used to, so she only ate a little.

After dinner, Ronan called Jessica Fielding, Nikita, and Finch into the reception room.

“Do you remember what I told you some time ago?” Ronan said to Jessica Fielding. “You’ve seen it too—recently, we might face a lot of trouble from reporters or other sources. I’ve had Finch find two security assistants specifically for you.”

Jessica Fielding had already heard Ronan mention this and was well aware of her current position. She wasn’t foolish enough to refuse. “Alright, but they’ll have to adapt to my pace.”

Finch chimed in, “Of course, they’ll have to adapt.”

He made a phone call, and soon someone knocked and entered.

They were two very ordinary-looking white women, around thirty years old, with average features and the most common brown hair in America. One was named Anna, the other Elsa.

After Jessica Fielding exchanged a few polite words with them, the two quickly left the reception room.

“Don’t let their presence make you neglect your own safety. You need to be more careful,” Ronan said, fully aware that being with him would inevitably drag Jessica Fielding into some troubles. He emphasized, “Jesse, over the next few years, I’ll face some troubles outside the rules. Some people might target you.”

Jessica Fielding immediately asked with concern, “You won’t be in danger, will you?”

Ronan slightly shook his head. “Don’t worry, it’s just some business matters.”

Jessica Fielding didn’t quite understand and wasn’t reassured. “Why?”

This question covered a lot of ground. Ronan thought carefully for a moment before saying, “A couple of years ago, Nikita occasionally noticed people surveilling this estate. Later, Finch also discovered people lurking behind me, and even someone impersonating an AT&T telecom service engineer near the communication converters.”

Ronan glanced at Finch, who simply said, “From a security perspective, I have reason to suspect someone wants to eavesdrop on Future World Estate’s phone lines.”

Jessica Fielding was a bit shocked upon hearing this but remained calm. “Is it still happening now?”

“We haven’t detected anything recently,” Finch said cautiously. “But we can’t rule out the possibility.”

He continued, “Anna and Elsa will usually be by your side, providing security. If any emergencies arise, their opinions will be crucial.”

Jessica Fielding nodded. “I understand. They’re the experts.”

Ronan reassured her, “This is just a precaution. Don’t worry too much. Just carry on as usual.”

Jessica Fielding was more worried about Ronan. “How could it be like this? At your level, isn’t the game supposed to have rules?”

Ronan calmly replied, “There are always those who don’t follow the rules.”

Thinking about past events, Ronan had to admit that the Murdoch family had nerves of steel. Their actions weren’t just crossing the line—they were leaping over it.

Jessica Fielding wasn’t a naive civilian either. She naturally understood this, and her delicate features gradually turned serious.

“You promise me,” she grabbed Ronan’s hand, “you’ll stay safe.”

Ronan gently nodded. “Don’t worry. They’re after the assets in my hands.”

Some things went unsaid—he was after their assets too.

In matters like these, there was no right or wrong, only winners and losers.

Jessica Fielding felt somewhat reassured. Knowing she couldn’t help Ronan in this regard, she didn’t say more.

Facing these situations, Jessica Fielding believed that the least she could do was to steadily handle her work, ensure her own safety, and avoid causing trouble.

From Ronan’s analysis of the situation, two giants had set their sights on each other.

He couldn’t complain about the other side using unconventional methods—Relativity Entertainment’s plans weren’t any better.

This was how the world worked. The standards for oneself were different from those for others. Double standards were common.

The night sky over Los Angeles was filled with stars. Jessica Fielding sat in a wicker chair on the terrace, seemingly admiring the starry sky, but her mind was entirely on what Ronan had said tonight.

Whatever had Ronan so concerned must be no ordinary opponent—it had to be a company or group on the same level as Relativity Entertainment.

Others only saw Ronan’s glory, but how many saw the immense pressure he faced?

The higher the position, the greater the pressure.

Ronan carried a bottle of red wine and two glasses to the terrace. Seeing Jessica Fielding lost in thought, he poured them each a glass before asking, “Dear, what’s got you so distracted?”

Jessica Fielding snapped out of it, picked up her glass, clinked it with Ronan’s, and after drinking, asked, “You’re under a lot of pressure, aren’t you?”

“Pressure?” Ronan set down his glass and slowly shook his head. “Not really.”

Jessica Fielding didn’t quite believe him. “Really?”

Ronan spread his hands. “Do I look like I’m under a lot of pressure?” He laughed. “Even if Relativity Entertainment ends up in someone else’s hands, I’ll still be a super-rich man, and I won’t have to work as hard as I do now.”

“You’d never give up,” Jessica Fielding said, knowing Ronan was fundamentally like her. “The sweetness of seeing your career grow step by step is intoxicating, even addictive.”

Ronan stood up, went to Jessica Fielding’s side, and pulled her up. “Dear, I’m only addicted to you now.”

Jessica Fielding widened her eyes. “You always know just what to say.”

The two were in perfect sync as they returned to the bedroom.

A sudden gust of wind, waves crashing—one wave hadn’t settled before another came, the dark night a storm of wind and rain.

Since Ronan and James Murdoch had reached their so-called understanding, Relativity Entertainment and 20th Century Fox had resumed negotiations regarding the X-Men and Fantastic Four copyrights. But so far, no agreement had been reached on any front.

Although both sides continued to talk, neither held much hope for the upcoming negotiations.

Meanwhile, after more than a month of waiting, Time Warner finally responded to the acquisition offer from News Corporation and 20th Century Fox.

Time Warner announced that the acquisition proposal did not serve the best interests of the company and its shareholders. Time Warner’s strategic plan would create much higher value and was superior to any acquisition proposal from external parties, including News Corporation and 20th Century Fox.

Undoubtedly, Time Warner had rejected the Murdoch family.

But feedback from various sources indicated that the Murdoch family wasn’t giving up. News Corporation and 20th Century Fox were mobilizing resources to continue preparing for the acquisition.

Time Warner’s rejection couldn’t stop the Murdoch family.

Having risen from Australia to conquer America, the Murdoch family wasn’t known for giving up easily.

Relativity Entertainment was also making preparations. A business delegation led by a group vice president accepted Lin Jian and Qianlu Group’s invitation to formally visit the Eastern markets for inspection.

Both sides would further discuss cooperation in the film industry and other matters.

Ronan was well aware of their ambition to create an Eastern Hollywood. At least until encountering some irresistible factors, Lin Jian’s ideas and plans were clear. Thus, Ronan was optimistic about the prospects of their cooperation.

On another front, Relativity Entertainment was also negotiating contracts with other companies in Hollywood.

Shai Entertainment and Spielberg’s project script was officially completed. The project abandoned the original lengthy title and was simply named Lincoln.

This name alone held immense appeal for a significant number of people.

Over the past two years, Relativity Entertainment seemed destined to have a connection with Lincoln. Including the one Spielberg was preparing to direct, there would be three films featuring Lincoln as the male lead in recent years.

The other two were Uwe Boll’s Vampire Hunter Lincoln and the recently greenlit B-movie Lincoln vs. Zombies.

These were two very unconventional Lincoln films, but in the eyes of Hollywood and North American audiences, that wasn’t a problem. Mocking and parodying current and former presidents had always been a staple of media and audiences alike.

Chapter 1053: The Witch Hunter Washington

According to Embassy Pictures’ schedule, just like last year’s Dead or Alive, Uwe Boll’s film was once again slated for release in January of next year.

In a sense, Abraham Lincoln: Vampire Hunter was also Relativity Entertainment’s opening film for next year.

Among the directors in long-term collaboration with Relativity Entertainment, Uwe Boll was one of the most prolific, producing and releasing a film almost every year.

Of course, even Ronan couldn’t deny that this was directly related to the low investment and shoddy production of Uwe Boll’s films.

Without the need for meticulous filming and production, the speed naturally increased.

As for Abraham Lincoln, Vampire Hunter, it would likely be pushed directly into the DVD market and Netflix Streaming Media Platform. A B-movie like this, trying to go the theatrical distribution route, probably wouldn’t even earn back the cost of the film prints.

Uwe Boll’s energy had already shifted to a new film project, and he was preparing for a new movie.

Ronan specifically went to the farm in the suburbs of Los Angeles where Insidious was being filmed to see the situation of this crew.

The car stopped in the temporary parking area specially set up on the farm. The large farm had long been bought by Shai Entertainment and transformed into a temporary outdoor filming location for farm scenes. Although the farm was still in a dilapidated state due to filming needs, the bustling crowd was no longer as desolate as before.

The farm was divided into two parts. The eastern residential area was occupied by the The Conjuring crew, and in the western functional area, Uwe Boll was leading people in planting trees.

Ronan first went to Uwe Boll’s crew.

“Hurry up! Hurry up!”

The crew wasn’t filming but was doing preliminary preparations. Uwe Boll stood among a group of people, holding a megaphone and shouting, directing a crane to place a tree into a dug hole: “Bury the soil! Hurry up and bury the soil! Plant the tree well!”

Several people worked together, and the tree was quickly planted in the ground.

A man holding a large axe nearby reminded Uwe Boll: “Director, Mr. Anderson is here.”

Uwe Boll gave a few more instructions to the people below, handed the megaphone to his assistant, and then walked over: “Hi, Ronan, I was busy just now and didn’t notice you coming.”

Ronan didn’t mind such things. He pointed to the tree, which was about five meters tall, and asked, “Is this a cherry tree?”

Uwe Boll rubbed his increasingly bald forehead and said, “The story you told me about Washington and the cherry tree was very inspiring. Washington in his youth used the cherry tree to practice with an axe.”

Ronan slowly nodded. It seemed that the title of the “Cherry Tree Axe” was going to be firmly attached to Washington.

Uwe Boll continued, “The environment here is very special. Sometimes it makes people feel creepy.” His eyes looked towards the distant The Conjuring crew: “This desolate and eerie atmosphere is very suitable for the mysterious, terrifying, and desolate atmosphere of North America in the film.”

Ronan said, “After Shai Entertainment bought this farm, according to James Wen’s requirements, it was modified to suit the needs of filming horror movies.”

“No wonder.” Uwe Boll said, “Sometimes when I come out at night, I always feel that the environmental atmosphere is not quite right.”

The two talked about the farm for a while and then discussed the new movie that was being prepared. Ronan appropriately encouraged Uwe Boll: “Adding Cthulhu Mythos elements to the background is a very good point.”

Uwe Boll said, “The main focus is to highlight the difficulties of the founding of America, thereby emphasizing the strength and greatness of the protagonists. Not only Washington but also Franklin and Jefferson will appear in this film.”

Ronan knew of Uwe Boll’s ambitions and asked, “Have you decided on the official title for this project?”

“It was just confirmed, and the procedures haven’t been completed yet.” Uwe Boll, at this moment, had a kind of artistic flair of a great director: “The film is prepared to be called The Witch Hunter Washington. What do you think?”

“The Witch Hunter Washington?” Ronan had a strange feeling and suddenly thought of a once widely circulated image, name, and its most significant feature.

Since there was a witch hunter, there should be corresponding elements. He asked again, “What about the female roles? In your past films, the female roles have always been highlights.”

Uwe Boll smiled, his face full of folds, and said, “I’ve prepared a few witch roles. They can chat with the witch hunter Washington, ease his mood, and so on.”

Ronan slowly nodded and said, “Uwe, plan and film this movie well. I have high hopes for it.”

That game hadn’t appeared yet, right? Maybe after Uwe Boll’s movie was released, with the crazy spread of the internet, the title of “Witch Hammer” might be transferred to Washington.

Such a plot might be controversial, but the controversy wouldn’t be significant. Parodying the president and the like had never been a big deal in Hollywood and among American audiences.

Eccentric Western countries often had all sorts of messy things. Wasn’t the pig in the White House and the later Black Carbon being cursed by the media and the public? The later President Trump proved that there was no worst, only worse!

France was even more excessive than the United States. The French often revolted against the nation and themselves.

Uwe Boll said, “As long as Abraham Lincoln: Vampire Hunter and The Witch Hunter Washington are successful, the entire plan can be laid out.”

Ronan agreed with his statement: “Uwe, this series is entirely up to you.” Thinking of Uwe Boll’s relentless pursuit of the so-called “goddess,” he specifically emphasized: “Don’t consider other film projects anymore.”

Uwe Boll understood what Ronan was saying. He sighed deeply, slowly nodded, and said, “A pursuit destined to have no result is just a tragedy.”

Ronan understood the feeling of a loser being treated as a backup option by the goddess in his heart. He comforted him: “When Blizzard encounters difficulties in adapting World of Warcraft in the future, they will understand your hard work.”

Uwe Boll smiled bitterly and slightly changed the subject: “Blizzard has encountered some troubles recently and doesn’t have time to deal with me anymore.”

“What happened?” Ronan was curious.

At this time, Blizzard should have released a new expansion pack, right? Was it particularly late? Or did they forget to open it? Anyway, during this period, Blizzard was at its peak due to the popularity of World of Warcraft.

It was a hundred times stronger than the later “Legion is coming again” and “Lich King is angry again.”

Uwe Boll said, “Some copyright troubles may seriously affect the reputation of World of Warcraft.” He briefly explained: “A company in San Fernando Valley, seeing the influence of World of Warcraft, released an adult film with a very similar name, World of Whorecraft, and opened its official website online.”

Ronan wasn’t surprised. San Fernando Valley had done such things many times. Those who were particular would pay some money to buy the copyright, and those who weren’t would directly make a similar name and content and start filming.

He vaguely remembered that World of Warcraft seemed to have had an adult version.

Uwe Boll continued, “Blizzard is very angry and has filed a lawsuit in the California local court…”

Seeing Ronan’s interest, Uwe Boll described it roughly.

Blizzard’s masterpiece World of Warcraft, after being turned into an online game, caused a huge response worldwide and thus attracted a lot of attention.

Of course, with the usual style of San Fernando Valley, World of Warcraft inevitably attracted the attention of a group of artists.

Without any authorization from Blizzard, a company in San Fernando Valley used Warcraft as a prototype and filmed several artistic films.

And it wasn’t just one film; up to now, four seasons had been filmed, and it was said that the fifth and sixth seasons were also planned.

As an artistic work with swords and magic as its selling point, it borrowed the style of Blizzard’s World of Warcraft in many aspects such as background and character design.

As everyone knew, San Fernando Valley had far more handsome and beautiful artists than Hollywood.

So, there was no shortage of eye-catching artists to play roles such as Night Elves, Human Paladins, and High Elf Mages, and even the garish green Orcs and Goblins…

Additionally, the company had specially opened an official website for this series. Not only could you pay to download and watch the films online, but you could also purchase exquisite film stills, T-shirts of the drama, and exquisite dolls and other merchandise.

According to Uwe Boll, this website was very popular among Warcraft fans. Some fans even bought birthday gifts for their families through this website. Although they couldn’t buy Frostmourne for their own father, they could choose Tyrande’s dried bananas.

The art merchandise market in San Fernando Valley was also very large, and the annual industry exhibition was a grand event.

It could be imagined that Blizzard, whose interests were directly infringed, would not let it go.

Ronan then went to James Wan’s The Conjuring crew.

Unlike The Witch Hunter Washington, the The Conjuring crew had already started filming. When Ronan arrived, a prop corpse was hanging from the crooked-neck tree in the farmhouse, which was really scary from a distance.

Additionally, Ronan also chatted with Patrick Wilson and Vera Farmiga, the male and female actors playing the Warren couple, who would appear in multiple films in the “Horror Movie Universe.”

During the filming break, James Wan also came over to chat with Ronan.

James Wan simply said, “The style of this film is not very similar to my previous films. In this film, I plan to use a very traditional horror film style, making it look like a film from the 1970s. In terms of music, my choice will also be very traditional, planning to use the standard music of horror films. What I want to do is to film a traditional and classic-style horror film.”

Ronan had long entrusted this series to him and said, “James, you can make the decision.”

Because the filming was busy, Ronan didn’t disturb James Wan too much to avoid delaying the crew’s official work.

The Conjuring wouldn’t be released until next year, 2008.

However, as the first film in the true beginning of the “Horror Movie Universe,” Insidious would be released in late August.

Chapter 1054: A Successful Beginning

When the name James Wen is mentioned, North American horror fans immediately think of horror films and the Saw series, and even the widely circulated online nickname “Father of Saw.”

Without exaggeration, James Wan has already gained significant influence among North American horror fans.

From the moment the trailer for Insidious was released, it captured the attention of horror enthusiasts.

On the last weekend of August, Insidious, with a production budget of just one million five hundred thousand dollars, premiered in North America.

Judging by the production budget alone, this horror film was a small-scale production among small-scale productions. However, with over three thousand five hundred opening weekend theaters and an investment of four million dollars in just four thousand film copies, Embassy Pictures had already spent a considerable amount.

This was even with some theaters upgrading their digital projection equipment; otherwise, the cost of film copies would have been even higher.

Additionally, an eight-million-dollar marketing budget was considered average for a film of this scale.

Before its official North American release, Insidious had a small premiere.

Since the marketing campaign had early on featured the Warren couple, real-life paranormal investigators, the premiere was held in Bridgeport, Connecticut, home to the New England Paranormal Society and the Warren Occult Museum.

In Embassy Pictures’ promotional efforts, Ed and Lorraine Warren were portrayed as the most outstanding experts in the fields of spirituality and demonology in North America over the past fifty years.

This is a nation deeply rooted in theism, and the Warrens’ experiences inevitably attracted the attention of many paranormal enthusiasts.

While Embassy Pictures’ promotions were somewhat exaggerated, even the church admitted that the Warrens had been repeatedly summoned to investigate supernatural phenomena in North America.

These stories, beyond the film’s official promotions, became widely discussed topics.

On the day of the premiere, over a thousand fans gathered near the Bridgeport Grand Theater, primarily paranormal enthusiasts and James Wan’s supporters.

Indeed, as a director, James Wan has a dedicated fan base.

Honestly, at first glance, Insidious doesn’t seem particularly special—a family joyfully moves into a new house, only to be suddenly attacked by spirits. This haunted house plot seems to lack any fresh or noteworthy elements.

However, with James Wan as the director, many horror fans were filled with anticipation.

Driven by Embassy Pictures and Relativity Entertainment, James Wan has been anything but low-key in recent years. The spread of the nickname “Father of Saw” speaks volumes.

The Saw series has indeed earned James Wan many fans.

Every year, as Halloween approaches, countless horror fans eagerly await new installments in the Saw series, turning it into a cultural phenomenon. A significant number of North American fans and media outlets frequently discuss James Wan.

James Wan has carved out his own path in horror cinema. When people thought that confined-space horror films were nothing special, he shook up the market with the Saw series. Instead of resting on his laurels, he continued to explore new directions in horror.

In Insidious, James Wan introduces new ideas about spirits in the supernatural realm, while the setting of an old house retains the confined-space feel of Saw.

Directors who achieve fame with a single film often carry that burden, but this isn’t an issue for James Wan. He rose to fame with Saw yet continues to experiment with new approaches to horror.

Promoted by Embassy Pictures, Insidious participated in the screening section of the Cannes Film Festival in the first half of the year. Like Slumdog Millionaire, which left Cannes empty-handed but received widespread media acclaim, Insidious was praised for its clever use of sound and cinematography, earning high technical recognition.

Thus, James Wan confidently waited for the autumn horror season to present audiences with a classic haunted house film.

The most impressive segment of the film is undoubtedly the “seance” sequence. The Warrens and their seance equipment, which lacks any religious or scientific basis, make the audience—and the protagonist—question the feasibility of their “seance techniques.” However, the unexplained supernatural phenomena are enough to shock even seasoned horror fans.

If you enjoy the kind of horror that features sudden ghostly apparitions and jarring sound effects, you might overlook the rationality of the mediums’ methods and simply immerse yourself in the eerie, net-covered spiritual world.

James Wan, of Asian descent, deeply understands the essence of Asian horror culture. He wraps the structure of Western horror films around the exterior of Insidious, but the film itself doesn’t delve much into the typical Western horror themes of personality, psychology, or religion. Instead, it magnifies the world of ghosts, using mesmerizing imagery to recreate a terrifying underworld. Particularly in the scene where Lorraine Warren leaves the real world to search for a lost child’s soul in the underworld, the hellscape is shrouded in white mist, and the ghosts encountered are cold and numb—pure gothic horror on screen.

As the true beginning of the “Horror Movie Universe,” Insidious also has another mission: to set up the subsequent series.

At the end of the film, the Warrens receive an invitation to give a lecture at a university.

After the main credits, there’s an Easter egg—a segment filmed in the style of a mockumentary, resembling an old videotape clip. It shows the Warrens giving a lecture in a university auditorium.

In their lecture, the Warrens highlight a case from their alleged real experiences—the Perron family haunting in Rhode Island!

This is a setup for next year’s The Conjuring!

Before filming Insidious, James Wan had told Ronan that a horror story must first scare the creator.

Thus, Insidious was born, and upon release, it achieved success, continuing Relativity Entertainment’s tradition of successful horror films.

In its opening weekend in North America, the horror film grossed thirty-one million two hundred twenty thousand dollars across three thousand five hundred sixty theaters.

That same weekend, Lionsgate Films released The Duel at Yu Ma Town, starring Christian Bale and Russell Crowe.

However, this remake of a classic didn’t shine anew despite the two A-list stars. Instead, it sank amid criticism, earning only thirteen million thirty thousand dollars in its opening weekend.

Insidious easily surpassed The Duel at Yu Ma Town, topping the North American box office chart.

In just three days, relying solely on the North American market, Relativity Entertainment recouped all its investments in Insidious.

The subsequent earnings from the film could essentially be considered pure profit.

It’s well-known that low-budget horror films often win the market but lose the media battle.

However, Insidious earned James Wan widespread media acclaim.

The New York Times praised the film as “wild, terrifying, and spine-chilling.”

Other media outlets offered similar positive reviews, such as “the depiction of evil spirits is enough to scare audiences” and “it doesn’t rely on excessive gore but conquers audiences with its atmosphere.”

Entertainment Weekly even raved: Insidious is a typical ghost film, but it contains shocking scenes we haven’t seen in the past decade.

Undeniably, James Wan possesses exceptional talent in the horror genre.

When it comes to horror films, everyone likely has a unique experience related to them. As an important genre, horror films serve a function that other genres cannot replace—helping audiences release various emotions through psychological and visual stimulation.

Frequent horror film viewers often agree that horror films have distinct regional characteristics. For example, Asian horror films from South Korea, Japan, and Thailand excel at creating terrifying atmospheres, often scaring audiences with just a sound effect—these belong to the “heart-pounding” school.

In contrast, Western horror films, particularly those from the United States, emphasize visual horror, with bloody and terrifying scenes often shocking viewers to the core—these belong to the “kidney-jolting” school.

As for Eastern horror films, those that make it to theaters must be explained with scientific reasoning, such as “neurological hallucinations,” making them typical of the “science-based” school.

The Science and Technology program, which likely shaped many childhood horror memories, is scarier than any Eastern horror film shown in theaters.

At a time when horror film styles have become formulaic, James Wan avoided traditional horror plots. Instead, he had actors portray the actions and expressions audiences would have when encountering terrifying scenes in the story.

In Insidious, James Wan abandoned the traditional approach of using blood and gore for visual stimulation. He incorporated many new elements of horror, establishing new rules for the supernatural world—summoning the dead with souls.

This approach is rare in horror films, and more importantly, James Wan achieved tremendous success with it.

The success of Insidious marked a strong start for the “Horror Movie Universe” plan.

Riding the wave of Insidious’s success, Relativity Entertainment also promoted The Conjuring, ensuring that many fans remembered the title.

True horror films are never about bizarre special effects appearing out of nowhere at every moment, scaring audiences with strange things popping up.

A key criterion for a good horror film is the creation of a terrifying atmosphere.

James Wan will undoubtedly leave a significant mark in the history of Hollywood horror films.

Released at the end of August, Insidious didn’t face particularly strong competition in the following weeks. It maintained a stable box office performance in North America, with a drop of less than forty percent in its second weekend, securing the North American box office crown for the second weekend in a row with eighteen million seven hundred fifty thousand dollars.

After just ten days in North American theaters, Insidious had grossed a staggering fifty-five million one hundred twenty thousand dollars—over thirty times its one million five hundred thousand dollar production budget.

Without a doubt, this horror film will be listed among the most successful low-budget, high-return films in history.

Chapter 1055: Winter Is Coming

With a strong start, subsequent plans naturally unfolded smoothly. As the box office for Insidious continued to climb, aside from The Conjuring, which James Wen was currently directing, the third installment of the “Horror Movie Universe”—Annabelle, derived from the terrifying doll in The Conjuring and the real-world Warren Occult Museum—was also put on the agenda by Shai Entertainment.

This project had similarly low investment, with production costs of only four million dollars.

Low-budget horror films were the foundation of Relativity Entertainment’s success.

Shai Entertainment’s first theatrical release, The Purge, had entered a hiatus to avoid audience fatigue, but Shai Entertainment was preparing to leverage the established worldbuilding to produce related series and had reached an agreement with Netflix Streaming Media.

After careful consideration, Ronan gave the greenlight to this project. Like the films, the series would maintain a low-investment, small-scale production model.

Additionally, Netflix Streaming Media proposed the idea of producing a series adaptation of The Bourne Identity.

The initial planning for this project was also sent to Ronan’s office by Shai Entertainment. The Bourne trilogy had concluded the film series, and any further sequels would have to wait several years.

In recent years, the three Bourne films had remained popular in the DVD rental and sales market. Utilizing this momentum was a fundamental skill for any Hollywood company.

However, the story following the Bourne trilogy was reserved for future film sequels. Producing a series was not appropriate, and if the series encountered problems, it could negatively impact future film sequels.

After careful deliberation, Ronan also gave the greenlight to the Bourne series. The film trilogy only adapted a portion of the original novel, and the remaining content could be suitably adapted into a series.

As is well known, film or series adaptations based on novels often collapse on a large scale once they lose the support of the original work.

Having the original novel as a foundation for the series adaptation gave it more confidence.

But the series’ plot had to be set before Jason Bourne’s amnesia, focusing on the important event frequently mentioned in the film trilogy and highly anticipated by fans—the Treadstone Project!

Fans of the Bourne trilogy know that Operation Treadstone was a secret CIA operation aimed at resolving problematic politicians in various countries who did not comply with the U.S. government—a dark, behind-the-scenes plan.

In simple terms, it involved government-trained professional assassins eliminating those who defied the United States, such as the Black man in the first Bourne film who tried to blackmail the U.S. government and ended up dead.

Ronan specifically reminded Shai Entertainment that while the series could tie into the films, it needed to establish its own worldview and focus primarily on the “Treadstone Project,” avoiding the pitfall of digging too large a hole from the start.

Some series begin with a hole bigger than the sky, making it nearly impossible to fill later.

For example, Jerry Abrams’ Lost series, now in its third season, had excellent word-of-mouth and user subscription data, but the massive pit it had dug left even Jerry Abrams unsure of how to proceed, forcing him to take it one season at a time.

Robert Ludlum’s original novel had a much grander scale and more extensive spy organizations than the films. If the series attempted to cover all the spy projects in Ludlum’s novel, it would inevitably dig a massive hole.

The first season of the series would focus on the “Treadstone Project” and its closely related operations.

Spy-themed content had never lacked an audience. If done well, the market response was sure to be positive.

Additionally, the style had to be consistent with the films.

In recent decades, excellent spy-themed series had been rare. Spies and agents had become high-tech props, and series that adhered to hand-to-hand combat, gunfights, and intrigue were few and far between.

After Ronan gave the greenlight, this series project was also put on the agenda by Shai Entertainment and officially named The Bourne Identity: Operation Treadstone.

Netflix Streaming Media immediately placed an order for the series with Shai Entertainment.

With its vast content library and personalized recommendations, along with high-quality exclusive series, Netflix Streaming Media had developed rapidly. Its streaming services now covered over fifty countries and regions, including North America, Latin America, Europe, East Asia, and Australia. Not only did it firmly hold the top spot among global online video platforms, but its competitors couldn’t even see its shadow.

Since Relativity Entertainment first took over Netflix, the personalized recommendations advocated by Ronan had been a crucial factor in Netflix’s business development. Netflix had also developed a dedicated algorithm for this purpose.

The algorithmic recommendations were Netflix’s greatest advantage.

This month, Netflix overhauled its rating system for online video, DVD rental, and streaming services, replacing the traditional five-star rating system with a thumbs-up system.

On the internet, everything revolved around the user. After years of statistics, Netflix found that user ratings and consumption were almost entirely disconnected.

Previously, the rating system used in traditional film and television circles meant that as long as a hundred users rated a film or series, its rating would be displayed.

Such ratings could not represent the consumption popularity of the content.

As is well known, many films or series, often the more niche, had fewer rating users but higher ratings.

Widely distributed content, due to its extremely broad audience, had relatively lower ratings.

On a consumption-based website like Netflix, searching for desired content by rating became unreliable. When users selected a genre and searched by rating, the top results were often very niche or artistic films.

Undeniably, within certain groups, these high-rated niche contents might be god-tier works.

But for the general consumer and the website’s operation, this was utterly useless.

In contrast, the truly popular mainstream content, due to relatively lower ratings, fell behind in rating-based searches.

In this fast-food era, there was too much entertaining content on the internet. One couldn’t expect all users to have the patience to change their search methods or see beyond the first page. Some users might close the webpage immediately if they didn’t find what they wanted.

This scenario was not unlikely.

Thus, user “ratings and reviews” became less important to Netflix.

In comparison, the direct display of likes was more intuitive and better represented internet consumption trends.

Based on the liking behavior of users with different tags, more content matching the same tags could be recommended to similar users.

This had been thoroughly validated during internet development—consumers could more easily find popular content they were interested in.

Content richness became even more important. The massive user viewing behavior data, tag data, and other data collections required an even larger video content library, meaning Netflix’s content library had to continuously expand and update.

In recent years, Netflix had not relaxed its content collection efforts.

Not only from Relativity Entertainment but also from other suitable Hollywood companies, Netflix would purchase content.

In terms of streaming platform cooperation, as a content provider, dealing with channel merchants like Netflix meant steady sales revenue. Other Hollywood companies would not refuse this in the short term.

Of course, many Hollywood companies, like 20th Century Fox with Fox Online, were actively entering the online streaming business.

Even the struggling Walt Disney was planning Disney Online.

In September, a heavyweight series landed on the Netflix Streaming Media Platform!

After years of planning and production, A Song of Ice and Fire: Game of Thrones officially went online in September.

Before the series premiered, both Relativity Entertainment and Netflix had done extensive promotion, especially focusing on George Martin.

Perhaps on the other side of the Pacific, the politics and intrigue of A Game of Thrones seemed petty, like children playing house, but the original novel, driven by the publisher and Relativity Entertainment’s promotion over the past two years, had gained significant influence in North America and the entire Western world, with total sales exceeding ten million copies.

George Martin had even been dubbed the “American Tolkien” by media and fans.

“A Game of Thrones is adapted from a truly great work. George Martin has woven an extremely complex story, covering vast lands, shaping numerous characters, and spanning thousands of years of history, earning him the title of ‘America’s Tolkien’ from Time magazine.”

Such promotion had begun to gain broader recognition.

The Stark family’s motto, “Winter is coming,” had gradually become a popular internet phrase.

As for the Night’s Watch oath, it had become a hot topic online.

Frankly, that passage was indeed magnificent and infectious.

Ed Stark, played by Sean Bean, was also a hot topic in the promotion.

Promotional articles specifically listed the tragic experiences of Sean Bean’s acting career: his film roles were extremely tragic, with various deaths—buried alive once, shot seven times, blown up once, dismembered once, beheaded once, hanged twice, throat slit twice, stabbed twice, fallen to death twice, shot once, crushed once…

It was so tragic it was hard to look at.

The tension of the plot, death and hope, the direwolves of fate, fantasy elements and imaginative spaces, family conflicts, the allure of power, transgressive love, and brutal violence—all these could become factors attracting audiences to the series.

On the day A Song of Ice and Fire: Game of Thrones landed on Netflix Streaming Media, the number of subscribers exceeded four million!

In the following week, North American subscribers easily surpassed fifteen million, including nearly 1.5 million new paying users.

The massive number of paying users and user database, high-quality original content, and global expansion process were all the confidence behind Netflix’s push for a market value of hundreds of billions.

Chapter 1056: Momentum

Just like Hollywood films, any series that gains immense popularity in North America will inevitably resonate globally, especially with the original work as its foundation.

The fervor for A Song of Ice and Fire: Game of Thrones quickly spread across the Western world. In just over ten days, it brought Netflix Streaming Media nearly eight million new paying users.

The surge in viewership and subscribers directly impacted the stock market. By mid-September, Netflix’s market value surpassed ninety billion dollars, just one step away from the one hundred billion mark.

By the end of the year, Netflix’s market value breaking one hundred billion dollars was all but guaranteed.

As the absolute controlling shareholder of Relativity Entertainment, having Netflix in their portfolio meant an additional operational channel.

While A Song of Ice and Fire: Game of Thrones was airing, Ronan made time to meet with George Martin.

“We’ve achieved tremendous success with our first step.”

In the reception room, Ronan was in high spirits, a faint smile lingering on his face. “George, you need to continue participating in the scriptwriting for the second season.”

George Martin was even more delighted. His white-bearded face beamed with a smile so wide his mouth nearly couldn’t close. “The scriptwriting has already begun. We’ll have the first draft ready soon.”

Ronan got to the point. “George, there’s another matter I wanted to discuss. When do you plan to finish the entire series? Do you have a concrete timeline?”

“Don’t rush me.” George Martin remained composed. “I’ve already started on the fifth book, and I have plans for the sixth. You have to give me some time.”

Ronan added, “The series will be released at a rate of one season per year. George, we can’t let the show’s progress outpace your original work in a few years, can we?”

George Martin chuckled. “It’s fine. I don’t mind.”

“You need to hurry.” Ronan urged. “I hope your novels are all completed before the series concludes.”

Seeing Ronan’s seriousness, George Martin quickly assured him, “I’ll do my best.”

Ronan didn’t press further, hoping George Martin would maintain his momentum.

The original novels of A Game of Thrones were truly a “within our lifetime series.”

Given the massive success of the first season, preparations for the second season began swiftly. Like the first, the second season would maintain around ten episodes.

Publicly, this was to ensure quality, but internally, there was another consideration. Even after cutting large-scale battle scenes, the production costs for this series were still too high. Each additional episode meant a multiplied risk.

The popularity of A Game of Thrones also reflected the audience’s interest in political intrigue.

David Finch was still filming House of Cards, which could also be classified as a political drama, though more grounded in reality than A Game of Thrones.

The production progress for this series wasn’t fast; the earliest it would be available was next summer.

However, the promotional materials and trailers released had already attracted considerable attention.

Stories about Washington, D.C. had always had a strong audience in North America.

Why did Hollywood often portray Washington, D.C. as the villain? Because the public was always watching, always attentive to the social and political climate.

Though they couldn’t participate in the power struggles themselves, they eagerly watched and discussed them. The public on both sides of the Pacific were much the same in this regard.

Any power struggle was brutally cruel.

As the original work of A Song of Ice and Fire: Game of Thrones put it: Power is never a simple thing. Authority and violence are the two pillars of power. If power is likened to a magic wand, then the gem-encrusted tip is authority, representing the legitimacy and dignity of power; the sharp spike at the end is violence, which reveals the cruelty of power when necessary.

As long as human greed and desire persist, the game of power will never end. Leaving behind piles of corpses and sacrifices, it never truly spares anyone.

All victories are temporary, and the victors in the prolonged power struggle will eventually fall, making way for the next strong contender.

The few volumes George Martin had already written couldn’t be directly applied to real-world society, but they did reflect some truths, especially in dictatorial and war-torn countries.

In simple terms, what is power?

Power is not fear, so those who excel at instilling terror, like the brutal Ram and the army of Others, won’t be the ultimate winners. Power is not brute force and courtly deception, so the narrow-minded Cersei and Jaime won’t be the final victors. Power is not mysticism and sorcery, so Stannis Baratheon, who always sought shortcuts, met his end on the battlefield. Power is not justice, so the High Sparrow, representing the common people, and the Brotherhood Without Banners remain obscure. Power is not morality and honor, which is why the Stark family of the North nearly faced annihilation.

Even Jon Snow, so handsome and virtuous, was stabbed to death in the snow by the game of power, as if it were a public display of violent performance art.

The dark-skinned man supported by Relativity Entertainment was currently engaged in a power struggle in Washington. He had already defeated Linton’s wife and become the leading candidate within the party.

If all went well, he would win next year and become the new resident of the White House in 2009.

Ronan’s gaze was set even further ahead. Relativity Entertainment was also collaborating with Mr. Chuan’s company. The future princess, who was quite astute, had recently visited Los Angeles to discuss candy licensing for characters like Peppa Pig with Shai Entertainment.

Relativity Entertainment had a dedicated public relations department handling these matters, so Ronan didn’t need to worry about it personally.

“Is that Mr. Chuan really considering a political career?”

In the Beverly Hills club, Will Smith shook his head as he read the newspaper. “Does he really think he can run for president?”

Ronan leaned back on the sofa, legs crossed, and said, “Anything is possible.”

Tom Cruise chimed in, “Don’t forget, even someone like George Clooney wants to follow in Reagan’s footsteps.”

Will Smith put down the newspaper and asked Ronan, “Is he just putting on a show like before?”

Ronan casually replied, “Who knows? Maybe he really wants to sit in that position. After all, even though he represents various interest groups, he would still be the leader of America.”

Some had said that Mr. Chuan’s rise to power represented another voice in America, a backlash against the rampant liberal left.

Yes, the liberal left was a social trend, but there were also many who resented it.

Tom Cruise joked, “If I had the chance, I’d like to sit in that position and try it out.”

“I don’t want to attend your funeral decades early.” Will Smith joked back, “With your serious attitude, if you sat in that position, you’d definitely get assassinated.”

Ronan said, “An American leader who hasn’t been assassinated isn’t a qualified leader.”

Will Smith seriously added, “America’s best leaders all died at the hands of Americans.”

Tom Cruise suddenly remembered something and asked, “Ronan, I heard Shai Entertainment is making a parody film about Lincoln.”

“Not just Lincoln.” Ronan simply replied, “They’re planning to parody famous presidents like Washington and Jefferson, turning them into vampire hunters, magicians, and demon hunters. Uwe Boll is preparing it.”

Will Smith was intrigued, “That’s a great idea, but the director is unreliable.”

Ronan said, “Uwe Boll is capable, just not a great director.”

Hearing this, Tom Cruise and Will Smith were momentarily speechless, feeling something was off.

“By the way.” Ronan changed the subject, “When do you have time to visit my place?”

Tom Cruise and Will Smith exchanged glances. Finally, Will Smith said, “Won’t we be disturbing your time together?”

They knew about Ronan and Jessica Felton and were somewhat familiar with her. Now that Ronan’s estate had a mistress, things were naturally different.

Ronan said, “It’s Jessica who wants to invite you, along with a few of her friends, to gather at the estate.”

Tom Cruise said, “Sure, just let me know the time. I’ve just finished filming Inception, so I’ll be in Los Angeles for a while.”

Will Smith made a calling gesture, “I’m available anytime.”

Recently, his focus had been entirely on the post-production of his son’s new film, The Karate Kid, which had him worried sick.

Ronan nodded, “I’ll discuss the timing with Jessica and let you know.”

Tom Cruise said, “I can confirm now that you’re very serious.”

Ronan understood the implication, “Tom, I’ve always been serious.”

“People like us, who are free-spirited.” Will Smith seemed quite experienced, “Once we get serious, we’re more serious than anyone.”

Hearing this, Ronan felt it made sense. It seemed he had become a good man.

Will Smith asked, “Tom, don’t you have any plans to find a steady partner?”

Tom Cruise shook his head directly, “It wasn’t easy to break free. I don’t want to suffer again.”

Ronan glanced at him and said, “Don’t discourage Tom. He’s been constantly under attack.”

“Who? Who dares to bully you?” Will Smith asked fiercely, “Aren’t they also challenging me and Ronan?”

Tom Cruise, with utmost helplessness, said, “Who else could it be? My ex-wife, of course.”

Will Smith’s momentum instantly vanished, “We can’t help with that.”

Ronan didn’t say much more, feeling sorry for Tom Cruise…

Nicole Kidman was now in a vicious cycle. The movies she starred in kept failing, her career was increasingly stagnant, and the more stagnant it became, the more she sought exposure. To gain exposure, she kept bringing up Tom Cruise.

Well, the most pitiful was still Nicole Kidman’s current husband.

“Ronan, have you heard?” Tom Cruise suddenly said, “There seems to be some unfavorable trends in the industry.”

Chapter 1057: Changing Genres

“An unfavorable trend,” Ronan asked, “In what way?”

Tom Cruise said, “I received a notice. The Actors Guild is preparing to strike.”

Will Smith immediately added, “I got the same notice.”

Ronan wasn’t surprised. The initial negotiations between the Producers Guild and the three major guilds—the Actors, Directors, and Writers—had not gone well. To strengthen their position, whether it was a real strike or just a threat, all three guilds would posture as if they were ready to walk out.

“The contract negotiations aren’t going smoothly,” Ronan said slowly. “The divide between labor and management is quite large.”

Tom Cruise asked, “You don’t think it will actually escalate into a strike, do you?”

Strictly speaking, neither side actually wanted a strike to happen.

Ronan was honest, “I can’t be sure. Negotiation is the art of compromise. It depends on whether both sides can find a balance of interests in the next two months.”

Will Smith said, “Let’s hope it doesn’t come to that.”

Ronan said, “This isn’t something one side can decide alone. You two need to be careful.”

“We understand,” Tom Cruise said. “Even though Will and I have our own production companies, we’re actors first. If something happens, we’ll have to stand with the Actors Guild.”

Both men were intelligent. Will Smith added, “We’re on the labor side, and you’re management, Ronan. When the time comes, we’ll be on opposite sides.”

Ronan waved his hand and joked, “Don’t worry. I won’t have anyone take you two out.”

Tom Cruise and Will Smith both laughed. They knew full well that enjoying the benefits and protection of the guild meant bearing the corresponding responsibilities.

Ronan reminded them, “For any projects you’ve invested in, if there are unfinished scripts, wrap them up in the next two months.”

Tom Cruise picked up on something, “Is there trouble with the Writers Guild?”

“No one in the alliance cares much about the Writers Guild,” Ronan didn’t bother hiding it. This was common knowledge in Hollywood. “Including me. We won’t easily agree to the Writers Guild’s demands. They want the same treatment as the Actors Guild. Is that possible? The divide is too great; it’s almost impossible to reconcile.”

Will Smith understood, “Like in 1988.”

Ronan nodded slightly, “Very likely.” He continued, “Even though management will face some difficulties, it’s not like there are no writers available. You should know that the Writers Guild has high entry requirements. Many writers in the industry aren’t guild members, and foreign writers coming to Hollywood rarely join the Writers Guild.”

Tom Cruise said, “The production side has some leverage and won’t compromise with the Writers Guild, so—”

Ronan said, “It’s just a possibility. How things develop will depend on the negotiations over the next two months.”

Will Smith and Tom Cruise knew that Ronan was a core member of the Producers Guild. If he said this, the future outlook was indeed grim.

They needed to prepare in advance to avoid being caught off guard.

The three had dinner together, and the weekend gathering at the Beverly Hills club came to an end as they each went their separate ways.

Ronan also reminded his two friends to prepare for the upcoming chaos in Hollywood.

This weekend, Relativity Entertainment’s Zombie Park was officially released. This zombie film, filled with a joyful atmosphere, was fairly well-received. Its North American opening weekend grossed thirty-two million one hundred thousand dollars, and its final North American box office had a good chance of reaching one hundred million dollars.

In recent years, zombie films had begun to resurge. The number of zombie movies in the market had noticeably increased, and commercially successful examples were becoming more common.

Zombie films were transitioning from a niche genre to a more mainstream one.

The combination of comedy and zombies seemed to have great potential.

After confirming that director Edgar Wright would continue to helm the project, Shai Entertainment also planned to push forward with a sequel.

A successful film that wasn’t turned into a series would be a waste.

Waste was despicable in any industry.

Regardless of whether an economic crisis occurred or a major strike happened in Hollywood, Relativity Entertainment continued to develop rapidly, steadily advancing one project after another.

Although the proportion of Relativity’s income directly from films was continuously shrinking, with merchandise and derivative products accounting for over eighty percent, the foundation of all this was content that appealed to the masses.

Thus, content creation remained Relativity’s top priority.

Also this week, Pharaoh and the Gods concluded all screenings worldwide. Its global box office finally accumulated to one hundred thirteen million five hundred sixty thousand dollars.

Even with subsequent DVD sales and various merchandise rights income, 20th Century Fox’s epic film was still a commercial disaster. Recovering the nearly two hundred million dollars in total investment would take an extremely long time.

First, there was Kingdom of Heaven, followed by Pharaoh and the Gods. Two consecutive high-profile productions had failed miserably. Ridley Scott’s situation was dire.

If the failure of Kingdom of Heaven could be blamed on the executives and producers at 20th Century Fox, Ridley Scott had almost complete control over Pharaoh and the Gods, and the film still flopped.

With great power came great responsibility. Naturally, Ridley Scott was placed on 20th Century Fox’s blacklist for collaboration.

Messing up two major productions in a row was disastrous. Not only 20th Century Fox but many Hollywood studios had blacklisted Ridley Scott.

At least for major film projects.

Just as the industry was writing him off, Ridley Scott received a collaboration invitation from Relativity Entertainment.

What Relativity Entertainment sent to Ridley Scott was a sci-fi script.

“Relativity is very sincere,” his agent said. “They think you’re perfect to direct this sci-fi project.”

Ridley Scott was surprised, “Other companies can’t wait to never work with me again, but Relativity is actively inviting me.”

The agent said, “I heard it was Ronan Anderson’s suggestion.”

Ridley Scott had never worked with Relativity before. He looked at the script in his hand and said, “I’ll read it first. We’ll talk tomorrow.”

Sci-fi projects weren’t unfamiliar to Ridley Scott. He had directed many sci-fi films in the past, such as Alien and Blade Runner, which could be classified as sci-fi.

But Ridley Scott quickly noticed something different about this script. Although Stranded on Mars seemed far-fetched, it was clearly a technical, hard sci-fi type.

Such films required a high degree of professional knowledge and technical guidance from specialized departments from preparation to filming, making them much harder to shoot than ordinary sci-fi films.

Hard sci-fi films were exciting to make, but Ridley Scott had his doubts.

Nowadays, hard sci-fi films had long been in decline, gradually fading from the mainstream commercial film scene in Hollywood. It was rare to see hard sci-fi in the top ten North American box office rankings each year. Even soft sci-fi wasn’t very popular lately, and there hadn’t been any outstanding hard sci-fi publications in recent years.

Many people were afraid of watching sci-fi, especially hard sci-fi, mainly because they found the scientific terminology too much and the scientific concepts too profound to understand.

This script was different.

Not only could Ridley Scott easily understand it, but he also found it increasingly interesting, somewhat like the feeling he had when he first encountered Alien.

The script cleverly resolved this issue early on by clarifying the small story’s background and theme: the protagonist, an astronaut involved in an accident, must survive alone on Mars for a year and a half.

Moreover, the entire story’s timeline and the technological means of Mars exploration seemed to be based on various versions of NASA’s Mars plans in reality. All the solutions the protagonist used to survive were calculated step by step.

Every time the protagonist encountered a problem, the development followed this pattern: analyze the problem, make hypotheses, test on a small scale, confirm the solution, and implement it.

Even as a reader, he felt that every detail was incredibly realistic.

This tangible sense of realism was likely the most captivating aspect of the script.

Some said the highest praise for hard sci-fi was that it was “written as if it were real.”

There was also the protagonist’s character. He wasn’t the cold, pretentious type but was exceptionally down-to-earth.

No matter how difficult the environment the protagonist faced, even when it was difficult to the point of despair, his humor and optimistic spirit still shone through in his dialogue.

Although he felt deep down that this was just a space survival upgrade story, from a director’s perspective, Ridley Scott was somewhat tempted.

Adding Relativity’s invitation and Ronan Anderson’s golden sign, Ridley Scott thought it might be worth a try.

Over the past two years, Ridley Scott had encountered too many problems, messing up several films in a row, causing the media and industry to doubt him.

Even he himself had doubts. After the failure of Pharaoh and the Gods, he had once considered retiring.

Ridley Scott finished reading the script and solemnly put it away: maybe he could go to Mars to plant potatoes.

Directors were different from producers; they could be attracted by sufficiently outstanding scripts. He had read this script, and such good material was already written on paper. All that was left was to shoot it.

Ridley Scott had shot sci-fi films and space films before and had rich experience. Space fantasy was another reality in his eyes—a grand platform, a dramatic form where anything could happen.

Starting with Gladiator, including Black Hawk Down, followed by Kingdom of Heaven and Pharaoh and the Gods, Ridley Scott had directed four consecutive war epics, with less than ideal results.

Perhaps it was time to try a different genre.

Ridley Scott picked up the phone and dialed his agent’s number, “Can you help me arrange a meeting? I want to see Ronan Anderson.”

Chapter 1058: Still Relying on Derivative Products

“I was very surprised to receive an invitation from Relativity Entertainment.”

In the reception room of Relativity Tower, Ridley Scott looked at Ronan and said, “I’m already on Hollywood’s blacklist. I can’t believe there’s still a major company willing to collaborate with me.”

Ronan replied earnestly, “Relativity Entertainment doesn’t have a blacklist for directors.”

Ridley Scott remained puzzled. “I’ve carefully studied the script for The Martian. From the setting to the characters and the plot, it’s all very interesting. Many directors would be interested. Why me?”

Fearful of being misunderstood, he continued to explain, “In recent years, the market response to Kingdom of Heaven and Pharaoh and the Gods, which I directed, has been poor. 20th Century Fox even rejected my proposed sequel to Alien because of this. I’ve even considered retiring from filmmaking.”

At this, Ridley Scott smiled wryly. “Two major first-tier productions flopped. If I mess up a third, I won’t have a choice but to retire.”

Ronan understood what he meant and didn’t beat around the bush. “Director Scott, you’re talking about two historical epic projects, while The Martian is a sci-fi project.”

Ridley Scott’s heart stirred. Suddenly, he had a vague realization—could the failure of Kingdom of Heaven and Pharaoh and the Gods be related to the film’s genre?

Ronan knew what Ridley Scott was worried about. Even with Scott’s experience, if he messed up three major first-tier productions in a row, his future prospects would be extremely bleak. Saying he would retire was a bit of an exaggeration, but he would have to look for opportunities to make a comeback in small productions or independent films.

“Director Scott, The Martian has an estimated production budget of one hundred million dollars.” Ronan said solemnly, “Relativity Entertainment wouldn’t mess around with such a project.”

Ridley Scott’s face was serious. At this moment, this project would directly determine his future directing career.

“I’ve carefully studied the script and have some considerations. I have a few requirements.” The importance of this project didn’t allow Ridley Scott to be anything but serious. “In the script, there are nearly fifty pages of content directly related to NASA, many of which involve details of aerospace and space technology, aiming to present the image and actions of astronauts as realistically as possible. This specialized knowledge requires professional guidance. The crew must receive support from the space agency, otherwise, this film can’t be made.”

This was the most basic fact, and Ronan was well aware of it. He immediately said, “During the script creation phase, Relativity Entertainment already received support from the space agency. Shai Entertainment has been maintaining close contact with the space agency and has basically reached a cooperative intention. In the future, the crew will receive strong support from the space agency.”

Hearing these words, Ridley Scott dispelled most of his doubts. “I have no more questions. Mr. Anderson, please contact my agent to discuss the specific contract details.”

Ronan nodded slightly. “I will notify Shai Entertainment.”

For the rest of the time, the two discussed the The Martian project. Based on that previous film, most of Ronan and Ridley Scott’s views were basically the same.

For example, the spirit of optimism runs through the entire film, using scientific thinking for self-rescue and rescue.

For example, the film has no villain characters, and no one is preventing the protagonist from surviving and returning to Earth, except for the natural environment of Mars.

For example, combining some elements of Western films, one person facing countless difficulties, one person against nature.

This also meant that the contract with Ridley Scott was settled, and the rest was just negotiations. Having just messed up Kingdom of Heaven and Pharaoh and the Gods, Ridley Scott’s salary could be settled for just five million dollars.

At the same time, Ronan also had Shai Entertainment contact Matt Damon.

This was a one-man show, requiring a male actor with strong appeal and good acting skills.

However, Matt Damon was no longer the second-tier star he was when he collaborated with Relativity Entertainment on The Bourne Identity trilogy. His agent had set a condition of twenty million dollars plus ten percent of the North American box office share.

There was room for negotiation between the two parties.

If it didn’t work out, they would have to find another actor.

After all, this was a brand-new work, not a sequel to The Bourne Identity.

There was a saying that went, “Getting rich by planting potatoes.” The project had just begun.

Additionally, although the script for San Andreas was not yet completed, Shai Entertainment, following Ronan’s suggestion, had made initial contact with Roland Emmerich.

Compared to Ridley Scott, Roland Emmerich was a very pure commercial film director. As long as the money was right, other aspects were not a problem. Disaster films were also his most skilled film genre.

After messing up an ancient epic, Roland Emmerich had also become much more conservative and cautious. He was already inclined to return to the disaster genre.

He also had a preliminary idea for an earthquake project, but after receiving Shai Entertainment’s invitation, he basically decided to first collaborate with Shai Entertainment on San Andreas and then carefully consider his own disaster-themed ideas.

Ronan also took the time to meet with Roland Emmerich. During the meeting, Roland Emmerich also talked about his preliminary ideas, which were also disaster films with an earthquake theme.

This German director was best at destroying the world. Ronan also expressed that as long as the project was suitable, both parties could continue to collaborate.

Roland Emmerich, under the storm of movie company publicity and hype, was a man who had once caused panic worldwide.

Those people, under the spread of rumors of world-ending crises, did they still remember storing rice and flour that couldn’t be eaten in a year? Piles of compressed biscuits and lunch meat cans like small mountains? And bandages, medicine, purified water, salt…

At that time, there were many people who were frantically storing things at home.

And the root of all this was the publicity and hype surrounding Roland Emmerich’s disaster film.

Compared to Warner Bros’ plan to deify Heath Ledger, the publicity surrounding that disaster film had even lower limits.

For the sake of commercial profits, Hollywood, including Relativity Entertainment, didn’t mind causing societal panic at all.

This week, Relativity Entertainment had two major productions that completed all their production and held internal screenings.

First was Alice in Wonderland, directed by Robert Zemeckis.

This live-action adaptation of a fairy tale, although also shot and produced in 3D, was completed before Avatar and held an internal screening at Relativity Entertainment, receiving unanimous recognition.

The special effects and 3D effects of Alice in Wonderland were not as good as Avatar, but in this era of Hollywood and even the global film industry, they were still top-notch.

However, the film would not be released immediately but would have to wait until next year. The opening schedule would definitely be after Avatar.

Using the 3D trend sparked by Avatar was undoubtedly the wisest distribution strategy.

Another fairy tale adaptation film, Beauty and the Beast, would soon enter the filming stage and would also be produced in 3D format.

Actually, there was no other reason. 3D could better showcase the special effects and merchandise on the screen, and the ticket prices were also higher.

Shai Entertainment had already hired professional teenage clothing designers to design dresses like Belle’s.

For these female star fairy tale movies, the movie’s success was not as good as the dresses selling well.

Regarding the online and offline derivative products for Alice in Wonderland and Beauty and the Beast, Embassy Pictures had already started early operations.

This included everything from movie DVDs, books, princess doll toys, princess dresses to related character development, games, beauty and clothing, etc.

It could be said that everything was interconnected, and it was bound to create two complete commercial derivative industry chains.

Ronan roughly remembered that there was once an animated feature that sold dresses and derivatives to the point of madness. The queen’s dress sold for one hundred and fifty dollars per piece, and in the first year alone, more than three million were sold in North America.

Embassy Pictures’ target was set much lower. The initial target for Alice and Belle’s dresses was one million in North America within a year of release.

This also meant nearly two hundred million dollars in sales revenue.

Later, they could also make some short films for Alice and Belle. The costumes and styles in the short films must be newly designed, and then continue to sell dresses and derivatives.

Well, this was walking the path that Walt Disney once took.

Anyway, Disney couldn’t walk this path anymore, so let Relativity Entertainment continue it for them.

From online to offline, from content to industry, Relativity Entertainment’s development of derivatives for animated and live-action fairy tale films was comprehensive.

After all, the life cycle of a film was only two to three months. Hollywood’s DVD sales were also slowly shrinking. What could make consumers spend at any time was still derivatives.

Relativity Entertainment had basically formed a mature and healthy film distribution model.

Theater screenings were advertisements, box office returns were for cost recovery, and profits came from derivatives.

Another completed major production was Fast & Furious 4, produced by Jessica Felton.

This pure popcorn action film could be said to have blown up half of Rio de Janeiro’s main roads. It was absolutely explosive.

Similarly, due to this year’s schedule being full, Fast & Furious 4 could only be released by Embassy Pictures in next year’s summer season.

Pure popcorn movies were most suitable for the summer season.

After completing all the production of Fast & Furious 4, Jessica Felton immediately began preparations for Miss Congeniality, striving to start filming before the new year.

Sandra Bullock, who was better at playing the role of an American big sister, had already signed with the crew and would play the female lead in the film.

Under Ronan’s instructions, Shai Entertainment signed a three-film contract with Sandra Bullock, whose circumstances had been average in recent years.

Robert Lee had already acquired the film and television adaptation rights for Weakness. Sandra Bullock had once won the Oscar for Best Actress with this film.

In addition, Ronan also planned to have Shai Entertainment plan another space-themed project.

Shai Entertainment was currently the most stable producer in all of Hollywood. In addition to promoting live-action film projects, there were also new developments in animated features.

Chapter 1059: The Beginning of Turmoil

Compared to live-action films, animated features had even more astonishing profitability, especially Cars.

This animated feature concluded its North American theatrical run in mid-September, with its final North American box office gross settling at two hundred eighty-five million nine hundred seventy thousand dollars.

But by the time the film left theaters and before the DVD release, Cars’ total offline revenue had already approached five hundred million dollars.

On the global market, the gap between online and offline revenue remained vast.

Currently still screening overseas, Cars had accumulated a global box office of four hundred eighty-nine million five hundred twenty thousand dollars, while its total offline revenue had exceeded one billion dollars.

Cars had also become Relativity Entertainment’s highest-grossing film project of 2007 so far.

Unless something unexpected happened, no other film this year would surpass it.

Of course, achieving such box office success required Relativity Entertainment to invest heavily in Cars.

In contrast, for Pixar’s holiday season releases, Ratatouille and WALL-E, Relativity Entertainment’s investment in marketing and distribution was much lower.

Especially for the latter, with its relatively highbrow plot and lack of characters suitable for marketable derivative products, excessive investment would undoubtedly be a foolish move.

In the film market, classics often did not equate to commercial success.

Frankly, Ronan loved WALL-E. If he could choose based on personal preference, he would rather watch WALL-E ten times than endure another viewing of Cars.

From a pure cinephile’s perspective, if WALL-E deserved a nine out of ten, Cars would barely scrape a seven.

The problem was that a billion-dollar commercial project could not be judged by personal taste.

If he hadn’t taken over Pixar when WALL-E was already greenlit and significant funds had been invested, and if he didn’t have to consider the management team’s wishes…

Ronan might have canceled WALL-E outright.

Fortunately, he had tightly controlled the investment scale, and there would be no sequels to this film.

Under Chris Renaud’s leadership, Shai Entertainment Animation Studio was developing smoothly. With the massive success of the Minions series and Kung Fu Panda, the studio’s scale had expanded in an orderly fashion, now capable of simultaneously producing three or even four animated features.

Despicable Me 2, The Croods, and How to Train Your Dragon were the studio’s officially announced animated feature projects, while Kung Fu Panda 2 and Minions 2 were in early development.

Additionally, an animated feature about a singing competition and another inspired by the toy world of Toy Story, set in a pet world, were in the early preparation stages.

As for Peppa Pig, one episode per year, never late—the pink pig would never grow up.

Compared to the mature Pixar and Shai Entertainment Animation Studios, Princess Animation Studio was developing much more slowly, still struggling with its first animated feature.

In mid-September, Ronan participated in a joint meeting between Princess Animation Studio and distributor Embassy Pictures, focusing on the production and distribution of the animated feature Frozen, currently in development.

Princess Animation Studio presented a sample reel and multiple designs for the two female leads, Anna and Elsa.

Ronan rejected several designs, citing that they weren’t beautiful enough, especially the dresses.

Beyond that, he instructed Embassy Pictures to prioritize the film’s merchandise distribution, elevating Frozen to the same level as Alice in Wonderland and Beauty and the Beast.

With strong support from Pixar, Princess Studio’s progress on Frozen was rapid. The film’s thematic framework was already in place, but the remaining work, such as rendering, was extremely time-consuming.

Through previous animated shorts, these professionals from Disney Animation Studio had largely shifted their mindset. While working on Frozen, they were undergoing the most thorough transformation—princesses not ending up with princes, and princes possibly being villains.

This setting was crucial, affecting Embassy Pictures’ marketing and distribution.

Frozen’s premise, to some extent, aligned with the current women’s rights movement in the United States, giving a seemingly simple fairy tale a serious core.

In a way, this could potentially open up the adult female market for Relativity Entertainment, directly expanding the IP’s consumer base.

Elsa, in particular, didn’t resemble a traditional princess, embodying the modern woman’s traits of calmness, bravery, and independent beauty.

These elements subtly helped the Frozen series shed its “childish” label, naturally increasing its purchasing power and potential for derivatives.

Currently, Princess Animation Studio only had this one project. Ronan was already preparing written work for Zootopia, The Little Mermaid, and Big Hero 6, which would only be scheduled after Frozen was completed.

In the coming years, Relativity Entertainment’s animated features alone would usher in an explosive period. While not every film could be another Cars, the total value of these projects would at least reach the billion-dollar level.

A vast entertainment media empire was flourishing.

In September, Relativity Entertainment’s films were released as planned. Currently, Shai Entertainment’s films were primarily sequels and adaptations, with very few original works.

This time was no exception. Not only were they sequels, but they were also adaptations continuing from other popular films.

For example, Death Has Left, part of the Scary Movie series, had reached its second installment. With Final Destination as its foundation, this parody series still had a strong market presence. The second film’s North American opening week grossed nearly twenty-five million dollars, which, compared to the roughly equivalent production investment, was already a highly successful commercial return.

As time passed, the impending turmoil in Hollywood became increasingly apparent.

First, companies with close business ties to financial institutions like Lehman Brothers began to face difficulties in raising funds through such channels.

For instance, several Hollywood companies, including 20th Century Fox.

Years earlier, Lehman Brothers had already begun collaborating with Hollywood, even approaching Relativity Entertainment at one point. However, Ronan had politely declined Lehman Brothers’ seemingly sincere and well-intentioned investment.

On one hand, Relativity Entertainment was busy dealing with Paramount’s aggressive advances and working with Goldman Sachs Group on Netflix’s IPO, leaving no time or energy to engage with Lehman Brothers.

On the other hand, Ronan remembered Lehman Brothers’ less-than-ideal fate and naturally wouldn’t dive headfirst into that quagmire.

However, Lehman Brothers had adopted a broad approach, contacting Relativity Entertainment while also negotiating with other companies, including 20th Century Fox.

Lehman Brothers first provided a ten-billion-dollar loan to 20th Century Fox for the establishment of Fox Online.

With this successful start, 20th Century Fox continued to collaborate with Lehman Brothers, which provided substantial financial support. Like many large financial institutions, Lehman Brothers became a creditor to many Hollywood companies, including 20th Century Fox, and gradually transformed into a genuine investor.

Hollywood had long been intertwined with Wall Street, with Wall Street funds entering Hollywood through various channels.

Just as Walt Disney had done, many Wall Street investment firms held shares in 20th Century Fox. Among them, Lehman Brothers, due to its close collaboration with 20th Century Fox, held the most shares on Wall Street.

Additionally, following Wall Street’s typical operations, loans weren’t just about earning interest.

As one of the many inducing factors of the impending financial crisis, Wall Street could play all sorts of tricks with loans and bonds.

Lehman Brothers was facing some financial troubles. Recall loans were problematic and time-consuming, and some companies couldn’t repay loans immediately, requiring auctions to liquidate assets, which was both time-consuming and labor-intensive.

Inspired by the real estate loan bonds and insurance introduced by the financial industry, they planned to bundle their loan debts into bonds and sell them to third parties to raise the necessary massive cash flow.

Of course, close partners like 20th Century Fox were at the end of this plan.

Through multiple channels and relationships with partners like Goldman Sachs, Relativity Entertainment also received relevant news. Robert Iger’s side was keeping a close watch.

In the past, Wall Street’s funds had changed Hollywood.

Now, Wall Street’s fluctuations were profoundly impacting Hollywood.

The seemingly normal Wall Street, once an unexpected crisis erupted, would inevitably bring changes to Hollywood.

Apart from the financial impact, another source of turmoil in Hollywood was the breakdown of initial negotiations between the Producers Guild and the industry unions led by the Directors Guild, Actors Guild, and Writers Guild.

The unions had proposed conditions that the Producers Guild found completely unacceptable, demanding nearly half of the profits from DVD and new media channels.

For the capital side, these conditions were simply outrageous.

Even Ronan, who was prepared to make appropriate concessions at the right time, was at a loss for words upon hearing this news.

The news of the failed initial negotiations between the Producers Guild and the three major unions was soon exposed by the media, making the labor-capital conflict public.

The three major unions stood firmly together. In interviews, their respective presidents stated that if their rights were not guaranteed, they would not rule out the possibility of a strike.

This was a direct pressure tactic on the Producers Guild.

The labor-capital conflict seemed to be continuing to escalate.

It was against this backdrop that the Producers Guild convened a meeting of its core members to discuss specific strategies.

This meeting was highly exclusive, attended only by the owners or Chief Executive Officers of major and medium-sized companies.

Chapter 1060: Divide and Conquer

The core members’ meeting of the Producers Guild was held at the White Tower Building in Century City, the usual headquarters of the Guild.

News spread fast in Hollywood. Even though this was a small meeting with fewer than twenty participants, on the day it was held, a large crowd of entertainment reporters, and even social and political journalists, gathered outside.

The Hollywood Guild strike didn’t just affect the film and television industry—it had implications for all aspects of society.

Perhaps only these reporters hoped for a major strike to happen, as it would create a global news sensation.

The Hollywood moguls attending the meeting—Ronan, Kevin Tsujihara, Sherry Lansing, Harvey Weinstein, Steven Spielberg, and James Murdoch—refused all media interviews. With stern expressions, they entered the White Tower Building.

The meeting was presided over by Del Porto, the chairman of the Producers Guild. He briefed the attendees on the recent interactions with the three major Hollywood Guilds and the reasons for the breakdown of initial negotiations.

In short, the Producers Guild agreed to allow the three Guilds to participate in the profit-sharing of DVD and new media revenues, but they were extremely dissatisfied with the proposed percentages.

At its core, this was a dispute over profit distribution.

The American Producers Guild had been established for over fifty years. Initially formed by film and television producers to protect their rights, it had gradually evolved into a collective representing the interests of capital.

It was inherently at odds with the labor unions representing workers’ rights.

“The three Guilds are each demanding a fifteen percent share of the new channel revenues—this is impossible!”

Kevin Tsujihara, currently the leading figure in Hollywood, was firm in his stance. “Just the three Guilds alone want to take half of the DVD and new media channel revenues. We might as well stop investing in film and television projects and just become actors and screenwriters instead.”

This seemingly joking remark received widespread approval.

“We absolutely cannot make such a large concession!”

“What about the next contract period?”

“Don’t forget, they only plan to sign a ten-year contract!”

Even Harvey Weinstein, who had publicly clashed with Warner Bros. and criticized Kevin Tsujihara multiple times, voiced his support: “Such demands would drive us into bankruptcy!”

Even the more mild-mannered George Lucas, who was preparing for retirement, added, “We must consider the future of the entire industry. Compromise is not the best solution.”

In a sense, everyone present was a major shareholder of the Producers Guild, with significant influence. Del Porto was more like an operations manager.

“Ladies and gentlemen, the current situation is not favorable to us,” Del Porto said, knowing that to prevent a strike by the three Guilds, those present would have to make some concessions. “The three Guilds are united, standing together, which puts us at a disadvantage.”

No one in the room was foolish. They understood Del Porto’s subtle reminder and began considering countermeasures.

Ronan’s position was clear: “I suggest we divide the three Guilds.”

“A good idea,” James Murdoch responded, eager to make his presence known as a newcomer to Hollywood’s competitive arena. “We should engage with the Directors Guild, Actors Guild, and Writers Guild separately, offering different terms. For the more important Directors and Actors Guilds, we can make some concessions. Faced with tangible benefits, they are likely to compromise…”

Others nodded in agreement. This divide-and-conquer strategy was perfectly suited to the current situation.

James Murdoch continued, “Finally, with only the Writers Guild left, we can suppress them completely. Ideally, we maintain the framework of the 1988 agreement. Even if they strike, the impact will be much smaller.”

Sherry Lansing agreed: “This is a good approach. However, we must add that the minimum term of the major agreement must be twenty years—ten years is absolutely unacceptable!”

Others quickly voiced their agreement.

Although Ronan remained silent, he had no objections. Everyone present shared common interests when dealing with the three Guilds.

As the representative of capital, the Producers Guild, and the labor unions had signed a long-term framework agreement. Every three years, they would negotiate within this framework to revise specific terms.

The meeting didn’t last long. The conflicts between the major companies were nowhere to be seen. Faced with the Guilds attempting to seize profits, the company owners and operators present, driven by shared interests, quickly reached a consensus.

The Producers Guild changed its negotiation strategy. While continuing to engage with the representatives of the three Guilds, they would privately contact the Directors and Actors Guilds, aiming to make appropriate concessions to secure agreements with these two Guilds first, thereby avoiding a full-scale Hollywood strike.

With only the Writers Guild left, it would be much easier to handle.

All companies, including Ronan’s Relativity Entertainment, were unusually united in their approach to the three Guilds.

The Directors Guild could be given a slightly sweeter deal, followed by the Actors Guild.

As for the Writers Guild, it was best to maintain the previous agreement unchanged.

This war without gunfire had not yet officially begun, but preparations were already underway.

As the meeting proceeded, hundreds of Guild members gathered in front of the White Tower Building to protest. They held signs demanding better treatment and occasionally chanted slogans like “Shut it down! Hollywood belongs to the Guilds!”

The Writers Guild had the most participants.

Screenwriters held a low status in Hollywood. Compared to the Actors and Directors Guilds, their incomes were lower. Apart from a few top-tier screenwriters, most could not enjoy the profit-sharing from DVDs and new media channels.

Unequal profit distribution was the biggest cause of the impending strike.

In addition to demanding a share of the profits, the Writers Guild had other conditions, such as a minimum script sale price of one hundred and fifty thousand dollars for film projects.

In reality, many screenwriters earned much more. Scripts for major studio films cost at least five hundred thousand dollars, and well-known screenwriters could earn three million dollars per film.

Last year, the average annual income for Writers Guild members was two hundred thousand dollars, which was already high compared to the average income of Los Angeles County residents and most Americans.

However, screenwriters didn’t look downward. They compared their incomes to those of actors, directors, and studio executives, discovering a significant gap that fueled their demand for higher wages.

According to the Writers Guild, the income growth rate for its members was less than half of the overall entertainment industry’s profit growth rate. Many screenwriters complained that major companies considered them disposable.

This wasn’t entirely untrue. Hollywood studios didn’t value ordinary screenwriters. Due to the 1988 agreement, they often hired non-Guild screenwriters.

Relativity Entertainment had statistics showing that in the nineties, ninety-five percent of screenwriting positions were held by Guild members. Now, that figure was below sixty-five percent.

Major companies increasingly used cheap, non-Guild screenwriters to produce films, TV shows, animations, and reality shows, deepening the conflict.

The Writers Guild claimed that the average annual income for ordinary members was less than forty thousand dollars, below the national average. They called for wage increases, profit-sharing, and especially substantial dividends from new media profits, most notably from DVD and online streaming percentages.

It was well-known that the U.S. DVD market and the emerging paid online streaming market were enormous. This was where the major Hollywood studios made most of their profits. The Producers Guild, backed by these studios, would not easily compromise.

After the meeting, Ronan chatted with George Lucas and Steven Spielberg before heading to the lobby to leave. James Murdoch, who had been waiting in the lobby, suddenly approached.

“Can we talk for a moment, Ronan?” James Murdoch asked.

Ronan nodded slightly. “Of course.”

The two went to the lounge area. James Murdoch got straight to the point: “I heard your company just confirmed two projects?”

“Two projects?” Ronan smiled. “We’ve confirmed many film projects recently. Which two are you referring to, James?”

James Murdoch was probing: “The ones directed by Ridley Scott and Roland Emmerich.”

The news had already been reported in entertainment circles, so Ronan didn’t hide anything. “Ah, you mean The Martian and San Andreas. Yes, we have those two film projects. Shai Entertainment has already signed director agreements with Ridley Scott and Roland Emmerich.”

James Murdoch deliberately said, “Ronan, as an old friend, let me remind you—20th Century Fox’s collaborations with these two just suffered painful failures. Roland Emmerich’s 10,000 BC was a box office disaster, and Ridley Scott has botched two major productions, Kingdom of Heaven and Pharaoh and the Gods.”

Ronan remained unmoved, only smiling as he replied, “Thank you for the reminder. It’s very important. I will strengthen management oversight for these two projects.”

James Murdoch couldn’t understand why Ronan was so confident in using two “failures.”

But some things couldn’t be said outright: “You’re welcome. We’re friends, after all.”

Ronan said, “Yes, we are friends.”

The two then left the building together, shook hands, and went their separate ways.

Back at the Fox Building, James Murdoch told his assistant, “Notify Jim Prather to come see me. I have something to discuss with him.”

20th Century Fox had been poaching talent from Relativity Entertainment. Now that Relativity had poached from 20th Century Fox—even if it was just two “failures”—James Murdoch felt uneasy.

Chapter 1061: Fan Economy

“I had people investigate thoroughly—neither of those projects are war epics.”

In the office, Jim Prather said to James Murdoch, “The Martian is Ridley Scott’s signature sci-fi film, and San Andreas is Roland Emmerich’s specialty in disaster films.”

James Murdoch pondered, “It seems Ronan Anderson has realized that epic films currently carry significant risks.”

Jim Prather immediately added, “The directors might also be the issue. Ridley Scott and Roland Emmerich are clearly past their prime. These two projects…”

James Murdoch waved his hand dismissively, “A few failed projects, even big-budget ones, won’t cripple 20th Century Fox. Relativity Entertainment won’t face major issues either. Let’s focus on ourselves.”

Just as he had done many times in the UK, James Murdoch had never intended to defeat Relativity Entertainment in film and television. This was Ronan Anderson’s strongest domain, and only a fool would challenge him directly there.

“War isn’t just fought on the front lines,” James Murdoch said slowly. “There are also battles happening behind the scenes.”

Jim Prather, James Murdoch’s absolute confidant, understood the implication. After some thought, he reminded, “Without a stalemate on the front lines, there won’t be room for maneuvering behind the scenes.”

James Murdoch lightly tapped the armrest of his chair, “We still need to wait for the right opportunity.”

This opportunity wasn’t just about creating one—it also depended on their own circumstances. Jim Prather, thinking of the group’s strategy, finally couldn’t hold back and asked the question that had been weighing on his mind, “Why Time Warner and Warner Bros? Why not Relativity Entertainment?”

“This was my father’s decision,” James Murdoch wasn’t foolish. To have reached his current position of power, Rupert Murdoch’s support was crucial. Even if he didn’t agree with Rupert Murdoch’s decisions, he wouldn’t be foolish enough to strongly oppose them. He emphasized, “20th Century Fox needs to align its power with News Corporation.”

Jim Prather assured, “I will.” He then probed, “Didn’t Warner Group publicly reject the group’s invitation? Should we continue?”

James Murdoch said, “My father’s decisions aren’t easily changed.”

“So, what about us…” Jim Prather looked at James Murdoch, “What about us?”

James Murdoch showed no urgency or anxiety, “We’ll do our part. The group is mobilizing resources for the Warner acquisition, which isn’t necessarily a bad thing for us. If issues arise with Warner, the concentrated resources can be redirected to another target immediately.”

“I understand,” Jim Prather thought of something, “Lehman Brothers is having some issues. They can’t guarantee the third loan this year.”

James Murdoch, standing on the shoulders of the giants that were News Corporation and the Murdoch family, knew a lot. He said, “Wall Street is facing some difficulties—temporary ones. We’ll cut off financial dealings with Lehman Brothers for now.”

Although the two companies were partners, Lehman Brothers’ troubles weren’t necessarily bad news for 20th Century Fox.

Relativity Tower.

“I’m planning to go to New York this afternoon,” Robert Iger came to see Ronan and asked, “Do you have anything else for me?”

Ronan thought for a moment and said, “Marvel Entertainment is on the right track—there’s not much to worry about. Wall Street seems a bit off. Bob, go take a look and maintain communication with Goldman Sachs and others. Also, keep an eye on Lehman Brothers.”

Robert Iger said, “This trip is mainly to Wall Street.”

Ronan asked, “Did you see my thoughts on Lehman Brothers?”

“I did,” Robert Iger replied directly, “It depends on the specific situation. Lehman Brothers is, after all, one of the four major investment banks…”

Ronan nodded slightly, “It’s best to prepare in advance. If an opportunity arises, we can seize it in time. If not, we won’t force it.”

Robert Iger reassured, “Don’t worry.” He was about to leave but added, “The business team sent to the East has reported back. The contact with Qianlu Group has been generally positive. Their determination to invest in the film and entertainment industry is substantial. They’re rapidly building urban commercial complexes and theaters in the market there and plan to create a brand-new film industry base.”

Ronan smiled, “The greater their determination, the better it will be for our future.”

“Yes, they have a lot of money,” seemingly recalling some current situations in North America, Robert Iger sighed, “The real estate industry is too crazy.”

He steered the conversation back, “Mr. Lin will come to Los Angeles again next year. Whether they make up their minds, I estimate there will be a result then.”

Ronan said, “Maintain contact with them.”

Robert Iger didn’t stay long. After discussing a few strategic matters, he quickly left Ronan’s office.

Then, Ronan specifically looked into the situation on the other side of the Pacific.

Qianlu Group was in a phase of rapid expansion, frequently acquiring land and launching urban commercial complexes. Their strength was formidable, and their background was deep.

To have developed to this stage, they were certainly not simple.

Fortunately, Ronan had never thought of swindling his partners on the other side of the Pacific. This was a normal, mutually beneficial business cooperation.

Compared to other Hollywood companies, Relativity Entertainment was undoubtedly a conscientious enterprise when it came to the market on the other side of the Pacific.

Most importantly, Ronan could confirm that they were genuinely preparing to invest in the film entertainment industry, and the possibility of reaching a cooperation agreement was very high.

This Eastern conglomerate had once invested frenetically in media, entertainment, and sports industries worldwide, sparking an acquisition frenzy in North America and Europe.

However, due to certain irresistible factors, the company’s plan to build an Eastern Hollywood film industry ultimately ended in failure.

But that was a matter for ten years later. Ronan also paid attention to the other side of the Pacific, and such a situation wouldn’t occur in the short term.

Thus, Ronan saw very clearly that even if they could reach a cooperation agreement with Qianlu Group, it was destined to be a short-term collaboration. The two parties couldn’t become long-term partners.

Just entering October, as the time for next year’s donkey and elephant contest drew nearer, Black Carbon became increasingly active. He personally led his newly formed team to California, Los Angeles.

This was a stronghold of the left, one of the main bases of the party. Hollywood was home to countless stars who supported the party, such as Scarlett Johansson, George Clooney, Meryl Streep, and Will Smith.

These people would, in various settings, cheer for Black Carbon in different ways.

As public figures with large fan bases, Hollywood stars had varying degrees of influence. Among them were those like George Clooney, who wanted to follow Ronald Reagan’s successful path.

Apart from a series of public activities, Black Carbon also visited California’s wealthy and influential figures and came to Future World Estate for a visit.

Ronan and Jessica Felton specifically set aside time to entertain Black Carbon and his wife at the estate.

Perhaps influenced by Ronan and through her own efforts, even when facing these political tasks, Jessica Felton could handle herself with ease, chatting freely with Black Carbon’s wife without any stage fright.

As for Ronan and Black Carbon, their conversation didn’t touch on next year’s donkey and elephant contest at all, nor did they discuss any political or economic topics. They chatted like old friends, sharing anecdotes.

The specific matters were naturally handled by the company’s public relations experts and Black Carbon’s team.

The two only needed to show their attitudinal inclination.

Black Carbon also invited Ronan and Jessica Felton to visit his home in Washington when they went there.

Their interaction in Los Angeles was limited to this one meeting.

Relativity Entertainment’s large-scale plans were unfolding step by step. The income from the film and television business, which supported these plans, was directly related to their success or failure.

Embassy Pictures pushed forward with the film projects as planned.

On the first weekend of October, the Hannah Montana movie, starring Taylor Swift, was officially released.

This was a genuine fan movie with a very clear target audience: the viewers of the Hannah Montana series and Taylor Swift’s fans.

Unexpectedly, such a purely fan-oriented movie achieved a staggering box office number on its opening weekend.

In its opening weekend, the Hannah Montana movie grossed $38.95 million in North America.

This figure, on one hand, demonstrated the success of the TV series, and on the other, represented Taylor Swift’s enormous appeal.

It wasn’t an exaggeration to say that after Peppa Pig, Hannah Montana, and country singers, Taylor Swift had become America’s most popular youth idol.

This was a good thing, but it also came with significant hidden dangers.

If it were someone else, Relativity Entertainment would undoubtedly push harder, exploiting Taylor Swift to maximize profits.

But her father was, after all, one of the core members and top executives of Ronan’s vast interest group.

Thus, under Ronan’s guidance, Big Machine Records and Shai Entertainment discussed future transformation plans with Taylor Swift.

Taylor Swift might have her issues, but she was undoubtedly a very smart girl. Moreover, everything she had done so far proved that she knew how to cooperate with the company’s various plans.

Youth idols had a shelf life. If not careful, this shelf life could quickly shorten. Like Walt Disney, which had created numerous popular youth idols and then maximized profits before their shelf life expired.

This kind of exploitative consumption of the fan economy undoubtedly made the future path of many youth idols extremely difficult.

Chapter 1062: Stay Out of It

“Good afternoon, Uncle Anderson.”

In the office, Taylor Swift politely greeted Ronan: “My mom also asked me to invite you to visit our home when you have time.”

Ronan smiled and said, “Taylor, no need to be so formal.” He pointed to the sofa: “Please, have a seat.”

In front of Ronan, Taylor Swift showed none of her usual flamboyance. She obediently sat on the sofa: “Thank you.”

Ronan added, “I still have some work to finish. Please wait a moment.”

“I’m not in a hurry,” Taylor Swift replied, looking every bit the well-behaved young girl.

Soon, Ronan closed the file and placed it aside on his desk. He looked up at Taylor Swift. Compared to their last meeting, she had changed significantly.

Her eyes appeared larger than before, her nostrils smaller, her nose bridge higher and more prominent, and her once-flat chest now had two noticeable mounds.

Having worked in Hollywood for many years and interacted with countless actresses—some quite intimately—Ronan immediately understood what had happened.

It was nothing more than eye-widening surgery, nose reshaping, a nose job, and either breast augmentation or a push-up bra.

Given Hollywood’s usual style, breast augmentation was likely the case.

“Why do you have time to come by today?” Ronan asked.

Taylor Swift flashed a charming smile: “I came specifically to seek Uncle Anderson’s advice.”

Given the special relationship between their families—and considering Scott Swift’s dedication and outstanding performance at the Pacific Investment Foundation—Ronan got straight to the point: “What kind of problem are you facing?”

Taylor Swift was a smart girl and didn’t beat around the bush: “Recently, the company discussed future plans with me. They mentioned the current situation and some future strategies, suggesting I start preparing for a transition in the coming years.”

She glanced at Ronan: “Everyone knows Uncle Anderson has an incredibly accurate eye for this industry. I wanted to ask…”

Ronan understood her meaning: “Taylor, what are your thoughts?”

“A youth idol can’t stay one forever. Right now, I’m very popular—even the most popular teenage girl singer in America.” Taylor Swift knew there was no need to hide anything from Ronan: “I could easily stay popular for another three or four years. But I’ll grow up, I’ll get older, and my most devoted fans will grow up and get older too. If I don’t change, it won’t be long before I’m discarded.”

Ronan smiled: “You see things very clearly. Taylor, you’re a smart girl. These words prove you have a vision far beyond your peers.”

Taylor Swift was quite demure in front of Ronan: “I’m just guessing.”

Ronan said, “Don’t let your current glory blind you.” He paused briefly before continuing solemnly: “Big Machine Records suggesting you prepare for a future transition was my idea.”

“Uh…” This was unexpected. Taylor Swift was taken aback: “Uncle Anderson, it was your idea?”

Ronan smiled: “Looking at it now, you already have your own thoughts. You don’t need my reminder. Taylor, follow your instincts.”

Setting aside Scott Swift’s influence, Taylor Swift herself was a star who could bring in hundreds of millions of dollars annually for the company.

Ronan was well aware that Taylor Swift was the kind of singer who could generate over a hundred million dollars in revenue each year for a company.

Taylor Swift wasn’t foolish either. She immediately said, “I understand. Uncle Anderson, rest assured, I won’t disappoint you.”

Ronan nodded slightly: “I believe in your musical talent. Show it to the world.”

“I will.” Taylor Swift, despite her young age, was stirred by Ronan’s words: “I definitely will.”

Not staying much longer, Taylor Swift soon took her leave. This girl was beginning to prepare for her transition to mainstream success.

Frankly, apart from her choice in boyfriends, Taylor Swift’s value was impeccable, especially for a record company.

Once, Taylor Swift had topped Hollywood’s celebrity earnings list for several consecutive years. Now, with even more favorable conditions, she was bound to bring even greater value.

Ronan was absolutely certain of this.

Due to Peppa Pig, Taylor Swift had become widely known at a young age, growing up alongside an entire generation.

Now, besides being a pop singer, she had also signed with Princess Animation Studio to voice Elsa.

That brainwashing hit song—Ronan couldn’t sing it, and his musical knowledge was extremely limited—but just like the once-popular Little Apple, he knew the climax of the chorus, “Let it go.”

Based on this, Frozen would also strive to create brainwashing hit songs.

After all, catchy pop songs were the easiest to spread. They could even create a super-language version to build hype.

The audience for Hannah Montana: The Movie was mostly concentrated during its opening weekend, which was typical for fan movies.

By the second weekend, the box office for Hannah Montana: The Movie had plummeted to $14.41 million, showing a poor trend.

This also meant the final box office would struggle to break $100 million, but for Relativity Entertainment, this was enough, as the film’s total investment was only $22 million.

Fan movies couldn’t sustain long-term success; this was a common phenomenon.

However, Taylor Swift’s fame had grown even louder thanks to this film.

Big Machine Records was also preparing to release Taylor Swift’s new album in late October.

Ronan then went to Shai Entertainment to meet with Michael Bay regarding the Transformers project.

The first film had been a massive hit, and the second was already in preparation. Michael Bay continued as director and had quickly produced initial design drafts for the new Transformers appearing in the sequel.

First, they finalized the images of these robots, after which modeling and special effects work could begin.

Similar to the first film, the newly introduced robots were designed based on the G1 animation style, with shapes more aligned with modern aesthetics.

Ronan was mostly satisfied with the designs, but when he saw a few sketches of Devastator, he couldn’t help but frown slightly.

A massive Decepticon robot stood with its legs apart on a pyramid, a chain hanging between its legs, with two large iron balls attached to the chain.

Ronan winced, unable to prevent an image from forming in his mind.

An ugly and evil giant robot climbed onto the pyramid, opening its jagged mouth like a whale sucking in water, drawing in large amounts of stone, then expelling it from its rear, almost instantly destroying the pyramid’s peak.

But the two steel balls swinging beneath its buttocks made it seem as if the robot was forcefully penetrating the pyramid.

Ronan glanced at Michael Bay, pulled out the section about Devastator, first praised: “The design is well done. I can imagine how they’ll look on screen.” Then he handed the sketches back to Michael Bay and asked, “Michael, can you tell me why Devastator has a pair of iron balls hanging between its legs?”

Michael Bay didn’t think much of it and replied frankly, “The second film introduces Arcee, which means Transformers have gender distinctions…”

“So this is to distinguish gender?” Ronan asked directly: “Is this Devastator’s thing?”

Michael Bay smiled: “Something like that.”

Ronan said directly: “With this design, we’ll be drowned in fans’ criticism. Let’s remove that pair of iron balls.”

Michael Bay didn’t insist: “Alright, I’ll have someone make the changes.”

Ronan didn’t say more. Anyone who had seen many of Michael Bay’s films wouldn’t find it hard to notice that he sometimes included very lowbrow shots that left people speechless.

Once the designs were finalized, modeling and special effects work could begin.

For such a film, special effects production was of paramount importance.

Big-budget special effects films had become the absolute mainstream in the global movie market.

This wasn’t just about audience demand; external conditions also played a significant role.

Nowadays, the window between a film’s theatrical release and its home entertainment availability was getting shorter. The widespread use of the internet and DVD players gave audiences more ways to enjoy films, especially with increasingly larger home televisions that could partially replace the big screen. Moreover, the comfort of watching at home far surpassed that of theaters.

During the discussion, Ronan received a text from Jessica Felton. Jessica told Ronan to leave work early, as she had plans to go shopping with Lindsay Bill after work.

Night fell, and Rodeo Drive was brightly lit. Lindsay Bill and Jessica Felton entered an Italian restaurant together.

After ordering, the two sat by the window and began chatting.

“How’s living with Ronan going?” Lindsay Bill asked curiously.

Jessica Felton replied, “It’s alright. At least I don’t have to clean my own room. You know I hate housework the most.”

Lindsay Bill had seen her friend’s messy living habits and couldn’t help but laugh. Suddenly, she thought of something and asked, “Now that your relationship with Ronan is officially public, have you encountered any trouble lately?”

“Trouble?” Jessica Felton didn’t quite understand: “What trouble?”

Lindsay Bill said, “Things are a bit chaotic in the industry lately. Some people are planning a strike…”

Jessica Felton said, “I’ve heard about it.”

“The Writers Guild approached me.” Lindsay Bill slightly lowered her voice: “They wanted me to join the strike, but I refused.”

She thought for a moment and added, “These people are trying all sorts of ways to pressure the Producers Guild. A strike is just one of them. They’re also secretly persuading more people to join.”

Jessica Felton said, “We should focus on our own work. It’s best to stay out of these matters.”

Lindsay Bill completely agreed: “You’re right.” She then said, “By the way, my first independently written film is about to premiere. You and Ronan better not forget to attend the opening.”

Chapter 1063: Gratitude and Recompense

In mid-October, a film that had taken nearly three years from preparation to filming to release finally premiered in North America.

This was an original project. To craft the script, Lindsay Bill had spent over half a year preparing, even immersing herself in a particular community for firsthand research, truly experiencing the ecosystem of that world.

Many industries appear entirely different from the outside. Only by diving in can one truly understand their operations and dynamics.

Thus, Lindsay Bill’s thorough preparation laid a solid foundation for the film.

When David Finch signed on as director, Lindsay Bill assisted him with much of the practical research. To avoid copyright conflicts, the production team even secured the rights to several real-life individuals.

Those women who sold themselves for money cared little about their past, eager to earn another paycheck.

For many women, once they took that first step, they only sank deeper.

Not everyone could find a decent man to take them in.

Besides, where in the world were there so many decent men?

Lindsay Bill had once said that the industry had a terrifying, almost fanatical power to assimilate. The longer one stayed among those people, watching their easy money and luxurious lives, the harder it was not to entertain dangerous thoughts.

Once accustomed to earning money lying down, standing up again became difficult.

A saying captured the mindset of those in the industry—hold the pillow tight and brace against the wall; a little pain is better than a real job.

As one of humanity’s oldest professions, it was difficult to judge those people by conventional social values.

Perhaps those who walked that path, like Lindsay Bill’s classmate, simply didn’t care what others thought.

Though the film told the story of an industry hidden in the shadows, it bore a radiant title—Sunshine Girl!

Director David Finch was never one to take the bright and easy path.

The premiere of Sunshine Girl was held in Los Angeles. Thanks to David Finch’s presence, many attended to show support. The female lead, Rachel McAdams, even brought her boyfriend, Ryan Gosling.

Invited by a friend, Jessica Felton arrived at the premiere alone.

“Where’s Ronan?”

At the theater entrance, Lindsay Bill looked at Jessica Felton, who was by herself, and asked, “He didn’t come?”

Jessica Felton nodded slightly. “He couldn’t make it. Robert Iger called him from New York, and he left for New York the day before yesterday to handle some Wall Street-related work.”

Lindsay Bill was a little disappointed. “Ronan initiated Sunshine Girl. He handed this project to me, and yet he didn’t even come to the premiere.”

Jessica Felton consoled her, “He gets so absorbed in work that he forgets everything else.”

“True.” Lindsay Bill knew Ronan well enough. “When he’s busy, he even forgets about you, his girlfriend.”

Jessica Felton laughed. “We’re pretty much the same.”

Lindsay Bill smiled. “Alright, I get it—you two are in love. Don’t make me jealous.”

Jessica Felton pointed toward the theater entrance. “Then I’ll go in first.”

Inside the theater, Jessica Felton ran into Thomas, the head of Embassy Pictures’ domestic distribution department. Though they weren’t very close, they knew each other and exchanged a few words.

After Thomas left, a middle-aged woman with a bob cut approached her.

“Hi, Jesse.” The woman seemed quite familiar with Jessica Felton.

Hearing the vaguely familiar voice, Jessica Felton turned and offered a polite smile. “Good evening, Cody. I didn’t expect to see you here.”

The woman was Diablo Cody, the screenwriter of Juno, the film Jessica Felton had produced.

They had worked together once and were on good terms.

Diablo Cody glanced at the people entering the theater and lowered her voice. “Jesse, can we find somewhere private to talk?”

Jessica Felton was a little puzzled. “Is something wrong?”

“Just a small matter.” Diablo Cody smiled. “I’d like to speak with you alone.”

Jessica Felton was no socially inept tech geek, especially since officially dating Ronan. She had put in effort to improve her social skills, and Diablo Cody was a familiar face from a successful collaboration. “Follow me,” she said.

Finding an Embassy Pictures staff member, Jessica Felton had them lead the two to a lounge.

“It’s just us now.” Jessica Felton sat on the sofa. “Cody, what’s on your mind?”

Diablo Cody hesitated before speaking. “The success of Juno helped me a lot, Jesse. I’ve never properly thanked you.”

Jessica Felton waved it off. “We were partners. We both wanted it to succeed. You’re too kind.”

“No, no, I really am grateful.” Diablo Cody’s tone suddenly shifted. “After Juno succeeded, I gained enough credibility to officially join the Writers Guild.”

Hearing the name of the Writers Guild, Jessica Felton recalled what Lindsay Bill had mentioned a few days ago, as well as some things Ronan had brought up.

It seemed there had been a lot of trouble surrounding the Writers Guild lately.

She steeled herself, suspecting Diablo Cody might have an ulterior motive for seeking her out.

Diablo Cody studied Jessica Felton before continuing. “Jesse, you know that with the Guild, our rights are better protected.”

Jessica Felton smiled but didn’t respond.

Diablo Cody thought of the Guild president’s solemn request. She had benefited from the Guild’s power and felt she should fulfill her duties as a member.

Moreover, if the goal could truly be achieved, it would greatly benefit her as well.

“Lately, there’s been a lot of trouble involving the Writers Guild, the Actors Guild, and the Directors Guild,” Diablo Cody probed. “Have you heard? Hollywood might be facing an industry-wide strike.”

Jessica Felton replied, “I’ve heard the rumors.”

Diablo Cody spoke earnestly. “It’s not just a rumor. I don’t know much about the Actors or Directors Guilds, but the Writers Guild is genuinely preparing to strike.”

“I’m not a member of the Writers Guild,” Jessica Felton reminded her.

On the contrary, she was part of the Producers Guild.

Diablo Cody acted as if she hadn’t heard Jessica Felton and continued. “If a strike happens, it won’t just hurt writers—producers will suffer too. Jesse, we’re all part of this industry. No one can stay out of it.”

Her words weren’t without merit. “I don’t want a strike, and neither do you. And what about the crew who follow you? None of them want to see a strike either, right?”

Jessica Felton merely smiled and didn’t engage.

“I owe my success to you and Relativity Entertainment,” Diablo Cody expressed her gratitude. “My collaboration with Relativity not only brought me the success of Juno but also showed me something else—Relativity is the busiest production company in Hollywood. If a strike happens, Relativity will suffer massive losses.”

These words made sense. If an industry-wide strike occurred, at least a dozen of Relativity’s projects would grind to a halt.

Jessica Felton could see that, and she knew Ronan could too.

Diablo Cody watched Jessica Felton’s thoughtful expression and added fuel to the fire. “I don’t want to see Relativity, the company that gave me my chance at success, suffer unnecessary losses or even lose its momentum. On a personal level, I can’t accept that.”

Her voice carried emotion. “Though my influence is small, I’ve been trying—reaching out to everyone I know in the industry to prevent this terrible event. I think this could also help Relativity.”

Jessica Felton said, “I don’t want a strike either.”

Encouraged, Diablo Cody pressed on. “Jesse, join us. Let’s work together.”

“How?” Jessica Felton shook her head slowly. “There’s little an individual can do. I don’t see a way forward.”

Diablo Cody slowed her speech. “I think there’s a way to avoid the worst-case scenario.” She composed herself. “Jesse, you have tremendous influence at Relativity. If you can help Relativity reach an agreement with the Guild first, even if a strike happens, it won’t affect you.”

The suggestion was phrased delicately but carried weight. The Producers Guild was made up of multiple Hollywood factions. It wasn’t impossible for one company to negotiate separately with the Guild.

Jessica Felton laughed. “You overestimate me, Cody. I’m just a producer, responsible only for film production. I have no authority over other matters, nor do I involve myself in them.”

The refusal was clear, but Diablo Cody wasn’t ready to give up. “Jesse, you underestimate your influence…”

Jessica Felton raised a hand to stop Diablo Cody, then stood up. “I’m just an employee.”

Even Lindsay Bill, a former screenwriter, didn’t want to get involved. How could she, a producer who started as an editor?

Why had Diablo Cody come to her? Jessica Felton wasn’t foolish. It was because of Ronan.

Did she expect her to whisper in Ronan’s ear?

Jessica Felton wasn’t that naive. When it came to Relativity’s business, she never offered her opinion.

Chapter 1064: A Complete Subversion of Values

Dark-themed films don’t have a particularly broad audience, and not every dark film can become The Dark Knight.

The differences in subject matter cannot be ignored.

How can a film like Sunshine Girl compare to The Dark Knight?

Frankly speaking, even if we ignore the various factors that contributed to The Dark Knight’s success, there was still the immense appeal of Bruce Wayne himself.

David Finch’s style is dark to the bone, leaving no room for hope.

Sunshine Girl is no different.

The female lead is named Sarah, a common American name with an equally common background. Her family isn’t poor, but they aren’t well-off either. When she gets accepted into a second-tier private university in the U.S., her family, accustomed to living beyond their means, can’t afford the steep tuition. She has no choice but to take out student loans.

This is a situation many American girls face, even those from ordinary middle-class families.

The idea of living beyond one’s means is deeply ingrained in this society. Most people have no habit of saving—some don’t even understand the concept.

To a large extent, families on the other side of the Pacific have far greater resilience against financial shocks than Americans do.

So, when economic turmoil strikes, popular tourist spots like the Golden Gate Bridge, the Brooklyn Bridge, and the Empire State Building become scenes of despair.

This film isn’t just dark at its core—it’s dark on the surface too. From the very first minute, the visuals are grim and oppressive, using color and lighting to reflect the transformation of its characters.

When Sarah first steps onto campus, she’s still just an ordinary college student, dressed in the same gray and black tones as her surroundings, blending in seamlessly.

But her envious gaze keeps drifting toward the brightly dressed, vibrant girls who seem like the darlings of heaven.

Her tuition comes from student loans, and she has to figure out her living expenses on her own. If she follows the conventional path, she’ll never have that kind of life in college—or even long after graduation, burdened by debt.

Under such crushing pressure, people often make choices.

A chance encounter with a female classmate leads Sarah down that path.

Of course, the classmate didn’t appear by accident. She had already noticed Sarah—beautiful but struggling—and as part of a campus group that profits from such arrangements, she swiftly pulls Sarah into the same world.

Sarah changes—not just in her actions, but in her appearance and the way she’s presented on screen.

In this grim, oppressive environment, Sarah becomes a splash of color. Her clothes grow more vibrant, and the lighting around her intensifies.

In this dark society, she becomes a ray of afternoon sunshine.

This is David Finch, a director who never stops exposing America’s dark underbelly, a director whose every shot and lighting choice drips with sarcasm.

Biting themes and stylized cinematography have always been his forte.

To put it in pretentious terms, his dark visual style lays bare the darkness of human nature and society.

In this bleak, shadowy world, Sarah becomes the sole source of light.

In an era of equality, in a time when women’s rights are championed, just like in Gone Girl, mainstream values preach the importance of family and marriage, the protection of pregnant women. But through Sarah, David Finch asks: Is it really that hard to lie back and spread your legs?

The subject matter, content, and script of Sunshine Girl come from Lindsey Bill, but the film’s true style is shaped by David Finch.

So, for a young, beautiful girl, lying back and spreading her legs isn’t hard. Sarah does it once, then again, and again, and again.

She becomes the brightest spot on campus.

While most students are counting pennies to get by, Sarah lives a life others envy.

The monotony of ordinary life can’t compete with the allure of money. Soon, other female students follow in her footsteps.

Sarah is a clever girl. After being introduced to this world, she quickly learns the ropes. She knows how to leverage her student status, how to package herself, how to take the high-end route to make real money.

The girl who first brought her into this world becomes her agent, using her connections to find clients. But soon, Sarah starts teaching her how to make Sarah more valuable.

Often, raising the price only makes the clients more eager.

In many ways, this film is practically a guide on how to become a high-end escort.

Across American universities—and even high schools—girls like Sarah are becoming more and more common. David Finch mercilessly exposes this reality.

For this film, David Finch shot over five hundred hours of footage, editing it down to less than two hours.

A true labor of love.

David Finch has an extraordinary talent for dark films. Sunshine Girl even carries an apocalyptic tone—society is so dark and desperate that the only way to survive is to break free from its systems, laws, and moral constraints.

After graduation, Sarah moves to New York, taking an internship at a company, ready to leave her past behind and start fresh.

The bright colors fade. The girl in the dark professional attire weaves through the towering buildings of New York.

The whipping of society begins.

Unspoken workplace rules, meager wages, grueling work, casual bullying from senior employees, subtle harassment from middle-aged male bosses—these are everywhere. Many attractive young women stepping into the workforce encounter at least some of these.

The frustrations of her new life wear Sarah down. When she sees a former classmate—who once worked in the same industry—living a carefree, glamorous life, Sarah decides to abandon society’s lashings and free her soul once more.

The dazzling, radiant girl returns, quickly falling under the wing of a New York agent. Using her natural assets, she begins a new life.

Though she faces some initial struggles in the new city, just as she did in college, Sarah has a remarkable talent for this line of work. Before long, she becomes a well-known figure in New York’s business circles.

Sarah becomes a high-end escort, charging fifteen hundred dollars an hour. Her clients include real estate tycoons, lawyers, wealthy playboys—even a middle-aged man who sells his shop just to afford her.

Sarah becomes a slave to money, while some of her clients become obsessed with her.

In the film, Sarah gradually becomes the only source of light, while everyone around her—and society itself—is sick.

Like Gone Girl, this film doesn’t just subvert values—its themes and morals are warped beyond recognition.

Sarah never reflects on her choices. She feels no regret, no guilt. She doesn’t think she’s done anything wrong.

Her inner world is unshakable.

Her former classmates, the ones who endure the grind of society and the workplace, spend their days struggling just to survive. They live in cramped apartments, eat cheap fast food, and squeeze into subway cars like sardines.

In stark contrast, Sarah—supported by countless middle-aged and elderly men—lives in comfort. She even buys a modest apartment near Central Park.

This young woman has mastered the art of her trade—not just the professional skills, but the psychological manipulation as well.

Her clients are mostly successful older men, and she always greets them with a smile, listens attentively. It’s all an act, but it makes them happy.

Sarah approaches her work with a professional attitude. She has her own code of conduct.

Compared to the thankless grind of the workplace, she gets far more in return. An elderly real estate mogul even gives her five hundred thousand dollars outright—the main source of her down payment.

At the same time, Sarah has a falling out with her agent over the thirty percent cut she’s forced to pay.

She starts taking clients on her own.

But her good fortune doesn’t last. Her former agent hacks her email and leaks a video Sarah had secretly recorded. Her reputation is ruined, and her family confronts her.

Worse, what she’s doing is illegal in New York. She could face prison time.

Sarah has money, so she hires a top lawyer. First, she uses her assets to negotiate with the website’s executives: Yes, she knew she was being recorded. It was just a role-playing game with an ex-boyfriend—a private matter that shouldn’t be made public for “entertainment.”

Then, with her lawyer’s help, she tells the prosecutor: There’s no other evidence. It was just role-playing with an ex. She won’t pursue who hacked her email or leaked the video, and out of concern for her ex, she won’t reveal his identity.

In cases like this, without direct witnesses, none of the successful men who’ve paid for her services would be stupid enough to come forward.

Sarah escapes trouble, hires a private investigator to take down her former agent, and then—while working independently—uses her client base to start taking a cut of her own as an agent.

At the end of the film, in a society full of failures and people barely scraping by, Sarah becomes a success.

She buys a mansion on Long Island. After a fresh round of beauty treatments, she sits in her luxurious living room, basking in the glow of her new life.

The final shot: against a dark backdrop, Sarah sits in her grand mansion, shining like the sun.

The film ends. The theater falls into brief silence.

The themes and values of Sunshine Girl aren’t just twisted—they’re on another planet entirely.

From beginning to end, Sarah never reflects, never regrets, never thinks she’s done anything wrong.

Her inner world is unbreakable.

Chapter 1065: The Female Entrepreneur

A dog-eat-dog world, a film that shatters all moral compasses.

Yet in this world where public opinion always claims to be right but is actually morally bankrupt, there are plenty who appreciate such films.

Thus, the silence was quickly broken, and applause erupted—loud and enthusiastic.

Most mainstream films emphasize the brilliance of human nature, but Sunshine Girl does not. It peels back the curtain on the colder, darker side of society and lays it bare on the screen.

This isn’t the true face of society—at least not the entirety of human society—but everything in the film is based on real investigations and events.

So it resonates with people.

Because in reality, such cases are not uncommon. Those who work hard get nothing, while those who willingly embrace corruption reap great rewards.

Is the female lead’s choice worthy of sympathy? No, because it was her choice.

Is her fate pitiful? Not necessary, because she lives better than most.

She knows what she wants and doesn’t care about the means.

She is independent enough not to rely on any single man but has the ability to profit from many.

She faces her desires nakedly, unconcerned with morality or ethics.

She is so strong-willed that it borders on ruthlessness.

From the moment she made her choice, she was destined to be resolute and unyielding.

A film with such twisted themes and values still wins the hearts of many viewers.

Because while its values are distorted, the film doesn’t try to justify itself—it just presents them in a way that feels plausible.

For example, the female lead is a high-end talent. Even if you disregard her role as a high-end broker, the work she does in the film isn’t as simple as just spreading her legs.

Dressed in elegant, high-end clothing, with refinement and manners, she makes even casual conversation enjoyable…

From the film’s perspective, this is also a high-level professional skill.

And the dialogue designed by David Finch makes female audiences cheer.

When the female lead faces her father’s self-righteous accusations, she retorts: If women must love themselves, then why don’t men have to do the same?

Such a film is bound to spark controversy.

In this day and age, a film about a female college student “entering the industry” is a taboo subject no matter where it’s shown.

After its premiere, Sunshine Girl ignited fierce debate. From the media to the audience, many discussed whether the film was based on real events.

But some things aren’t secrets. Just like how certain journalists secretly interview women in the industry and then pretend to be shocked—do they really not know?

Most of the time, it’s just to fit their own agenda.

When Sunshine Girl was released across North America, many media outlets exposed such phenomena. Though seemingly hidden in the shadows of society, many people know of their existence—some even have personal experience or dealings with this group. They began to attract significant attention.

What shocked many was that this group was spreading rapidly among schools.

Though not widely discussed, Sunshine Girl still garnered considerable attention.

However, the film’s subject matter naturally limits its audience. David Finch’s dark-themed style isn’t for the masses, and the numerous exposing scenes led to an R rating, further restricting its reach. Sunshine Girl was never going to be a blockbuster.

In its first weekend in North America, Sunshine Girl played in 3,456 theaters and earned $31.24 million at the box office.

This result secured Sunshine Girl the second spot on the North American box office chart that week.

The box office crown went to Universal’s American Gangster, which took in $42.16 million.

Though it didn’t claim the North American box office crown, compared to its final production budget of $35 million, Sunshine Girl’s opening weekend was still a success.

Moreover, the film’s reputation was excellent, even if its values were questionable.

Sometimes, a film’s reputation isn’t closely tied to its moral stance.

There are plenty of films in Hollywood history with questionable morals but stellar reputations.

After its first weekend, Sunshine Girl had an average score of 8.3 out of 10 from tens of thousands of users on IB, a 90% fresh rating on Rotten Tomatoes, and an average A grade from CinemaScore’s live audience scoring.

It’s no exaggeration to say that the film had an outstanding reputation among both audiences and critics.

David Finch, the idiosyncratic director, finally achieved another triumph after Fight Club’s critical acclaim but poor box office performance, following Se7en.

Critics unanimously agreed that Sunshine Girl was David Finch’s best work since Fight Club.

Rachel McAdams’ performance was also highly praised, with many calling for a major nomination for Best Actress during awards season.

Thanks to its strong reputation, Sunshine Girl’s box office performance remained remarkably stable. The drop in its second weekend was so minimal it left people stunned.

The film’s second weekend earnings were less than $5 million lower than its first, totaling $26.46 million.

After ten days in North American theaters, Sunshine Girl had accumulated $71.28 million at the box office.

That same weekend, the film also debuted in Europe. Perhaps because similar phenomena exist on a large scale in Europe, Sunshine Girl attracted a significant European audience, earning over $20 million in its first weekend there.

The film’s realistic elements were a major reason for its strong market reception.

In this world, most ordinary people struggle to survive, working hard just to meet their basic needs. To earn money, to survive, to live, they enter various professions. But while there are countless jobs, the hardship and exhaustion vary wildly. Some women, to earn money faster, enter that special industry.

The lucky ones make enough to leave, moving far from their old lives and returning to normalcy. The even luckier ones use their resources to become high-end brokers, no longer needing to endure pain against walls, instead enjoying the high commissions from transactions.

The unlucky ones, as they age, find themselves with no stability in life, or they squander their earnings and fall into bad habits, living worse than ghosts.

After returning from New York, Ronan made time to see the film. David Finch had indeed done an excellent job. In terms of quality alone, Sunshine Girl was no worse than Gone Girl.

But the film’s twisted values were truly indescribable.

Some lines should never be crossed.

Someone once said, Sell once, and you’ll sell forever.

Ronan remembered reading an interview with a high-end figure in the industry. The American woman called herself an “entrepreneur” because she ran a business—just one where the product was her own body.

In the interview, she made no secret that this was a voluntary choice. She had never been forced, drugged, or made to star in adult films. Everything was her own decision.

She said this was “the coolest part of capitalism”—because of choice, she had money, and with money came opportunities. She had enough to attend a prestigious private university.

These statements seemed unbelievable, but to this real-life woman, they were perfectly normal.

She even declared: I’m a female entrepreneur. I’ve done what politicians in this country encourage immigrants to do—work hard, seize opportunities, maximize my talents, and adapt to the new global economy.

She claimed to be part of the top one percent in the U.S. and, at the end of the interview, mocked her lower-end peers: Selling themselves so cheaply—are they stupid, too lazy to research the market, or do they just not care about the value of their bodies?

In every industry, someone always rises to the top.

Of course, behind this industry’s rise, there’s always a group of people driving up prices.

But men will always pay more for women with beauty and figure.

Sunshine Girl’s sensitive subject matter is nothing compared to David Finch’s next project.

Ronan specifically visited David Finch’s studio. House of Cards had finished filming and was about to enter post-production. It would be available on Netflix Streaming Media Platform next year.

House of Cards goes even further, portraying Washington, D.C.’s political circle as worse than a cesspool.

But no one in Washington, D.C. cares. If Hollywood didn’t mock its own government, would it still be Hollywood?

As long as it attracts viewers, it’s fine.

Whether the show truly reflects Washington, D.C.’s political ecology doesn’t matter.

Because audiences want to see a dirty, conspiracy-ridden government.

“Who would’ve thought such a film could be so successful.”

In the estate’s study, Jessica Felton finished her work and said to Ronan, who was reading an email, “Has the audience changed, or has society?”

Ronan looked up at her and said, “It has nothing to do with that. Most audiences are just curious.”

Jessica Felton didn’t quite believe him. “You sure?”

Ronan nodded. “I was the one who initiated this project. Do you know why I had this idea?”

Jessica Felton suddenly thought of a possibility and tilted her head, looking at Ronan. “You’ve had experience with it?”

“I forget which year it was,” Ronan recalled. “At a party in London, I met a high-end broker in the industry. She tried to sell me…”

Seeing Jessica Felton’s face darken slightly, Ronan quickly added, “I didn’t make any deals with her. I was just curious about that world, so I asked around, and that’s how I got the idea for the film. After returning from London, I handed it over to Lindsey.”

Jessica Felton nodded slightly. “People who haven’t experienced it are curious.”

Ronan’s phone rang. After answering, his expression turned serious.

“What’s wrong?” Jessica Felton asked as Ronan hung up.

Ronan replied briefly, “Connie informed me that the president of the Writers Guild plans to visit tomorrow to discuss something with me.”

Hearing this, Jessica Felton thought of Diablo Cody and said, “Someone from the Writers Guild approached me recently, trying to get me to influence you. I told them I’m just an employee.”

“You did the right thing!” Ronan still reminded her, “This matter is very complicated, involving over eighty companies and all the industry guilds. As a producer, don’t get involved or take a stance.”

Chapter 1066: Nothing to Do with Fairness

In the reception room of Relativity Tower, Ronan shook hands with a middle-aged white man whose hair was streaked with gray.

“Hello, Mr. Anderson,” the middle-aged man greeted warmly. “It’s wonderful to see you again.”

Ronan, exuding the poise of a host, smiled and replied, “Bill, welcome to Relativity Entertainment.”

The man was Bill Domingo, the director of the Western Writers Guild and a veteran screenwriter in Hollywood. Active primarily in the seventies and eighties, he had produced a large volume of work, though few of his scripts had achieved widespread acclaim. He was the kind of writer known more for quantity than quality.

By the mid-nineties, Bill Domingo had stepped away from scriptwriting and transitioned into administrative work for the Western Writers Guild, eventually becoming its director in 2005.

The Writers Guild of America was a broad organization, divided into two main branches: the Western Writers Guild and the Eastern Writers Guild, as the names suggested, based on geographic location.

The Writers Guild was a massive organization. Even with its stringent admission criteria, it boasted nearly twenty thousand members.

Undoubtedly, Bill Domingo was the voice of their interests.

After a brief exchange of pleasantries, Bill Domingo got straight to the point. “Mr. Anderson, Hollywood is in a tough spot right now. The entire industry might be on the brink of turmoil, and no one wants to see that happen. I’m here representing the Writers Guild…”

Ronan understood his implication. “Bill, you should be talking to Del Porto about this. He’s the director of the Producers Guild and handles these matters directly.”

Bill Domingo knew that to resolve this quickly, he couldn’t avoid the issue. “I’ve spoken with Del many times, but our differences are too great. Continuing through formal channels might take months without any agreement.”

Ronan had a rough idea of what was going on. The Producers Guild had been privately approaching the major guilds, attempting to divide and conquer the Hollywood guild alliance. The Writers Guild was responding in kind, reaching out to the largest companies within the Producers Guild individually.

Though the Producers Guild consisted of over eighty companies, convincing the medium and large ones would make the rest fall into line.

In fact, securing just a portion of the medium and large companies would significantly tilt the scales in the Writers Guild’s favor.

Easier said than done, however. This was no simple task.

Ronan remained calm. “This isn’t something you should discuss with me. To be frank, Bill, the Producers Guild has already reached a consensus internally. All negotiations with the guilds will be handled collectively by the alliance.”

Bill Domingo smiled but showed no sign of giving up. “I’ve done my research. Over the past three years, Relativity Entertainment has produced more films and television projects than any other company in Hollywood. And I don’t see that changing in the next few years, do you?”

There was no point in denying it. Excluding the film library and past copyright revenues, Relativity Entertainment was currently Hollywood’s most prolific and highest-earning company in terms of new film projects.

Ronan casually remarked, “I don’t think any company will surpass Relativity in new projects for the foreseeable future.”

“Relativity has the most projects and employs the most screenwriters,” Bill Domingo pressed on. “If this situation drags on and worsens, Relativity will suffer the greatest losses.”

Ronan’s expression didn’t change. “What are you suggesting, Bill?”

Bill Domingo said, “If Relativity can reach an agreement with the Writers Guild, all our members will continue to work with Relativity without any issues.”

Ronan couldn’t help but smile. “That would split the Producers Guild.”

“You’re already a loose alliance with the right to negotiate individually with the guilds,” Bill Domingo stated frankly. “I doubt the other companies would hesitate to prioritize their own interests over the alliance.”

Ronan nodded slightly. “You’re right.”

The Producers Guild was, after all, an alliance of interests. Their current unity against the guild alliance stemmed from shared goals.

When more favorable conditions arose, abandoning the alliance to negotiate with the guilds wouldn’t be a big deal.

Bill Domingo continued, “The guild values its collaboration with Relativity and—”

Ronan raised a hand, cutting him off. “I understand your position. Relativity doesn’t want to see the conflict between the alliance and the guilds escalate to an irreparable point.”

This sounded promising, but Bill Domingo knew there was likely a catch.

Sure enough, Ronan’s tone shifted. “But the new conditions you’ve proposed are something Relativity cannot accept under any circumstances.”

Bill Domingo replied, “We can negotiate.”

The moment they began formal negotiations, it would send a clear signal.

“Your demands are too high,” Ronan said, not refusing to talk but insisting the terms must be lowered. “Fifteen percent of new media and DVD revenue, a three percent increase in other areas, and additional compensation for past new channels—these terms are non-negotiable.”

Bill Domingo asked, “What are Relativity’s terms?”

Ronan stated directly, “I won’t discuss the minimum and maximum incomes for guild members. The focus is on revenue sharing. For traditional channels—free TV, pay-per-view, cable, and global distributor revenue—the one percent share remains unchanged. DVDs can be included in home entertainment revenue, similar to videotapes, with a one point five percent share of production revenue. Additionally, each film will pay a total of ten thousand dollars in DVD script fees to the screenwriters.”

Bill Domingo’s expression didn’t change, but inside, he felt a chill. These terms were unacceptably low!

“As for internet new media…” Ronan paused briefly before continuing, “We can discuss a one percent share of distributor revenue.”

Bill Domingo fell into a brief silence.

The terms Ronan proposed were a far cry from the Writers Guild’s demands—like falling from the sky into the Mariana Trench.

The existing revenue shares were manageable, with little change and few issues. Videotape income was negligible these days, and the one percent share from TV channels could be negotiated later, possibly increasing slightly.

But the cuts to DVD and new media shares were brutal.

The Writers Guild hadn’t considered merchandise revenue, which wouldn’t get support from the labor union anyway. But among the copyright revenues screenwriters could participate in, the highest were from DVDs and new media platforms like Netflix.

The Writers Guild was demanding a fifteen percent share of total revenue.

For new media and DVDs, Ronan had slashed the shares to zero point five and one point five percent, respectively—and these weren’t even shares of total revenue.

The former was a share of distributor revenue, the latter of production revenue.

Overall, copyright revenue could be divided into three parts: channels, distributors, and producers. Calculating only one aspect’s revenue would significantly reduce the amount.

“Forgive me for being blunt,” Bill Domingo said, “but these terms are unacceptable to the Writers Guild.”

Ronan spread his hands. “Then there’s no need for private negotiations.”

If there wasn’t enough benefit, why would Relativity risk offending the Producers Guild by negotiating separately with the Writers Guild?

Bill Domingo still tried to persuade him. “Mr. Anderson, you were a screenwriter yourself once. You know how hard this profession is. How many screenwriters work tirelessly without getting the recognition they deserve? Is that fair?”

To be precise, screenwriters in Hollywood were treated unfairly, and Ronan knew it. But he couldn’t take their side, even if he had been a screenwriter before. “I’m sorry, Bill. I’m a producer now, and I have to answer to the thousands of employees at Relativity.”

The dispute between the Producers Guild and the major guilds had nothing to do with fairness or justice.

Their meeting ended without any agreement, the divide between them vast.

By late October, the Producers Guild’s divide-and-conquer strategy had paid off. They had reached new agreements with the Directors Guild and the Actors Guild. With these two guilds signing new framework agreements with the Producers Guild, the Hollywood guild alliance crumbled. Most guilds backed down, leaving only the Writers Guild still in opposition to the Producers Guild.

The Directors Guild and the Actors Guild, along with their members, continued to verbally support the Writers Guild, but this verbal support was effectively meaningless.

After the Producers Guild made some concessions, these two guilds, as they had twenty years before, abandoned the Writers Guild once again.

The new agreement proposed by the Writers Guild was unacceptable to the Producers Guild.

In essence, this new agreement covered employment, termination, treatment, compensation for screenwriters, and how to credit them, among other issues.

The financial clauses were a major sticking point in the negotiations, focusing on two main aspects: first, requiring film and television producers to pay screenwriters wages above a specific minimum standard; second, mandating that screenwriters receive a larger share of the total revenue generated from the copyright of television programs or films.

The Writers Guild had strong arguments. The entertainment industry was at its most profitable. In the last fiscal year, the eight major entertainment media companies dominating the film and television market in Hollywood, including Relativity and DreamWorks, had earned nearly fifty-six billion dollars in operating profits. Over eighty percent of the Writers Guild’s members worked for these eight companies.

These eight companies had doubled their total profits over the past decade and continued to grow. The Writers Guild believed that the prosperity of the entertainment industry was driven by the content created by its members. This content had fueled the global growth of entertainment media companies and the rapid rise of online video distribution. Companies controlling this content had profited repeatedly, and screenwriters deserved a share of this unprecedented prosperity.

Chapter 1067: The Great Strike

Like all industry strikes, Hollywood screenwriters were fighting for greater profits and rights, but the strike was merely a means, not the end.

Once the strike began, it meant that countless Guild screenwriters would be unemployed for a long time, with no source of income.

Thus, after the Producers Guild broke the union alliance with divisive tactics, the Writers Guild also launched counterattacks, seeking to secure more benefits for themselves in a similar manner.

Even animation studios were subjected to their lobbying.

“Recently, a vice director of the Writers Guild approached Pixar,” John Lasseter said, standing in front of the premiere theater, looking at the giant poster of the rat in the distance. “They hope Pixar’s screenwriters will participate in the upcoming strike.”

This was the North American premiere of Ratatouille, and due to the recent unrest, the event was somewhat subdued, especially with fewer guests in attendance.

Ronan asked, “What are your thoughts on this?”

John Lasseter replied, “Pixar’s employees are not members of the Writers Guild. Since we’ve never benefited from their rights, we have no obligation to uphold them.”

He then asked, “Is this strike unavoidable?”

It was already November. The Producers Guild had made all the concessions and compromises they could, but the gap between the two sides remained vast. Ronan, fully aware of this, stated directly, “The screenwriters’ strike is inevitable.”

John Lasseter asked again, “Pixar’s scripts, under your guidance, have been completed in advance. We won’t be heavily impacted.”

Ronan said, “Everything will proceed as usual. We won’t be greatly affected.”

Under Ronan’s control, Relativity Entertainment had made ample preparations. Projects planned for next year had all finalized their scripts.

Additionally, scripts purchased from external sources not produced by Relativity had already secured the necessary permissions in their contracts. In the absence of screenwriters, Relativity retained the right to modify the scripts.

This was a common practice—after acquiring script copyrights, film companies often made significant changes.

A prime example was Hancock, starring Will Smith and Charlize Theron. Originally a romance script, it was later transformed into a sci-fi action film by Sony Columbia.

Entering the VIP lounge, Jessica Felton, who had been chatting with Ed Kamel’s wife, approached.

“I heard it’s happening in the next few days?” Jessica Felton asked.

Ronan nodded slightly. “Though the Writers Guild hasn’t issued the final notice, it’s highly likely the strike will officially begin next Monday.”

Jessica Felton, being a pure producer, had rejected the Writers Guild’s lobbying but still harbored some sympathy for the screenwriters. After all, pitying the underdog was a common sentiment.

She whispered, “Can’t both sides compromise a little more?”

Ronan slowly but firmly shook his head. “We’ve reached consensus on most issues, but the disagreement over DVD and new media revenue is too vast. The Writers Guild knows fifteen percent is impossible—they’re just bargaining. During the last negotiation, they lowered it to five percent, but that’s still unacceptable to us.”

Take Transformers, for example. With DVDs selling globally, the two credited screenwriters would earn nearly five million dollars in royalties under the Writers Guild’s new demands.

This doesn’t even account for streaming and other new media revenues.

Given Hollywood’s and the film industry’s general practices, how could this be feasible?

Jessica Felton curiously asked, “What’s the Guild’s bottom line…” She then realized the question was inappropriate. “Never mind.”

Ronan didn’t answer. In truth, the executives of these large and medium-sized companies had already reached a tacit understanding—to suppress the Writers Guild’s demanded royalty percentage to below 1.5%, with additional restrictions on the producers’ revenue scope.

The breakdown in negotiations was inevitable.

The Producers Guild couldn’t make significant concessions because, within the twenty-year framework of the master agreement, they had to renegotiate with various unions every three years, adjusting terms based on the previous three years’ conditions.

These unions were no mere figureheads; for the capital side, they were a real nuisance.

Capital didn’t want to yield, while labor believed they deserved more, even considering themselves more important than actors. The vast divide was irreconcilable.

In Ronan’s view, the strike wasn’t entirely a bad thing. It might sober up some members of the Writers Guild, making them more rational.

An undeniable fact was that the average income of the Writers Guild was high due to the substantial earnings of a few renowned screenwriters. However, most members didn’t earn much, and with Americans’ general habit of living beyond their means, a prolonged strike would first strain the screenwriters, not the major Hollywood studios.

At that point, the Writers Guild might face internal backlash, forcing them to consider the Producers Guild’s terms.

The Producers Guild dared to propose such terms, allowing negotiations to collapse and watching the Writers Guild strike, because they had some confidence.

As for the Actors Guild and Directors Guild, they would undoubtedly support the Writers Guild in spirit and words, but when it came to making money, they would continue as usual.

Of course, it wasn’t impossible for some directors and actors to genuinely side with the Writers Guild.

After all, this was Hollywood, the largest concentration of liberals in the United States.

But Ronan had already made preparations. Relativity Entertainment’s film and television projects wouldn’t be heavily impacted.

Jessica Felton didn’t ask Ronan any more questions about the Writers Guild, pulling him into the theater instead.

Pixar’s third animated feature under Relativity Entertainment officially entered North American theaters.

Even the most insignificant individuals had the right to dream, even if they were just a rat living in the sewers.

This film broke conventional thinking, centering on Remy, a rat who dreamed of ending his life of scavenging garbage to become the head chef of a top Parisian restaurant, creating the most delicious dishes with his own hands.

From toys that came to life (Toy Story), to monsters terrified by a little girl who wandered into their world (Monsters, Inc.), then a tiny fish lost in the vast ocean (Finding Nemo), a family of superheroes trying to live a normal life (The Incredibles), and a young, spirited race car speeding down Route 66 (Cars).

Pixar, representing the pinnacle of global animation technology, consistently delivered one emotionally rich and visually stunning story after another.

The technology showcased by Pixar remained at a cheat-level for the industry.

The complexity of Ratatouille was far beyond Toy Story from over a decade ago.

Back then, toys were mostly regular shapes made of plastic, but Ratatouille featured a variety of foods with different textures and consistencies. Creating these in computer animation to look edible was an immense challenge.

The film received excellent reviews, but its theme and subject matter were somewhat niche, so market reception wasn’t as strong as previous animated features.

In its North American opening weekend, Ratatouille earned fifty-one million, one hundred and seventeen thousand dollars across four thousand two hundred and eleven theaters.

This was the worst opening box office for a Pixar animated feature since entering the new era.

Art was always refined, belonging to a select few.

After achieving success with multiple animated features, Pixar, amid critical acclaim, inevitably became somewhat artistic. Though they adhered to their original philosophy, the creative process was somewhat influenced by high art.

An undeniable truth in the global film market was that pursuing high art often led to drifting away from the market.

In some ways, this wasn’t necessarily bad. Pixar would reflect on its own issues.

This team’s abilities and minds were not to be underestimated.

On the same day Ratatouille’s North American opening box office figures were released, a massive strike swept through Hollywood.

To counter the Producers Guild, the two major screenwriters’ unions in the United States called for their members to strike. On November 5th, nearly twelve thousand screenwriters gathered in the Hollywood area, marching along the Hollywood Walk of Fame and Hollywood Boulevard in a massive strike demonstration.

This grand strike parade immediately attracted nationwide attention.

The last time the Writers Guild went on strike was in 1988, lasting twenty-two weeks and causing over five hundred million dollars in losses to the industry. This strike would undoubtedly bring even greater pain, as the entertainment industry had grown into a behemoth. According to statistics from multiple Wall Street institutions, the entertainment industry, including its peripheral chains, accounted for about ten percent of the U.S. economy.

Considering the overall future strategy, Hollywood studios, led by the Big Six, would not easily compromise.

A batch of films and television series inevitably became temporary sacrifices.

On the first day of the strike, all talk shows had to halt production due to the lack of screenwriters.

In the following days, some film and television projects that were unprepared had to shut down.

24 announced the cancellation of this season’s broadcast, becoming the first unlucky television series. The sequel to The Da Vinci Code, Angels & Demons, invested in by Tom Hanks, was postponed due to the script not being completed on time, becoming the first unlucky film.

Next, the screenwriter of Quantum of Solace left the production, halting the project and joining the ranks.

DreamWorks was also affected. Spielberg and Peter Jackson’s major collaboration, The Adventures of Tintin, was temporarily shelved…

Even so, the Producers Guild maintained a hardline stance.

Due to intervention and mediation by Washington authorities and labor unions, even when the Producers Guild returned to the negotiating table, they showed no signs of concession, and the strike continued.

The ongoing strike didn’t significantly impact Relativity Entertainment. Thor was released as scheduled.

Chapter 1068: Divine Status

If one had to choose a single phrase to describe the superhero film Thor, most people would likely agree on the same choice—“My brother torments me a thousand times, yet I treat him like my first love!”

Since its establishment, Marvel Entertainment has produced or is in the process of producing six films: Iron Man, The Incredible Hulk, Thor, Iron Man 2, Captain America, and The Avengers.

Of these, the first two have already been released, the middle two have completed production, and the last two are still in the filming stage.

The holiday movie season has begun, and Thor officially premiered in the two weekends leading up to Thanksgiving.

If Iron Man is considered a second-tier superhero in Marvel’s comic universe, then Thor barely qualifies as third-tier.

In this era, any film aiming to attract a large audience requires extensive promotion and hype.

The Easter egg in The Incredible Hulk garnered significant attention for Thor, and Embassy Pictures’ pre-release marketing efforts were substantial.

For instance, recent news has been circulating about the film’s male and female leads, Jason Momoa and Jessica Alba, being in a passionate romance.

The two have frequently been spotted together by entertainment reporters.

Another promotional tactic involved leveraging the widespread anticipation for The Avengers.

In an interview, Jason Momoa specifically mentioned the film, calling The Avengers’ script “incredible.” He said: “Everything about the Avengers’ script and the comic books is massive. You have these massive, significant superheroes, and you’re cramming all these massive, significant superheroes into a small space. I’m reading the script, and it’s thick—everything is so significant. Oh my God, I told director Joss Whedon, I don’t know how you’re going to shoot this film, but I’m excited to be part of it. Let’s get to work!”

Additionally, inspired by Walt Disney’s past “best” hype campaigns for Marvel superhero films, Embassy Pictures, under Ronan’s direction, employed similar tactics.

“North American test screenings receive rave reviews, hailed as the second Iron Man!”

Media outlets like the Los Angeles Times and The Hollywood Reporter gave the film an average score of 90.

The Los Angeles Times gushed: “This is a brilliant return to Marvel Comics. We’re thrilled to see Thor back on the big screen. Can’t wait for next year’s The Avengers.”

The Hollywood Reporter, among other PR-influenced media, also praised the film: The stunning action sequences and occasional comedic moments in Thor leave audiences eagerly anticipating the film, reminiscent of the earlier Iron Man, delivering surprise after surprise.

Such carefully crafted news stories emerged one after another.

Despite only two films having been released, the Avengers, bolstered by their comic book foundation and Relativity Entertainment’s vigorous promotion, have already gained considerable fame.

Something called the “Marvel Method” is gradually taking shape.

In mid-November, all the Avengers attended the premiere of Thor. This film, adapted from a third-tier Marvel hero, attracted countless fans, especially due to its close ties with The Avengers, making it even more anticipated.

Back in the day, Marvel wanted to create a god and bring that god into the human world. Stan Lee drew from Norse mythology, using this hammer-wielding Norse mythological figure to usher in a new era of adventure action comics.

While most people are familiar with Greek or Roman mythology, Norse mythology is relatively unknown. However, the gods in Norse mythology are more human-like.

There’s not much to say about the film itself—it follows the typical Hollywood hero formula.

Thor’s story can also be categorized as a family drama, where the gods, like ordinary people or other Marvel superhero characters, have flaws.

Although most of the characters in the film are mythological figures, the story still depicts a timeless human conflict: a reckless older brother eager to prove to his father that he is worthy of the throne; a jealous younger brother plotting to seize the throne; and a girl who helps the protagonist see the world in a new light.

The survival of the royal family, deadly revenge, the consequences of arrogance—these story elements are worth telling in any world.

Within Marvel Entertainment’s Avengers Initiative, Thor is a founding member of the world’s strongest superhero team, the Avengers.

Compared to the previous film, Thor has an entirely new cast.

That Australian hunk was swinging his hammer somewhere during the film’s preparation, only emerging in Hollywood after filming wrapped.

Ronan knew this because Lindsay Bill’s The Hunger Games production team had cast Chris Hemsworth as a supporting male lead.

That series has no male protagonist—it’s entirely a female-led film.

In Thor, while Thor himself might seem somewhat dull, the villain Loki is incredibly charismatic.

In the Avengers Initiative, villains are not given much importance.

Strictly speaking, these superhero films are somewhat like boss levels in online games—audience only care about how to defeat the boss. Few pay attention to the boss’s background and story.

Just like in World of Warcraft, where the dungeon gameplay mode thrives, players only care about how to defeat the boss and what loot it drops. Most players run the same dungeon a dozen times without bothering to read the story background.

Marvel superhero film villains remain caricatured or even comedic. Compared to other villains, Loki is arguably the most charismatic villain in Marvel’s first phase.

Audiences also enjoy the “Hammer-Bro” romance.

Similarly, Tom Hiddleston, who plays Loki, has signed a long-term contract with Marvel Entertainment.

This contract covers not only films but also television series.

For Tom Hiddleston, who had little fame at the time, Marvel Entertainment’s long-term contract was a rare opportunity.

Relativity Entertainment’s strategy of hiring numerous new actors with limited appeal and signing them to long-term contracts has saved significant costs for the future.

Today’s Hollywood stars are no longer as “valuable” as they were in the 1990s—a fact widely acknowledged in Hollywood. However, this doesn’t mean that some stars earn less than before.

There’s another consensus in Hollywood: to secure high salaries, act in blockbuster commercial sequels.

Although Marvel’s films are nominally independent, many can be categorized as sequels. In fact, previous Marvel superhero sequels have been plagued by high actor salaries.

The most typical example is X-Men: The Last Stand, which had a production budget of over two hundred million dollars, with the bulk of the expenses going to the ensemble cast’s salaries. The salaries alone nearly crippled the film’s budget.

The main reason is that the primary actors’ contracts were signed on a per-film basis.

Relying on successful roles and the unique nature of sequel films, the lead actors dared to demand salaries far exceeding their market value. Production companies, wanting to proceed with the sequels, had no choice but to accept the high salaries.

Thor’s market reception was decent. Although the hype wasn’t as exaggerated as Iron Man’s, it still qualified as a competent popcorn film.

In its opening weekend in North America, Thor, a character who was not particularly prominent or popular in Marvel Comics, brought in a staggering sixty-nine million nine hundred thousand dollars at the North American box office in just three days.

Even though the film’s reputation wasn’t particularly good, it still attracted a large number of fans.

For a film without any major star power, achieving such remarkable success in a short period is somewhat of a minor miracle in Hollywood.

Thor’s success not only injected a strong boost into the film’s box office after its release but also laid the groundwork for next year’s Iron Man 2 and Captain America, as well as The Avengers.

Driven by Relativity Entertainment, along with various technological and commercial interests, superhero films have become the perfect digital technology models. Different styles of cinematic spectacles unfold one after another, as if leading audiences on a roller coaster ride from one climax to another.

Will audiences grow tired of superheroes? The answer is definitely yes, just as they once grew tired of Western cowboys, singing and dancing stars, robots, and aliens.

But this won’t happen for at least another decade or two.

As contemporary myths, as long as there are profits to be made, the stories of superheroes will continue to be told until society and culture undergo a complete transformation.

Thus, it is commercial interests that shape superheroes, and it is the audience’s needs that grant them divine status.

Whether it’s Superman, Batman, Iron Man, or Spider-Man, they are all reflections of the real world in another parallel universe.

In the future, the world of superheroes will become increasingly vast and real, and it may also become darker and more chaotic.

In the second weekend in North America, just before Thanksgiving, Walt Disney released one of its rare super productions in recent years—a princess film combining animation and live-action, Enchanted, starring Amy Adams.

Amy Adams also became the oldest Disney princess in history.

Although family-friendly princess films are more suited to the Thanksgiving atmosphere, Enchanted seemed to be affected by Disney’s recent struggles, earning only thirty-one million two hundred ten thousand dollars in its North American opening weekend.

Thor retained its box office crown this week.

The superhero film’s box office performance remained stable, with its second weekend earnings dropping by less than fifty percent from its opening weekend, bringing in an additional thirty-six million seven hundred forty thousand dollars.

After ten days of release, Thor had already grossed one hundred thirty-one million one hundred thousand dollars in North America, making it likely to surpass the one hundred million mark.

The film also opened overseas this weekend, topping the box office in several European and Latin American countries and regions, earning one hundred twenty-three million four hundred ten thousand dollars in its first week overseas.

Accompanying the film’s box office success were various merchandise and derivative products, from toys to comics, generating astonishing revenue for Relativity Entertainment.

Compared to dramatic films like Sunshine Girl, superhero films offer a much wider range of merchandise opportunities.

Commercial success has become the norm for Marvel films.

Chapter 1069: Self-Rescue

The sun slowly sank below the horizon, and the sky gradually darkened. The lights in the estate flickered on all at once, illuminating the dining room. Housekeeper Nikita led the servants in bringing out one exquisite dish after another from the kitchen.

Jessica Felton directed the servants to arrange the dishes on the table according to her plan.

Tonight was Thanksgiving, the first one Jessica Felton and Ronan would spend together, so she wanted to make it special.

Cranberry sauce, sweet potatoes, corn, pumpkin pie, golden-brown bread, and an assortment of fruits and vegetables.

The essential turkey was still in the oven, to be served only when dinner began.

All of this had been prepared by the kitchen staff according to Jessica Felton’s instructions.

Of course, Jessica Felton hadn’t personally made any of the dishes—she knew her limits. What she cooked might not be poisonous, but few could stomach it.

Nikita led the servants in bringing out the second round of dishes.

Jessica Felton arranged the table in the style of her hometown.

“Place the fruits and vegetables around the edges,” Jessica Felton said, fully embracing her “all talk, no action” approach as she asked the two servants carrying a large pumpkin, “Is the pumpkin hollowed out?”

The middle-aged maid replied, “Yes, it’s hollowed out.”

Jessica Felton pointed to the table and instructed, “Put the pumpkin in the center.” After the two servants placed it, she added, “Fill the pumpkin with the shelled dried fruits. Nikita, where are the candles you prepared? Place one on top of the pumpkin, and when we start dinner, have Ronan light it.”

Nikita brought the candle to the table and placed it in the pre-cut slot. “Is this a custom from your hometown?”

Jessica Felton replied, “It’s something people from my hometown do, blending some Mexican traditions. It’s been passed down for decades, though I’m not entirely sure of the details. My parents always set the table like this for Thanksgiving.”

Though it seemed a bit odd, Nikita didn’t say anything and prepared the Thanksgiving dinner exactly as Jessica Felton had envisioned.

Jessica Felton looked at the table with satisfaction and asked Nikita, “How much longer until the turkey is ready?”

Nikita replied, “It can be served at any time.”

Jessica Felton curiously asked, “How did Ronan usually spend Thanksgiving?”

Nikita thought of the many beautiful women who had come and gone as guests and replied insincerely, “Just like any other day.”

Jessica Felton didn’t press further. “Bring out the turkey. I’ll go get Ronan.”

A few minutes later, Ronan entered the dining room with Jessica Felton, his eyes immediately drawn to the large pumpkin in the center of the table.

“I thought Halloween was over,” Ronan said as he approached the table.

Jessica Felton pulled a small, elegant lighter from her pocket and handed it to Ronan. “Go ahead, light the candle.”

Ronan was confused. “What’s this custom?”

Though he didn’t understand, he followed Jessica Felton’s instructions and lit the candle.

Dinner began. Ronan picked up the carving knife and sliced the deep brown turkey, carefully cutting thin pieces for Jessica Felton.

Jessica Felton watched him, her delicate, beautiful face lit up with a charming smile—a smile of happiness and love.

Then, she took the knife and cut the bread and pumpkin pie, placing them in front of Ronan.

Seeing the sliced turkey before her, Jessica Felton said, “Thank you, dear.”

Ronan returned her smile, took the Chinese-style braising sauce and pepper salt, and sprinkled them over his turkey. “Want to try some?”

As a native of Southern California, Jessica Felton wasn’t fond of those flavors. She took the cranberry sauce instead. “This suits me better.”

Tastes varied so greatly from place to place that what one person found delicious, another might consider poisonous.

This was the simplest and most common phenomenon.

So, Ronan had never tried to make Jessica Felton adapt to his tastes. After all, he had the means, and the kitchen could easily prepare different flavors.

Ronan swallowed a piece of roasted turkey and pointed to the candle on the pumpkin. “Dear, what’s this for? I’ve never seen this Thanksgiving custom in Southern California.”

“I’m not entirely sure what it’s for,” Jessica Felton admitted. “It’s probably related to blessings or something. People in my hometown do this for Thanksgiving, but only in the small town where my parents live. The customs change once you leave that town.”

Ronan nodded in understanding. He had seen similar situations when he lived on the other side of the Pacific. For example, something as important as a wedding or funeral could differ not just between cities but even between neighboring villages.

Like two villages separated by a river—one might celebrate weddings extravagantly, the more lavish, the better.

While the other might focus on grand funerals, with ceremonies lasting half a month and costing tens of thousands.

Many had been impoverished by weddings, and just as many by funerals.

“What are you thinking about?” Jessica Felton asked.

Ronan snapped back to reality. “I rarely hear you talk about your parents.”

Jessica Felton simply said, “They live in a small town in San Diego. They’re doing well. I visit them every two months.”

Ronan raised his glass. “To their happiness and health.”

“Thank you.” Jessica Felton clinked her glass against Ronan’s.

Ronan didn’t ask any more about Jessica Felton’s parents. There were many who relied on their families, and just as many who were independent. A significant number of people rarely contacted their parents after coming of age. Someone like Jessica Felton, who didn’t live in the same city as her parents but still visited them regularly, was not all that common.

In the warm atmosphere, the two enjoyed their Thanksgiving dinner before taking a stroll in the garden together.

Night had fully fallen, and the sky was clear. The bright moon hung overhead, casting its glow across the land.

They walked along the moonlit garden path, flanked by blooming irises, their faint fragrance drifting through the air, creating an exceptionally romantic scene.

Hand in hand, neither spoke, unwilling to break the rare tranquility and warmth.

Both knew how hard it had been to come together and cherished it all the more.

Mature people might lack the reckless passion of youthful love, but they understood better how to be with each other.

In this world, the most intense passions often burned out the fastest.

The sudden ring of a phone shattered the peace between Ronan and Jessica Felton. The musical tone echoed through the empty garden.

Ronan reluctantly pulled out his phone, glanced at the number, and said, “It’s Tom.”

Jessica Felton knew who Tom was—Ronan’s best friend, Tom Cruise.

Ronan walked a few steps ahead before answering, “Hey, Tom, what’s up?”

“Nothing.” Tom Cruise sounded down. “Just feeling a bit depressed after drinking. Wanted someone to talk to.”

Ronan remembered it was Thanksgiving. “You’re alone tonight?”

Though Tom Cruise had left the lumberjack industry, he was still an active lumberjack. With his fame and abilities, finding someone to spend Thanksgiving evening with shouldn’t have been difficult.

Tom Cruise’s voice was low. “I had plans, but this afternoon, I got a call. Nicole Kidman invited me, her lonely ex-husband, to spend Thanksgiving with her and her current husband. I lost all interest and canceled my plans.”

For a moment, Ronan didn’t know what to say. In the United States, such situations weren’t uncommon. If the relationship was good enough, couples inviting an ex to visit wasn’t unusual, but it mostly happened in families with children.

Did Tom Cruise and Nicole Kidman really have to be entangled in resentment for the rest of their lives?

“Do you know, Ronan? I’m going crazy. I’ve had enough!” Tom Cruise’s voice wasn’t loud, but his words came quickly. “I’m disgusted. I feel like throwing up!”

Ronan could only comfort him, “Calm down, Tom. Getting worked up won’t help.”

There was a moment of silence on the phone before Tom Cruise’s voice returned to normal. “I’m not doing well, Ronan. I saw… no, just thinking about it—blonde hair, fair skin, tall figure—makes me sick…”

Ronan understood this reaction completely. Thanks to Nicole Kidman’s relentless efforts, Tom Cruise had developed ex-wife syndrome.

Tom Cruise’s voice came through again, “Ronan, what should I do? Am I beyond help?”

Hearing the barrage of questions, Ronan thought carefully before putting on a serious tone. “Tom, I have a self-rescue suggestion for you.”

“What suggestion?” Tom Cruise asked.

Ronan spoke in a solemn, grave tone. “Go on a date with a Black woman.”

“Uh…” Tom Cruise on the other end got the joke and couldn’t help but laugh. “Oh, right, what did Will say about the Williams sisters? I don’t want to turn off the lights and only see teeth.”

Tom Cruise’s mood had clearly improved. “You busy tonight? Want to hit the bar?”

Ronan said, “Find Will. I’ll pass.”

Tom Cruise understood. “Alright, loyal man. Enjoy your time with your girlfriend.”

After hanging up, Ronan put away his phone and returned to Jessica Felton’s side. “Did you wait long?”

Jessica Felton shook her head. “No.”

Ronan simply said, “Tom was in a bad mood. I talked to him for a bit.”

Jessica Felton nodded slightly. “Let’s go back.”

“Yeah, let’s go back.” Ronan took her hand. “Such a beautiful night. We shouldn’t waste time. We need to cherish every moment.”

Chapter 1070: No Choice

Over the weekend following Thanksgiving, Ronan wasn’t entirely at ease about Tom Cruise, so he specifically brought Jessica Felton to visit him.

“Hey, Ronan.” Tom Cruise embraced Ronan before nodding to Jessica Felton. “Jesse, welcome.”

Jessica Felton returned the smile. “I’ve been wanting to visit you for a while. Today, I finally got the chance.”

Tom Cruise gestured for them to sit. “Make yourselves at home.”

Ronan and Jessica Felton sat together on the long sofa, and Ronan asked with concern, “Are you feeling better?”

“Much better.” Tom Cruise replied.

Suddenly, footsteps echoed from upstairs, and a voice called out before the person appeared. “Tom, do you have guests?”

A black-haired woman in a loose white t-shirt and jeans descended the stairs. Upon seeing Ronan, she quickly greeted him. “Hello, Ronan.”

Ronan recognized her as Tom Cruise’s former girlfriend, the Spanish actress Penélope Cruz. He smiled and nodded. “Hello, Penny.”

Penélope Cruz exchanged a few pleasantries with Jessica Felton before the two women excused themselves to another part of the house.

Ronan curiously asked, “Have you two gotten back together?”

“I’m not sure yet.” Tom Cruise admitted, clearly still uncertain. “On Thanksgiving night, I went to a nightclub for a drink and ran into Penny. Then we came back here together.”

Ronan had seen enough of Hollywood’s on-again, off-again relationships to know how common this was.

Tom Cruise continued, “Penny and I… well, we have a history. And she’s not blonde with fair skin.”

Ronan advised, “Don’t take things too seriously. If she wants to talk, let her.”

Tom Cruise sighed. “I’m not as easygoing as you. One day, I might just lose my temper.”

Ronan stated a fact, “That would only play into her hands.”

Even if Tom Cruise lost his temper, what could he do? This was a society governed by law, and Nicole Kidman was no ordinary person. At most, Tom Cruise could engage in a war of words or sue her.

It was easy to imagine how the entertainment media and paparazzi across America would react—more excited than if they’d been injected with adrenaline, relentlessly chasing every scrap of news about the two.

Tom Cruise wasn’t foolish. He quickly understood Ronan’s implication and said, “I can’t do anything to her, but Keith Urban might not be so restrained.”

Ronan shook his head slightly, not wanting to dwell on the topic further. Instead, he asked, “Have you finalized the agreement with Brad Bird?”

“The contract has been signed.” Tom Cruise briefly explained, “Originally, preparations for Mission: Impossible 4 were set to begin after the New Year, but the writers’ strike has had some impact. It might be delayed until after the strike ends. My production company has also reached a new agreement with Paramount regarding investment and revenue sharing. Dubai’s funding will be invested in this project, and the crew will spend a significant amount of time filming there.”

Ronan remarked, “The Arabs have a lot of money.”

Tom Cruise laughed. “Speaking of which, I heard quite a few stories about you from my recent trip to the UAE.”

Ronan smiled. “My cooperation with the Abu Dhabi Group was voluntary and mutually beneficial.”

Mentioning the Abu Dhabi Group, Tom Cruise said, “They’re our old neighbors. Their Manchester City team has been recruiting heavily these past two years, aiming to challenge Manchester United for dominance in the Premier League and even Europe.”

“Having competition is a good thing.” Ronan stated frankly. “Don’t forget, these past two years, many players at Manchester United have been complacent after winning too many honors and have been cleared out.”

Tom Cruise complained, “How long has it been since you last watched a Manchester United match in person or paid attention to the club’s affairs?”

Ronan admitted calmly, “I review the financial reports every quarter, and multiple professionals audit them. Manchester United is on the right track and doesn’t need my involvement in day-to-day operations.”

Currently, Manchester United had achieved the remarkable feat of three consecutive UEFA Champions League titles.

Over the past two years, many changes had occurred within the team. Many players lacking motivation had left, either voluntarily or otherwise.

Additionally, veterans like Giggs, Scholes, and Gary Neville had retired.

Yet, Manchester United’s strength had not diminished but grown. The team’s spirit, embodied by Cristiano Ronaldo, and the fighting mentality had never been in question. Players like Messi and Iniesta had also secured their places as key players.

Unfortunately, Dong, who lacked self-discipline, had never risen to the occasion and continued his career at Manchester United through a series of loans.

As for the managerial position, Ferguson planned to retire after 2010. Klopp, who had been managing Hertha Berlin, had shown significant growth in his abilities over the years and was the top candidate to succeed Ferguson.

This team no longer required Ronan’s constant attention.

However, there were plenty of buyers interested in acquiring Manchester United, such as the Qatar Group, which had offered two billion pounds.

But Ronan wasn’t short on funds at the moment and had no immediate plans to sell the club.

Of course, if the Arabs were willing to offer thirty or forty billion pounds, Ronan, Tom Cruise, and Will Smith wouldn’t hesitate to sell.

Seeing that Tom Cruise was in good spirits, Ronan didn’t stay long. He and Jessica Felton soon took their leave. Penélope Cruz, acting like the lady of the house, warmly escorted them to the door.

Once in the car, Ronan asked, “Heading home?”

Jessica Felton glanced back at Penélope Cruz, who was returning inside, and said, “Let’s go back.” Unable to resist her natural curiosity, she asked, “Tom and Penélope Cruz were a couple before?”

“Yeah.” Ronan also looked back. “I think they broke up around 2004.”

Jessica Felton mused, “Actually, it might not be a bad idea for Tom to find a steady girlfriend who can engage in a war of words with Nicole Kidman.”

Ronan considered this and said, “No matter how they argue, Nicole Kidman always comes out on top.”

Jessica Felton, being part of the Hollywood scene, understood the dynamics all too well. She could only shake her head and say, “For ex-spouses to go this far, why bother?”

“Enough of these troubles.” Ronan changed the subject. “Yesterday, we each won a game of pool. The match isn’t over yet. Let’s continue when we get back.”

Jessica Felton raised an eyebrow. “Sure.”

Ronan solemnly declared, “One rule must be clear: hitting the big ball with the small ball is a foul!”

During the Thanksgiving holiday and weekend, despite the release of several new films, Thor remained largely unaffected, maintaining a steady box office performance.

After its third weekend in North America, Thor had accumulated one hundred sixty-three million two hundred fifty thousand dollars at the North American box office and three hundred thirty-three million five hundred eighty thousand dollars globally.

Like The Incredible Hulk, which had already ended its theatrical run, Thor was likely to recoup its entire investment through global box office revenue alone.

The next decade or two might well be the golden age of superhero films.

In Hollywood, musicals, Westerns, epics, and action films had each dominated for over a decade. Now, it was the turn of comic book adaptations featuring superheroes.

This shift was closely tied to societal developments.

There was an undeniable fact in today’s Hollywood: original sci-fi films were in sharp decline, while superhero films were on the rise.

Since 1977, sci-fi films had been box office darlings in Hollywood, giving birth to countless classic commercial hits. Now, that position was gradually being taken over by superhero films, which were adapted from comics that had once swept across America. These films blended action, adventure, fantasy, and sci-fi, becoming globally successful commercial ventures.

Urban audiences needed a new kind of hero—more flamboyant, exaggerated, and magical, with richer and more mysterious inner lives. These heroes had to transcend the constraints of the mechanical and electronic age, becoming new myths that carried new dreams. Superman, Batman, and the later superheroes fulfilled all these needs.

More importantly, these superheroes could be mass-produced on an assembly line, offering a variety of types and styles to choose from.

Especially after 9/11, with the economy in a prolonged slump, the public craved new, more relatable screen heroes who could provide a sense of security, restore the American spirit, and offer dazzling modern technology and fashion icons to admire.

As Marvel’s films continued to succeed, the inevitable troubles that plagued every major hit film also fell upon Marvel Entertainment—the issue of copyright.

Stan Lee was widely recognized as the father of Marvel’s superheroes, but there was another man whose contributions were no less significant. If Jack Kirby hadn’t passed away in 1994, he might have also earned such a title in the Marvel universe.

Jack Kirby was one of Marvel’s founding members and a crucial assistant to Stan Lee. He had been involved in creating superhero characters such as the “Fantastic Four,” “The Hulk,” “Captain America,” “Iron Man,” and “Thor,” and was one of the creators of the Avengers.

In late November, Jack Kirby’s descendants and their lawyers held a press conference, announcing their intention to file a lawsuit in Los Angeles court against Marvel Comics and Marvel Studios. They demanded the termination of Marvel’s copyright over the characters Jack Kirby had created, a halt to the preparation and filming of The Avengers, and a share of the profits from previous related films.

The forty-five items listed in Jack Kirby’s descendants’ lawsuit, if successful, would result in the redistribution of copyrights and profits for numerous characters, including Iron Man, The Hulk, Thor, and Spider-Man.

When a film became a massive hit, with box office and other revenues soaring, many unrelated individuals would try to get a piece of the pie.

It was no surprise that this was happening with Marvel’s superhero films.

The enormous profits attracted far too many people.

As an experienced company, Relativity Entertainment certainly wouldn’t halt its plans over such matters.

Chapter 1071: A Perfect Conclusion

Relativity Tower, Ronan’s office.

Kevin Feige spoke seriously, “The lawyers representing Jack Kirby’s descendants have reached out to us privately, expressing a willingness to settle…”

Ronan couldn’t help but smile. “How much do they want?”

“Six million dollars in compensation,” Kevin Feige stated directly. “And for any future Marvel Entertainment films adapted from Jack Kirby’s comics, they want two percent of the North American box office share.”

This case bore some resemblance to the lawsuit between Tolkien’s son and New Line Cinema over The Lord of the Rings trilogy, but the nature was different.

In the Lord of the Rings case, New Line had concealed revenue, depriving Tolkien’s heirs of their contractual share of profits.

Ronan asked, “Is there any issue with the contract between Marvel Entertainment and Jack Kirby?”

He recalled that after the Stan Lee incident a few years ago, he had specifically ordered a review of all contracts related to copyright and royalties left behind by Marvel Comics.

Kevin Feige immediately replied, “After this incident, our legal advisory team re-examined all contracts signed between Marvel and Jack Kirby back then. Our adapted films have no contractual issues. They’re just seeing dollar signs.”

He explained in detail, “Jack Kirby’s works from back then were all created as part of his job for the company, so all copyrights belong to Marvel. According to copyright law, if Marvel assigns a writer or artist to create a comic story featuring a new character, or to draw a comic based on descriptions of a character, and pays them for completing the task, then the publishing company owns the copyright, not the writer or artist.”

Ronan nodded slightly. “Since there’s no copyright issue, don’t give in.”

These endless copyright lawsuits were a headache not just for Ronan, but for all companies in Hollywood.

Kevin Feige said, “Their chances of winning are extremely low.”

“Let the legal advisory team handle it,” Ronan decided. “Pay attention to guiding public opinion.”

Kevin Feige replied, “Understood.”

Ronan rubbed his forehead. The massive success of Marvel’s superhero films inevitably brought various troubles.

And then there was Avatar, set to release next year. He remembered that many people had come forward to sue James Cameron and the production company over it.

Such things were unavoidable because no one could predict who might emerge after a film became a massive hit.

As for whether James Cameron had borrowed from others’ works for Avatar, it didn’t really matter. Without concrete evidence, it was still James Cameron’s original work.

Take The Hunger Games and Inception, for example. Did they have any connection to Japanese works?

This was truly a matter of perspective.

But in Hollywood, they had no relation.

As a film company, if you weren’t thick-skinned and didn’t selectively view problems, how could you survive in this industry?

Ronan shifted the topic to Marvel Entertainment’s film projects. “The writers’ strike hasn’t impacted the film projects, has it?”

“Not much,” Kevin Feige quickly replied. “Iron Man 2 and Captain America have both finished filming. The former’s post-production is nearly complete, and the latter has entered the post-production phase. The writers’ strike won’t affect them.”

He thought for a moment and added, “The Avengers has already entered the filming stage. The script was finalized long ago, and it’s relatively simple, so modifications aren’t difficult. Joss Whedon can handle it during filming.”

Ronan reminded him, “You need to keep a close eye on the crew’s dynamics.”

The film’s theme was straightforward: Earth faces unprecedented destructive attacks, S.H.I.E.L.D. is caught off guard by a sudden evil force, and individual superheroes can’t handle it alone. So, they step in to assemble the “Avengers,” a team of superheroes who fight side by side to defend Earth.

The story of the Avengers saving Earth was clichéd, but it was a type that audiences loved.

The Avengers was very different from traditional Hollywood sci-fi films. This film didn’t even need the kind of story that sci-fi films heavily relied on. The entire film had almost no narrative; it was just a group of super freaks going from independence to teamwork and then madly grinding through monsters.

In other words, building the worldview was far more important than telling a story in this film.

What was good about The Avengers’ script and setting? Was the story good? Were the characters rich and profound? The answer was undoubtedly no. Its greatest success was bringing together many superheroes with different personalities, superpowers, and from different worlds into one universe.

Such films had another advantage: the audience was already familiar with the characters because they had seen the previous films. So, there was no need to explain or interpret these characters in this film. The film could directly dive into the plot and tell the story.

Whether it was the characters’ personalities or the superheroes’ stances, they were already well-known facts.

The second phase of Marvel’s Avengers Initiative had also entered the formal preparation stage. It would kick off with Jon Favreau’s Iron Man 3.

Then came Thor 2, Captain America 2, and the standalone Black Widow film. The Black Widow film would further explore the struggle with Hydra, ultimately leading to Avengers 2.

There was also Guardians of the Galaxy, which had little relation to Avengers 2.

As for the sequel to The Hulk, Marvel Entertainment and Kevin Feige were also planning it.

Frankly, as the top fighter among the Avengers, the Hulk’s abilities were too powerful. Plus, the films wouldn’t use the comic’s worldview, so the Hulk wasn’t suitable to continue developing on Earth.

The new Hulk film planned to send the Hulk into space.

Guardians of the Galaxy was an important step for Marvel’s series of films to expand the worldview into the cosmos.

Additionally, Marvel’s TV series were in development. Kevin Feige was planning Agents of S.H.I.E.L.D., and after completing The Avengers, Joss Whedon would serve as the director for the first season.

These film and television projects were the guarantee of Relativity Entertainment’s revenue.

In December, Relativity Entertainment still had two films to release.

With the awards season kicking off, Slumdog Millionaire, the only film from Relativity Entertainment this year truly aiming for awards, began its limited release in Los Angeles and New York at the beginning of the month.

David Finch’s Sunshine Girl was clearly not Hollywood’s cup of tea. Embassy Pictures would submit the film for the Oscars but wouldn’t spend resources on an awards campaign.

Thus, Slumdog Millionaire became Relativity Entertainment’s only Oscar contender for live-action films this year.

The film had participated in the Cannes Film Festival in May. Perhaps due to its subject matter, or perhaps because of its strong commercial flavor, it came away empty-handed from the competition section at Cannes.

But this didn’t affect Embassy Pictures’ efforts to campaign for it during the North American awards season.

There was a very obvious phenomenon in the American film industry and even in the Western film industry: films from non-Western countries, especially those from countries and regions with significant ideological differences, that depicted ignorance, backwardness, poverty, social chaos, and class struggle, were more likely to receive praise in the Western film industry and various international film awards.

In fact, many foundations provided funding and other assistance to directors who specialized in making such films.

This phenomenon had never disappeared.

Hollywood was no exception.

From its limited release, Slumdog Millionaire received excellent media and professional acclaim.

Time Magazine even praised it: “This is a film that makes one clap in admiration, a dazzling, lively, slightly dark yet romantic film that instantly lifts one’s spirits.”

USA Today also raved: “A 100-point film, unforgettable, a once-in-a-century masterpiece.”

Slumdog Millionaire was indeed good, full of entertainment value, with a typical Hollywood-style romantic legend that could bring audiences a pleasant and satisfying cinematic journey.

But it was still a far cry from being a perfect film.

However, American media and critics loved such films.

Compared to traditional award-contending art films, Slumdog Millionaire had a much stronger commercial entertainment value. Plus, the Millionaire reality show had a wide audience in the UK and the United States, so the film’s performance was decent. In the ten theaters where it was released in New York and Los Angeles, the average per-theater earnings reached $30,000 on the opening weekend.

In terms of reputation, the film’s media composite score was as high as 82, and Rotten Tomatoes gave it a freshness rating of 97%.

As for whether it could win major awards at this year’s Oscars, besides the campaigning, it would also depend on luck.

DreamWorks had won three consecutive Oscars but hadn’t had any major wins in the following years.

After two weeks of limited release, Slumdog Millionaire’s reputation showed no signs of decline; instead, it continued to receive high praise and won many awards from various film critics’ associations.

Relativity Entertainment was experienced in campaigning for the Oscars. In the past decade, apart from DreamWorks, it was the biggest winner at the Oscars, even surpassing the Weinstein brothers.

This film was primarily aimed at awards, while the other film Relativity Entertainment released this month was purely commercial, and a sequel at that.

On the third weekend of December, Hurricane Rescue 3 opened in 3,985 theaters across North America.

This was Relativity Entertainment’s last film of 2007, with Liam Neeson saving the sky in his final performance as Agent Bryant.

Thanks to the solid foundation laid by the first two films and Liam Neeson’s ability to still perform action scenes, Hurricane Rescue 3 achieved good results, with an opening weekend box office of $55.61 million.

The North American opening weekend box office exceeded the $45 million production budget.

The strong opening weekend box office of Hurricane Rescue 3 also gave Relativity Entertainment a nearly perfect conclusion to its 2007 film projects.

Liam Neeson had finished his journey of saving his daughter and would next embark on a new rescue mission in the air.

Chapter 1072: Self-Exile

In the year that was about to pass, the highest-grossing film for Relativity Entertainment was Cars from Pixar. Including the global box office share, various offline channels, merchandise, derivative products, and licensing income, it brought in nearly fourteen billion dollars in revenue.

The highest-grossing single film, excluding The Dark Knight in collaboration with Warner Bros, was Transformers, with a global box office of eight hundred and eighty-two million dollars.

Transformers achieved tremendous success, and its merchandise sales were not far behind Cars. However, unlike Cars, Relativity had to share the revenue from multiple income streams with Hasbro for this project.

Thus, Relativity’s earnings from Transformers could not compare to those from Cars.

To boost merchandise and toy sales, the upcoming sequel would introduce many new Transformers characters, such as Hercules, the Machine Dog, Crossfire, and Override.

Optimus Prime would also appear in a brand-new form in the final battle of the film.

Relativity could proudly announce to the world: For the sake of selling merchandise and toys, we truly go all out!

In terms of television series, apart from the continued collaboration with ABC Television on Intern Grey, all other series produced by Relativity were handed over to Netflix Streaming Media. Among the newly launched exclusive series, A Game of Thrones received the best response.

Netflix was eager to place orders for the second and third seasons with Shai Entertainment.

Other sequels like The Big Bang Theory and Breaking Bad were also extremely popular, with their reputation and streaming data not falling short of A Game of Thrones.

The success of these series also proved one point: For web series to win the hearts of audiences, expanding the scale is a key factor in achieving success.

Relativity was also continuously developing new exclusive series for Netflix. Compared to films, series had more room for original content.

As everyone knew, even if an original film was well-made, the chance of it flopping was quite high. Adapted films or sequels often saw bad films selling well.

Audiences tended to be more tolerant of series, and the proportion of original content in series far exceeded that in films.

This actually provided Hollywood with a new model, which had been evident in recent years.

Major Hollywood companies frequently adapted past successful series into films, such as Mission: Impossible and Charlie’s Angels.

Relativity was also preparing to collaborate with Sony Columbia on 21 Jump Street.

Similarly, popular films could be adapted into television series. With films as the foundation, television series naturally had a certain audience base.

Compared to other peers in Hollywood, Relativity was moving relatively quickly in this area.

The upcoming Operation Treadstone was a typical example, and Agents of S.H.I.E.L.D., which was in the script planning phase, could also be included in this category.

Additionally, with the release of Hurricane Rescue 3, the rescue trilogy of Agent Bryant came to a temporary end. Shai Entertainment and Netflix were also preparing to adapt this popular film series into a television series.

Like Operation Treadstone to The Bourne Identity trilogy, the Hurricane Rescue series was not a continuation of the film trilogy but told the story of Agent Brian Mills in his younger days.

At that time, Brian Mills had not yet retired.

Of course, the series would continue the Hurricane Rescue model, with rescue as the theme, and each season would tell a major rescue event.

As Hollywood’s most formidable father, Brian Mills would continue to contribute significant income to Relativity for a long time to come.

There was another formidable figure, the renowned John Wick.

Ronan had long begun planning this super assassin’s film project. The scripts for the first two films were completed and copyrighted, waiting for the right moment to enter the formal preparation stage.

The first choice for the male lead was still Keanu Reeves.

Although he was a member of Hollywood’s twenty-million-dollar club a few years ago, as an eccentric Hollywood star, Keanu Reeves had been living a life of self-exile in recent years. The occasional films he appeared in, such as Warner Bros’ Constantine and The Lake House, fell far short of expectations.

Hollywood was a star-making factory, capable of creating the most dazzling stars in the world.

Similarly, Hollywood, like its audience, was forgetful. A star choosing a near self-exiled work attitude could not continue to stay in the top-tier position.

Stars like Charlize Theron, when facing difficulties in films, could still maintain their status through endorsements and fashion, boosting their visibility.

Keanu Reeves? Hippie style was no longer in vogue.

It was no exaggeration to say that Keanu Reeves would now find it difficult to command a ten-million-dollar salary.

Perhaps John Wick would become Keanu Reeves’ most successful film since The Matrix trilogy.

Relativity maintained a steady pace, methodically advancing its film and television projects. During this awards season, it continued to promote Slumdog Millionaire.

Although the film had received widespread acclaim, in this chaotic awards season, no one could predict the subsequent developments.

This was because the writers’ strike was escalating.

After many Hollywood film and television projects were halted due to the writers’ strike, on December 18th, the Writers Guild announced its refusal to write scripts for the Golden Globes, boycotting the event.

With no resolution in sight, the Hollywood Foreign Press Association had no choice but to cancel the Golden Globes ceremony scheduled for January next year, opting instead to announce the results directly through a press conference.

This caused a massive shock within and outside the Hollywood circle.

Many began to worry about next year’s Oscars. If the Oscars were also canceled, it would not only be a financial loss but also a blow to Hollywood’s reputation.

Hollywood’s major companies were well-prepared. The Producers’ Guild’s rejection of the Writers Guild’s conditions reflected the will and interests of the large companies in Hollywood.

If the strike continued for three months, the losses for Hollywood’s major companies could be around three hundred million dollars. However, agreeing to the Writers Guild’s conditions might result in losses of up to thirty billion dollars over the next few years.

The executives of Hollywood’s major companies held another meeting, basically agreeing that even if the strike continued, they would not easily concede to the Writers Guild.

The negotiations between the Producers’ Guild and the Writers Guild not only failed to make any progress but also broke down again.

This strike was damaging the interests of the entire industry. Compared to the Producers’ Guild, which had the backing of major companies, the Writers Guild was under more pressure.

Correspondingly, if the strike continued, the income of over ten thousand writers would be in limbo.

After the news of the breakdown in negotiations spread, it attracted nationwide attention.

The Academy of Motion Picture Arts and Sciences could no longer sit idle. They met separately with representatives from the Producers’ Guild and the Writers Guild, hoping to bring both sides back to the negotiating table to reach an agreement as soon as possible.

Unlike the slow and unyielding negotiations of Hollywood’s major production companies, the Academy was most concerned about the Oscars being halted. This was Hollywood’s biggest showcase, and no one wanted to see it come to a standstill.

With the Golden Globes as a precedent, the Academy decided to cancel the Nominees Luncheon, opting instead to announce the nominations directly through a press conference.

Worried that the Oscars might be halted due to the writers’ strike, they prepared a contingency plan. If the strike continued, the Academy would launch an emergency gala.

The rotating chairman of the Academy also visited the top fifteen companies in Hollywood, hoping that the capital side would take the initiative to make concessions and reach a new agreement before the New Year.

But without exception, they were all rejected.

The Washington administration also made efforts. The sensitive economic situation across the country could not withstand the strain of a prolonged strike. Hollywood had been tied to Wall Street for many years. Any unexpected events in Hollywood would not only affect the large entertainment industry but could also directly cause turmoil on Wall Street.

The Producers’ Guild remained firm, which was a necessary attitude to show externally. Even companies and individuals like Ronan and Relativity had prepared to make concessions.

Breaking the writers’ strike could only be achieved if the Producers’ Guild made certain concessions. There was no other way.

Similarly, the Writers Guild’s conditions could not exceed the bottom line of the capital side.

For any industry to operate normally, both labor and capital must adhere to mutually recognized “rules of the game.” In the entire entertainment industry, which generated hundreds of billions of dollars in profits annually, giving a share to the writers seemed to be a matter of course.

But capital was inherently profit-driven. Touching the cake of commercial groups was undoubtedly taking meat from the capitalists.

Major companies were not charitable organizations. When it came to interests, capital had a ruthless side.

Large Hollywood companies turned their attention overseas and to non-union writers, even hiring writers from the UK and Australia.

Additionally, support from the Actors Guild and Directors Guild within the industry was more verbal.

Under the leadership of the Washington administration and the Academy, both labor and capital sat back at the negotiating table, but the negotiations made little progress.

In some ways, this was also a super backlash against Hollywood’s long-term neglect of writers.

The Producers’ Guild was also under pressure, facing pressure from shareholders of listed companies.

Hollywood’s turmoil, coupled with the seemingly stable but actually sensitive economic situation across the country, was directly reflected in the stock market.

Although the stock prices of the Big Six and other listed companies did not plummet, they were all affected.

In contrast, companies like Relativity with simple equity structures remained steadfast. Moreover, there was good news.

On December 20, 2008, it was a day that Netflix Streaming Media could remember in its company history.

After successfully going public and experiencing years of rapid development, Netflix’s total market value exceeded one hundred billion dollars for the first time and firmly stood above the hundred-billion-dollar mark!

Chapter 1073: The Hundred-Billionaire

The New Year had just passed, and Netflix Streaming Media hosted a New Year’s banquet, both a routine event and a celebration of the company’s market value exceeding one hundred billion dollars.

Across the United States, companies with a market value of one hundred billion dollars were few and far between. The leading ones, General Electric and ExxonMobil, had market values exceeding three hundred billion dollars.

In terms of market value alone, Netflix Streaming Media had even surpassed its shareholders and investors, including Goldman Sachs, Morgan Stanley, and Merrill Lynch.

However, market value did not represent a company’s true strength.

A black Bentley sedan stopped in front of the hotel. Ronan stepped out first, then turned back to help Jessica Felton out of the car, and together they walked toward the hotel entrance.

Jessica Felton was dressed to the nines this evening, immediately attracting a large crowd of reporters at the entrance.

Security personnel kept the media reporters from various fields—entertainment, finance, and social affairs—at bay, but they couldn’t stop their questions.

“Mr. Anderson!” The questions came in a flurry: “Netflix Streaming Media’s market value has exceeded one hundred billion dollars. What are your thoughts?”

Someone almost shouted: “Mr. Anderson, as the first billionaire in history with a net worth exceeding one hundred billion dollars, are you excited?”

Ronan remained silent, holding Jessica Felton’s hand as they walked toward the hotel entrance.

Some reporters didn’t even spare Jessica Felton: “Miss Felton, does being the girlfriend of a hundred-billionaire come with a lot of pressure?”

“Are you with Ronan Anderson because of his money?”

“Are you going to get married?”

The questions were varied, and some from entertainment reporters were quite inappropriate.

Although these questions were met with disdain from their colleagues in finance and social affairs, the entertainment reporters didn’t care.

Their standards were much lower than their peers.

But Jessica Felton had seen enough over the years, and her work had given her plenty of experience dealing with media reporters. She, too, remained silent, following Ronan into the hotel.

A Netflix Streaming Media staff member immediately came over, leading the two along the red carpet toward the banquet hall.

Jessica Felton adjusted her long dress slightly and whispered to Ronan, “They’re like a pack of wolves.”

Ronan also lowered his voice, praising her, “It’s mainly because you’re too beautiful.”

Jessica Felton knew herself well and spoke the truth: “It’s mainly because you’re too rich. Oh, the richest man in America, the richest man in the world, the first hundred-billionaire in history, the most successful investor in the world… This string of titles makes me a little dizzy.”

“Don’t mind these things,” Ronan said calmly. “I’m still me.”

Jessica Felton understood what he meant and nodded slightly. “I know, so I’ve always been at ease and never worried about these things.”

After nearly ten years as an editor, post-production producer, and producer, she had also accumulated a net worth of ten million dollars.

Having enough money naturally meant she wouldn’t worry about financial matters.

People with enough life experience knew very well that many of the world’s problems were related to money.

The two entered the banquet hall, and Marc Randolph, the Chief Executive Officer of Netflix Streaming Media, immediately came forward to shake Ronan’s hand.

“We did it!” Marc Randolph tightly held Ronan’s hand, thinking back to when Relativity Entertainment had just acquired Netflix. “I didn’t expect we’d do it so quickly!”

Ronan smiled and said, “You and the entire management team deserve the credit.”

After a brief chat, Ronan led Jessica Felton into the banquet hall, where a steady stream of people came to greet them.

Many wanted to establish a connection with Ronan.

Steve Jobs and his wife approached at this moment, greeting Ronan and Jessica Felton before splitting into two small groups.

“Congratulations, Ronan,” Steve Jobs said, looking older than ever.

Ronan smiled: “It should be congratulations to us.”

Steve Jobs said, “The facts prove I wasn’t wrong. Netflix is my most successful investment.”

Just as Steve Jobs’ largest asset had once been Disney shares, now the most valuable part of Jobs’ net worth was his Netflix shares.

Ronan said seriously, “Netflix won’t disappoint.”

Steve Jobs nodded slightly and asked, “What I’m most concerned about now is when Netflix’s market value will exceed two hundred billion dollars?”

Ronan was confident: “It will happen, but it will take time.”

He vaguely remembered that when Steve Jobs passed away, Apple’s market value was around two hundred billion dollars.

“Netflix Streaming Media is already the leading enterprise in the internet industry,” Steve Jobs said. “Its business is developing rapidly, and other companies have no chance of catching up in the short term.”

Curiously, he asked, “Most of Netflix’s main businesses originally came from you, Ronan. You always have so many ideas. I’m even thinking of hiring you as Apple’s Chief Creative Officer.”

Ronan didn’t take the bait and instead asked, “How is the development of Apple’s second-generation phone coming along?”

Steve Jobs was vague: “It’s in the research and testing phase. I can’t confirm the exact launch time yet.” He suddenly asked, “Apple is preparing to issue a batch of bonds. Ronan, as an Apple shareholder, are you interested?”

Ronan knew about this. Goldman Sachs was the distributor of these bonds, and Jobs’ wife, Laurene, was the intermediary.

Laurene Jobs had worked at Goldman Sachs as a fixed-income analyst, a connection that brought the two companies closer.

Goldman Sachs, Merrill Lynch, and Morgan Stanley were all typical Apple and Netflix supporters at the moment.

Of course, capital was ruthless. When greater interests were at stake, they would change their positions.

After chatting for a while, the Jobs couple went elsewhere.

Ronan had just gotten Jessica Felton a glass of water when Robert Iger appeared in front of them.

“Good evening, you two,” Robert Iger said, looking at Jessica Felton. “Jesse, can I borrow your boyfriend for a moment?”

Jessica Felton smiled: “Of course.” She turned to Ronan: “I’ll go chat with Mary for a bit.”

Ronan nodded slightly: “Go ahead.”

After Jessica Felton left, Robert Iger said, “I’ve looked into it carefully. Lehman Brothers’ problems seem serious. It’s not public yet, but they’re having a hard time getting through this.”

Ronan asked, “What do investment banks like Goldman Sachs plan to do?”

Robert Iger lowered his voice: “They’re happy to see their competitors go under. They might be preparing to push and take advantage.”

“You’re the expert in this,” Ronan said, well aware of Robert Iger’s capabilities as a skilled merger and acquisition specialist. “Find the right opportunity to negotiate with Lehman Brothers.”

Robert Iger said, “As long as the price is right, they won’t refuse to sell.”

Ronan said, “That’s best. Plans take time to realize step by step.”

Robert Iger showed a Mickey Mouse-like smile: “I’ve got the people and funds ready.” He noticed a few people and reminded Ronan, “Goldman Sachs people are here.”

Before Lloyd Blankfein could get close, he stretched out his right hand toward Ronan: “Ronan, it’s been a long time since you’ve been to New York. Have you forgotten about this old friend?”

Ronan shook his hand and said, “I was thinking of inviting you to California for a gathering. New York is too cold now.”

Both men laughed, as if they were old friends who hadn’t seen each other in a long time.

Lloyd Blankfein slightly restrained his smile and said, “Ronan, your investment vision is astonishing. I won’t mention Netflix, but having a market value of one hundred billion dollars, you’re the key. Other investments have also been very profitable, making me wonder how much return you’ve gotten from your investments in Apple, Amazon, and Google.”

These were all public companies, and a little research would make it clear. Moreover, there were many wealth magazines in North America that specialized in tracking these statistics.

Ronan didn’t modestly decline: “I’ve always believed that the internet is a sunrise industry. It will create the value accumulated by traditional industries over many years at the fastest speed.”

Lloyd Blankfein said solemnly, “Now, I believe that too.” He flattered a little: “Congratulations again on being the world’s first hundred-billionaire.”

Ronan waved his hand: “Let others say what they want. There’s no need between us.”

Lloyd Blankfein smiled: “Goldman Sachs’ market value is only eighty billion dollars. Your personal wealth far exceeds the entire Goldman Sachs.”

“Is that comparable?” Ronan deliberately asked back: “The assets in the stock market are virtual. The resources in Goldman Sachs’ hands are real.”

This wasn’t flattery but the truth.

After chatting for a while, Lloyd Blankfein said, “We should push Netflix Streaming Media past two hundred billion dollars as soon as possible.”

Ronan directly said, “That will require expanding investments.”

Netflix Streaming Media needed to continue its high-speed development by maintaining its money-burning model.

Lloyd Blankfein said, “Goldman Sachs is very interested in increasing its investment in Netflix Streaming Media.”

Ronan knew very well that, just like Apple and Goldman Sachs in the past, at least for a period, Goldman Sachs would continue to support Netflix because it was in their interest.

“We will create a legend together,” Ronan said.

Lloyd Blankfein said, “Goldman Sachs, Netflix, and Relativity Entertainment will be the best strategic partners!”

Ronan naturally took such words with a grain of salt and didn’t take them seriously.

In the short term, the cooperation between the two parties wouldn’t have problems, but he was also keeping an eye on Goldman Sachs and had never let his guard down.

Later, Ronan met several more Netflix investors and chatted with representatives from Comcast and AT&T.

Netflix Streaming Media’s current success was largely due to the technical support it received after cross-holding shares with these two groups.

In particular, by leveraging Comcast’s channels, Netflix Streaming Media had successfully entered the Latin American cable TV market.

The atmosphere at tonight’s grand event was lively. The wealth legend created by Netflix Streaming Media had already involved many people and companies. For now, every Netflix shareholder and investor was a super winner.

Chapter 1074: Who Will Foot the Bill?

As 2008 began, the slowdown in the U.S. economy became increasingly evident. The strategy of stimulating the national economy through real estate and financial measures had begun to show its aftereffects.

No matter how good the strategies from Washington, D.C. were, Wall Street could always twist them to its advantage.

Since the end of last year, the early subprime mortgage crisis had already erupted. Investors had begun to lose confidence in the value of mortgage-backed securities, triggering a liquidity crisis.

Excessive borrowing under relaxed lending standards had given birth to a massive economic crisis from the U.S. housing bubble.

Fannie Mae and Freddie Mac, which had once seemed so solid, were about to become powder kegs.

In the eyes of someone like Ronan, who stood at the very top, this powder keg had only just had its fuse lit—but it could explode violently at any moment.

Who would take responsibility? Who would foot the bill?

Wall Street would naturally use the crisis to profit, and major companies like Relativity Entertainment certainly wouldn’t be the suckers. The authorities in Washington, D.C. weren’t fools either.

In the end, the entire American populace would have to pay the price.

For the American middle class, it was like sitting on a barrel of gunpowder—even the smallest hiccup had to be avoided.

Yet, many weren’t particularly worried. The authorities in Washington, D.C. and the experts on Wall Street were doing everything they could to reassure them: the situation was excellent, and an economic crisis wouldn’t happen!

Even if many didn’t believe the experts, there wasn’t much they could do. Too many people had been lured into the inescapable pit of Fannie Mae and Freddie Mac by the promise of homeownership.

When the authorities had vigorously developed the real estate industry, they had colluded with Fannie Mae, Freddie Mac, and Wall Street, telling the middle class that a home was the only path to warmth.

But when the real estate market turned into a quagmire, they not only fled first but also stripped the latter of their last clothes and shoved them into the mire.

As an internet company—and one with sufficient users and business support—Netflix Streaming Media hadn’t been greatly affected yet. In the stock market, it was still thriving.

After its total market value had surpassed one hundred billion dollars in December, Netflix’s stock price continued to climb as its business fully entered the South Korean and Japanese markets in mid-January.

In less than a month, Netflix’s market value had risen from one hundred billion to one hundred ten billion dollars.

Compared to its past as a nearly pure streaming media company, Netflix, now diversified across multiple businesses, was widely regarded as having a bright future.

With Netflix’s stable development, its parent company, Relativity Entertainment, was even more secure.

Under Ronan’s leadership, and with a well-defined plan, the company had long been prepared. Its cash flow was abundant, its countermeasures appropriate, and in recent years, it had mostly pursued independent investment in film production and distribution, avoiding overly complex guarantees and debt relationships. Thus, the future impact wouldn’t be significant.

Of course, an economic crisis was societal, so it was impossible to say there would be no impact at all.

In the past, there had been a myth in Hollywood—that in every economic crisis, Hollywood was a place the storm couldn’t reach.

During the Great Depression of the 1930s, when a quarter of Americans were unemployed, people still counted their pennies to see the latest movies. Escaping reality, they sought refuge in theaters, and the film industry flourished. Hollywood not only survived unscathed but thrived.

But times had changed. Hollywood was no longer the Hollywood of the last century. Major production and distribution companies had become subsidiaries of media conglomerates, and these complex revenue structures couldn’t escape the financial storm.

What Ronan and Relativity Entertainment were preparing for was to minimize the negative impact.

By mid-January 2008, Relativity Entertainment had already secured twenty billion dollars in reserve funds.

Compared to previous years, since Netflix’s IPO, Ronan’s connections with Wall Street had grown much closer, and his understanding of it had deepened. Combined with his limited memories, he had considered what kind of impact the already-lit fuse of the economic crisis—ready to explode at any moment—would have on Hollywood and Wall Street.

One outcome was entirely predictable: Wall Street capital would withdraw en masse from Hollywood, ending the honeymoon period of cooperation. Many banks would stop investing in the high-risk film industry, and numerous Hollywood companies would have to cut projects. The reduction in projects would mean insufficient work, ultimately affecting every tier of Hollywood.

Thus, recently, Robert Iger had been frequently traveling between Los Angeles and New York, meeting with multiple investment institutions. When Wall Street funds fully withdrew, he would secure what Relativity Entertainment wanted.

Hollywood’s current focus wasn’t on Wall Street or the emerging economic crisis. The nearly irreconcilable conflict between the Writers Guild and the Producers Guild was the real headache.

Against the backdrop of the writers’ strike, the Grammys and the Golden Globes had both been suspended.

Both had directly announced their winners through press conferences.

At the Grammys, Adele from Big Machine Records became one of the big winners, taking home three golden gramophones.

Taylor Swift, as usual, wasn’t particularly favored by the Grammys.

At the Golden Globes, Slumdog Millionaire won Best Drama Film, and the Coen brothers won Best Director for No Country for Old Men.

Somewhat surprisingly, Rachel McAdams won Best Actress in a Drama for Sunshine Girl.

As time passed, the landscape of this awards season became clearer. Slumdog Millionaire’s biggest competitor was No Country for Old Men, a collaboration between Paramount Vantage and Disney’s Miramax.

The two films would fiercely compete for Best Director and Best Picture.

In the acting categories, the two young Indian actors from Slumdog Millionaire had no competitive edge. Embassy Pictures hadn’t even submitted them for acting awards.

There were still many Black actors in Hollywood waiting in line for an Oscar. The Indian actors’ identities alone made their chances of winning an Oscar for acting almost zero.

Uncle Black hadn’t had enough yet, and now the Indian guru wanted to muscle in? They’d tear him apart.

For Best Actor, Daniel Day-Lewis had a clear advantage. This renowned Hollywood method actor, who seemed oblivious to worldly affairs and claimed to devote all his energy to performance and film art, was also a clever man.

Since early November, Daniel Day-Lewis had moved to Los Angeles temporarily and hadn’t left once, fully preparing for the Oscar PR campaign.

A man who relied solely on performance and film art wouldn’t win three Best Actor statuettes.

For Best Actress, with Rachel McAdams unexpectedly winning the Golden Globe for Best Actress in a Drama and being nominated for the Actors Guild Award for Best Actress, she seemed poised to challenge for Best Actress.

This wasn’t impossible. After all, her biggest competitor, Marion Cotillard, was French.

Embassy Pictures had also adjusted its strategy based on the latest developments, gradually allocating some resources to Rachel McAdams.

Sunshine Girl was still playing in North American theaters, maintaining good word of mouth. Its North American box office performance was steady, with a cumulative total of one hundred fifty-one million two hundred eighty thousand dollars.

Perhaps due to similar experiences, Rachel McAdams’ performance had been widely praised.

Although the film’s theme and values made it difficult to secure nominations for Best Director and Best Picture, Rachel McAdams had a chance at the acting awards.

The obstacle to her winning wasn’t the film’s values but that her character was a bit too beautiful in the movie.

Oscar had never favored actresses who were too stunning.

Even with adjustments, Embassy Pictures’ PR strategy still prioritized Slumdog Millionaire, with Sunshine Girl’s Best Actress campaign coming second.

To win, Rachel McAdams would also need to increase her efforts and think of more ways.

According to sources from Embassy Pictures, this Australian actress had been very active since entering the awards season. As a star who had clawed her way up from the bottom, Rachel McAdams was no ordinary woman.

Related to Relativity Entertainment, there was also the Best Supporting Actor category.

Because Shai Entertainment had collaborated with Warner Bros and DC Comics on The Dark Knight, Relativity Entertainment was also involved in the Oscar PR for what was hailed as the greatest superhero film of all time.

Warner Bros had submitted Heath Ledger for Best Supporting Actor.

Under normal circumstances, he would have faced an extremely strong competitor—Javier Bardem, the supporting actor from No Country for Old Men.

Anyone who had seen No Country for Old Men would remember the killer with a neatly combed mushroom cut, wielding a new-style weapon like a fire extinguisher, murdering without remorse yet despising blood, ignoring the world’s laws but adhering to his own principles, silent yet “true to his word.” The impression was profound.

But this year’s Oscars were unusual. Javier Bardem wasn’t facing an ordinary competitor.

How could a living person compete with a dead one? A simple sympathy vote would put Javier Bardem at a disadvantage. Moreover, Heath Ledger’s performance as the Joker was brilliant enough to deserve an Oscar for Best Supporting Actor.

In fact, Warner Bros had considered submitting Heath Ledger for Best Actor. If he could win that statuette, The Dark Knight would reap rich rewards.

But after considering all factors, they ultimately chose the more secure Best Supporting Actor.

After all, an award in hand was better than a mere nomination.

The curtain on 2008 had risen, and Relativity Entertainment had begun a new year. Film was its main business, and releases were the foundation of its operations.

Following a successful 2007, Relativity Entertainment, much like the previous year, had nearly twenty films scheduled for release in 2008, including top-tier Hollywood productions like Avatar and Alice in Wonderland.

Determined by the relatively quiet schedule in January, the year’s opening film was still a major work by Uwe Boll.

Chapter 1075: The Axe Gang’s North American Branch

Because he had not attended the premiere of Dead or Alive last year, Ronan made a point of setting aside time this year to attend the global premiere of Abraham Lincoln: Vampire Hunter after receiving a call from Uwe Boll.

This film, which could be classified as a superhero parody, was also the opening masterpiece of the “American Historical Figures Cinematic Universe.”

It would be followed by The Witch Hunter Washington.

“The filming for this one has already been completed,” Uwe Boll said to Ronan in the premiere theater. “Post-production is underway, and it should be finished by March at the earliest. If the company’s schedule allows, it could be released in the second half of the year.”

Ronan thought for a moment and said, “Uwe, go to Embassy Pictures and discuss it with Thomas. You two can work out the details.”

Ronan rarely interfered with the specific matters of filming, distribution, and release. The system below him was already mature and well-established.

The film’s investment was limited, so the premiere was not large in scale. Apart from the main creative team and stars who had previously collaborated with Uwe Boll, there weren’t many guests. Taking the opportunity, Uwe Boll said to Ronan, “After finishing The Witch Hunter Washington, I’ve been thinking about the next film.”

Ronan was interested and asked, “Is the project confirmed?”

“Basically confirmed, with some changes,” Uwe Boll said, his forehead shining even brighter. “Jefferson and Franklin will both appear in The Witch Hunter Washington. For the next one, I plan to film The Sorcerer Franklin.”

This didn’t come as a surprise to Ronan, as the two had discussed it before.

“The Lightning Sorcerer Franklin, huh,” Ronan said.

Uwe Boll nodded solemnly. “Yes, in the setting, Franklin will be a lightning-based sorcerer.”

Ronan nodded slightly and noticed a large, portly man.

“Hello, Ronan,” Harvey Weinstein greeted Ronan with a smile, his demeanor humble. “Long time no see.”

Ronan shook his hand. “I didn’t expect to see you here, Harvey.”

Uwe Boll also greeted Harvey Weinstein before heading elsewhere.

Harvey Weinstein said, “I ran into Uwe recently and accepted his invitation to attend the premiere. I’ve always been interested in these kinds of parody films.”

This was somewhat true. The Scary Movie series had only been greenlit by Dimension Films with Harvey Weinstein’s support.

Ronan said, “Relativity Entertainment’s parody films also drew inspiration from the Scary Movie model.” He then asked, “No films from The Weinstein Company are participating in this awards season?”

Harvey Weinstein sighed softly. “This year hasn’t been smooth. I thought The Mist would yield some results, but both its box office and reception were disappointing.”

Ronan knew this film—a horror movie adapted from Stephen King’s novel of the same name.

“There’s more,” Harvey Weinstein continued. “Quentin Tarantino’s film also flopped.”

Ronan responded, “I watched Grindhouse. For a certain type of audience, it’s really great, but it’s too niche.”

Harvey Weinstein had a bit of a headache. “But the investment was very high.”

Ronan said, “Maybe it can make some impact in the DVD market.”

Grindhouse consisted of two cult films directed by Quentin Tarantino (Death Proof) and Robert Rodriguez (Planet Terror), mimicking the grindhouse films of the 1960s and 1970s.

For some cult film enthusiasts, this movie was brilliant—like the machine gun-wielding female lead in Planet Terror.

But the film was ultimately too niche, and with a production budget of over sixty million dollars, deliberately made to look rough like a grindhouse film, it was a case of the cost not being worth the result.

Harvey Weinstein then said, “I originally hoped these two films could make a run for this awards season, but…” He paused before adding, “Miramax’s involvement in No Country for Old Men and There Will Be Blood—both projects I left behind—couldn’t be taken with me due to copyright issues. I had to miss out.”

Ronan smiled and said, “Missed this year, there’s always next year.”

Harvey Weinstein smiled and said, “I’ve teamed up with Kate Winslet to prepare a new film for the next awards season.”

Ronan had a rough idea. Kate Winslet was one of the actresses Harvey Weinstein had pushed to win the Oscar for Best Actress. Counting them up, the number of Best Actress and Best Supporting Actress Oscars Harvey Weinstein had helped secure far outnumbered the male categories.

This actually said a lot.

Let’s see: Gwyneth Paltrow, Judy Dench, Nicole Kidman, Catherine Zeta-Jones, Cate Blanchett, Meryl Streep, Kate Winslet, Jennifer Lawrence…

Harvey Weinstein had once been the ticket to Hollywood heaven—a heaven with great scripts, great opportunities, and fame and fortune that no one could refuse.

But when the wall falls, everyone pushes, and when the tree falls, the monkeys scatter.

From Harvey Weinstein’s perspective: You slept with me to get an Oscar, and now you’re suing me for sexual harassment and demanding compensation?

Hollywood was a microcosm of the world, only infinitely amplifying the pursuit of fame and fortune.

Harvey Weinstein’s past was a lesson, and one of the reasons Ronan had never considered making a Hollywood actress his official girlfriend and had specifically set up a vault.

Climbing to the peak of the Oscars through someone’s bed, only to turn around and stomp on the bed’s owner—such things were done without any psychological burden by these Hollywood actresses.

But in the environment of Hollywood, it was hard to say whether these actresses were right or wrong.

For those who had nothing but themselves, changing their fate truly required risking their lives.

Uwe Boll had mastered certain essences. As the protagonist and a hero, Lincoln naturally had to lose his parents early.

So, within the first few minutes of the film, Lincoln’s mother was killed by vampires, and the ruthless president-to-be, under the guidance of a former vampire hunter, became a cultured vampire hunter.

As for the villains, since Lincoln was involved, the vampires were naturally the Southern plantation owners.

They upheld slavery not only for economic interests but also to satisfy their need for blood.

Watching many Hollywood films, it wasn’t hard to notice that in movies involving the Civil War, the Southern characters were often portrayed as the sympathetic side, not discussing righteousness but leaning toward the South in terms of emotion and character.

This was related to Hollywood films often standing on the side of the victors to engage in so-called humanistic reflection.

Perhaps, maybe, the Northern army back then didn’t leave a good impression on many people.

Many records stated that the Northern army, as it marched south, left a trail of destruction, and it was said that saturation bombing had caused the entire city of Atlanta to sink three meters.

In any case, neither side could criticize the other.

This film was lighthearted and pressure-free, with the camera focusing on Lincoln.

After all, the audience wanted to see how Lincoln became a vampire hunter. If they wanted to see vampires, Hollywood was full of them.

Due to the limited investment, the visual effects of Abraham Lincoln: Vampire Hunter could only be described as second-rate splatter film quality.

But Uwe Boll, having directed several video game adaptations, had accumulated some experience and directly made the film in the style of a video game character grinding through monsters.

To connect with future films, Lincoln obtained a seemingly ordinary axe in an abandoned estate in Virginia.

This axe had been left behind by Washington.

The absurd plot made the audience quite frustrated—even Washington was dragged into this…

Thus, the ruthless president’s great axe began to hunger.

This kind of film was all about the thrill!

Some people watched movies for the ideas, the plot, and so on, but there were always some films that, through their existence, told the audience that when certain aspects were taken to the extreme, ideas and plot didn’t matter at all.

When Lincoln, wearing a gentleman’s hat and a proper suit, moved with unrealistically fluid motions, wielding Washington’s left-behind broad axe, slaughtering vampires, that exhilarating feeling arose spontaneously.

Lincoln made the axe dance, continuously creating a bloody feast.

Later, Lincoln realized he couldn’t handle all the Southern vampires alone, so he changed his path and entered politics. With the spirit of Washington’s great axe, he became the leader of America.

Thus, the most thrilling scene in the entire film appeared.

The armies of the North and South faced each other. Against the Southern vampire army, the Northern army suffered repeated defeats. In the most crucial battle, Lincoln stood at the forefront of the Northern army.

This was a world with a magical background. Lincoln, blessed by Washington’s witch-hunting spirit, directly activated his invincible mode amid the Southern army’s attack.

One arrow pierced the clouds, and thousands of horses and soldiers came to meet it!

Attention! Attention! The Axe Gang officially opens a branch in America! Hurry and sign up!

History class was really a pit—no one dared to say the Civil War ended with an axe!

On the battlefield, the vampires were no match for the invincible Lincoln. Finally, a mysterious and terrifying entity descended.

A vampire progenitor, one of the ancient rulers, descended upon the vampire leader on the battlefield—Lincoln’s mother’s killer.

Absurdity, terror, and bloodshed became the themes of the final climactic battle.

Lincoln’s great axe was hungry!

He charged forward and engaged in a great battle with this terrifying entity that sought to destroy America.

The critical moment arrived—Lincoln’s power was insufficient!

But at this moment, Lincoln was not alone in the fight!

The witch hunter Washington, the lightning sorcerer Franklin, the great druid Jefferson, and others.

Soul possession!

At this moment, Lincoln was not fighting just for himself, his people, or his country, but to strike down vampires worldwide, to strike down all mysterious and terrifying entities worldwide!

Lincoln in invincible mode was terrifyingly powerful. It was a shame for the Southern thousand-year-old vampire progenitor—after waiting a thousand years, finally able to appear in the sunlight, only to reluctantly descend into hell.

Chapter 1076: Humanity Shall Never Be Enslaved

Many historians in America have long questioned how Abraham Lincoln, born into extreme poverty, managed to become president. In the social climate of his time, entering politics was incredibly difficult.

But Abraham Lincoln: Vampire Hunter provides a perfect explanation!

Because Lincoln wasn’t fighting alone! He wielded Washington’s Falling Cherry Axe, mastered the true art of the Witch Hunter!

Not to mention, the axe was enchanted by the Lightning Mage Franklin and blessed with nature’s power by the Grand Druid Jefferson!

With such an overpowered setup, how could he not be a winner?

The president, armed with legendary skills and a mighty axe, transforming into a superhero at will to battle vampires—what a ridiculously over-the-top plot!

Yet, by the end of the film, the audience was exhilarated, thoroughly enjoying the spectacle.

And then came the big post-credits scene.

Lincoln boards a carriage heading to the theater, dozes off mid-journey, and in his dream, lightning flashes as Washington, wielding a massive axe, shouts: “Jefferson!”

The Grand Druid Jefferson stands atop a tangle of vines, chanting incantations as green energy flows from him, forming thorny vines that bind the monstrous, grotesque mass of flesh.

“Franklin!” Washington shouts again.

The Lightning Mage instantly unleashes his kite, which streaks like lightning toward the struggling beast. The metal kite string wraps around its head.

BOOM!

Amid the crackling lightning, the creature is engulfed in a storm of electric arcs.

As the light fades, a powerful figure leaps through the air, driving the massive axe into the flaming skull of the beast.

Washington lands, exhausted from the effort, dropping to one knee as he pants heavily.

The creature’s body swells, flames erupting from its head as it seems determined to take Washington with it in a final explosion.

Just as the blast approaches, a figure suddenly appears before Washington: “God be with Adams!”

A white barrier of light shields them from the flames.

The creature is dead. The battle is over. Franklin picks up the axe and tosses it back to Washington.

Washington takes the axe, looks at his comrades, and raises it high with a thunderous cry: “Humanity shall never be enslaved!”

The scene flickers, revealing countless workers constructing a massive white house at the site of their battle…

Given the connections to Iron Man, The Hulk, and Thor, along with repeated references to Washington and his axe, audiences easily deduced that this was the start of a new film series, with the next installment likely focusing on Washington.

The Avengers films had comics as their foundation, making it easy for audiences to anticipate the next hero. But this parody series had no such basis.

Thus, the post-credits scene ended with a bold title card—Coming Soon: The Witch Hunter Washington!

Watching the Founding Fathers team up on the big screen to slay monsters left the audience unusually excited. As the credits rolled, the applause was deafening and unending.

They loved this kind of parody.

Parody films have always had a market in Hollywood, and mocking the Founding Fathers was particularly thrilling.

For Hollywood, no matter how serious the theme, how grand the subject, or how famous the figures involved, studios always find a way to weave them into an entertaining story.

If Uwe Boll had directed a straightforward Lincoln biopic, it would have been a disaster.

But for a parody film, Brother Bao didn’t need to try hard—just following his own instincts resulted in a hilariously entertaining mockery.

Abraham Lincoln: Vampire Hunter blended absurd humor with real and controversial historical events, making it a wildly fun watch.

Even after its premiere, media outlets—rarely kind to Brother Bao’s films—were surprisingly positive.

The Chicago Sun-Times boldly declared: “Without a doubt, Abraham Lincoln: Vampire Hunter is the best film we’ll ever see on this subject.”

The Hollywood Reporter praised the film’s fusion of action and fantasy, noting that fans of genre films would be thrilled, while history buffs who didn’t mind a little creative liberties could enjoy this alternative take on the Civil War.

Entertainment Weekly focused on the production company: “Abraham Lincoln: Vampire Hunter makes it clear that Shai Entertainment, under Relativity, is ambitious. Their first step in creating a new parody film series is a strong one.”

Even the politically charged Washington Post had kind words: “Abraham Lincoln: Vampire Hunter is absurdly stupid—but also incredibly fun.”

The Los Angeles Times highlighted director Uwe Boll: “After helming numerous terrible films, Uwe Boll seems to have found his calling. Abraham Lincoln: Vampire Hunter is the best, most entertaining film the German director has ever made, leaving audiences eager for the next installment in the Founding Fathers series.”

Of course, not all media were fans. The Wall Street Journal wrote: “I cannot comprehend the sheer stupidity behind Abraham Lincoln: Vampire Hunter!”

Yet, whether praised or criticized, no outlet suggested that Hollywood or Relativity Entertainment had crossed a line by parodying figures like Lincoln.

In fact, after its release, the public didn’t just accept it—they embraced it, flooding the internet with memes.

One fan posted on Netflix sharing, pairing the film’s poster with the caption: “Why did the Civil War drag on for so long? Why did the Union face so many struggles? Because they didn’t give Lincoln an axe!”

Another commenter turned it into a famous quote: “Give me an axe, and I’ll end the Civil War—Abraham Lincoln!”

Since America already had legends about the Falling Cherry Axe, and the film tied Lincoln’s weapon to Washington, someone remarked: “Washington’s axe truly lives up to its reputation!”

Others connected it to current events: “Lincoln wielded that axe like a boss. I wonder if he’d burst out of his coffin to chop up the pigs in the White House today.”

Many discussed the post-credits scene: “The Founding Fathers teaming up to slay monsters was epic! Can’t wait for The Witch Hunter Washington! And that line—Humanity shall never be enslaved!—was so powerful!”

Rumors circulated that the post-credits idea originally came from top producer and hundred-billionaire Ronan Anderson.

The internet echoed: “Classic! Humanity shall never be enslaved!”

In Irvine, Orange County, at Blizzard’s creative department, two employees working on World of Warcraft saw the online buzz about Abraham Lincoln: Vampire Hunter.

The younger one said, “‘Humanity shall never be enslaved’—that’s a great line. Feels like it could fit in our game.”

The older one nodded. “The Lich King expansion is wrapping up, and we’re working on a new version. The Old Gods are ancient rulers who enslave everyone. The million lords refuse to be enslaved and rise in rebellion.”

The younger one added, “It’d work even better for the orcs. They were enslaved by the Burning Legion first. Listen—‘Orcs shall never be enslaved.’ Doesn’t that sound even cooler?”

“Not bad,” the older one agreed. “The orcs could symbolize the struggle—‘Never enslaved’…”

A passerby overheard and interjected: “Orcs shall never be enslaved? Unless there’s free food and housing?”

Even amid awards season and the turmoil caused by the Writers Guild strike, Abraham Lincoln: Vampire Hunter garnered significant attention—and unlike Uwe Boll’s previous films, it received far better reviews.

On IMDb, it scored an average of 6.5 from audiences, and Rotten Tomatoes gave it a 55% fresh rating—the highest of Brother Bao’s career.

Accordingly, the film performed well at the box office, earning $10.28 million on its opening day across 3,655 theaters in North America.

Over the next two days, it maintained steady momentum, grossing $28.76 million in its opening weekend and topping the North American box office chart.

This gave Relativity Entertainment another strong start to the new year.

The success of Abraham Lincoln: Vampire Hunter also ensured that Relativity’s investment in the “Founding Fathers Parody Series” would continue.

Uwe Boll’s fame surged once more, his online presence growing stronger than ever—truly a viral director.

The film left the internet with countless memes, each one reminding netizens of the absurd yet brilliant German director.

For other directors with artistic ambitions, this might have ruined their careers. But for Uwe Boll’s commercial value, it was nothing but good news.

After its European release, film companies in the UK and Germany were inspired, planning their own parody films.

The British aimed to mock Queen Victoria, while the Germans, of course, set their sights on history’s most infamous figure—Hitler.

As many entertainment outlets put it, Abraham Lincoln: Vampire Hunter might spark a global trend of parody films about historical figures.

Of course, social and cultural differences mean such films can only thrive in Western cinema.

Hollywood mocking American presidents is one thing, but the world only has one Hollywood—and insulting the White House is practically a fashion statement.

Uwe Boll even received an offer from a German film company to direct a new Hitler parody.

But with a bright future at Relativity Entertainment, Brother Bao declined without hesitation.

Chapter 1077: The Present Struggle

It seemed that Washington had grown accustomed to Hollywood’s dark overlord. After the release of Vampire Hunter Lincoln, during a routine press conference at the White House, the current president even mentioned the film, praising it as excellent.

Just as past presidents and congressmen had discussed House of Cards, the upper echelons of power didn’t seem to mind such parodies.

Vampire Hunter Lincoln maintained a strong performance in North America, securing the box office crown for the second weekend in a row. With a second-weekend gross of $14.68 million, it outperformed Network Assassin, which debuted with $11.38 million.

After ten days in theaters, Vampire Hunter Lincoln had easily surpassed $50 million at the North American box office. Overseas, the response was even more enthusiastic, with the film grossing $72.15 million across dozens of markets in the same period.

Compared to its modest $20 million budget, Vampire Hunter Lincoln was a bona fide box office smash.

Encouraged by this success, Uwe Boll was brimming with energy. After finishing post-production on Witch Hunter Washington, he planned to immediately begin preparations for Thunder Mage Franklin.

The series had gotten off to an excellent start, and with just two or three more successful films, it could create a ripple effect.

Uwe Boll no longer groveled at Blizzard Entertainment’s feet, distancing himself from Warcraft and shedding his “backup option” status. He poured all his energy into this new film series.

Perhaps due to some strange psychological quirk, after half a year without Uwe Boll’s visits, Blizzard Entertainment actually reached out to him, urging Brother Bao to drop by more often.

In this world, many people and things are only appreciated once they’re gone.

Unfortunately, Brother Bao had neither the time nor the energy to deal with Blizzard right now.

Because of the phrase “Humanity shall never be enslaved,” Ronan had taken some time to check out Warcraft, just as the Lich King’s fury was beginning to unfold.

Awards season continued, and one particularly eccentric award announced its nominations.

The Razzie Awards nominations were out, and Brother Bao once again dominated multiple categories. Last year’s Mortal Combat earned him nominations for Worst Director and Worst Picture.

Transformers was also a major contender, with Candice Swanepoel nominated for Worst Actress, while Optimus Prime and Megatron received nominations for Worst Actor and Worst Supporting Actor, respectively.

As Hollywood’s leading producer of commercial films, Relativity Entertainment had become a perennial Razzie Awards powerhouse in recent years.

Ironically, Relativity was also a dominant force at the Oscars, having won the Best Picture statuette three years in a row.

This year, Relativity’s main awards contender was Slumdog Millionaire, which was primarily aiming for Best Picture.

For Best Director, Danny Boyle wasn’t favored over the Coen brothers.

At the Guild Awards, a true Oscar bellwether, Slumdog Millionaire won the Producers Guild’s Best Picture award, but the Directors Guild’s Best Director award went to the Coen brothers.

Embassy Pictures’ professional PR team had analyzed the situation and concluded that this year’s Oscars might see an unusually even distribution of awards.

Though the writers’ strike continued, awards season pressed on. The Academy of Motion Picture Arts and Sciences couldn’t afford to let the Oscars fail because of the strike.

In late January, the Academy announced this year’s Oscar nominations.

Due to the strike, the traditional nominations luncheon was canceled, replaced by a press conference where guest Jessica Alba read the nominations.

Relativity Entertainment had three films nominated.

Pixar’s Ratatouille received a nomination for Best Animated Feature. Since there were only three nomination slots, the Academy clearly didn’t want this category to become a Relativity internal battle. The other two nominees were Surf’s Up and the politically charged Persepolis.

Sunshine Girl was nominated for Best Makeup, Best Original Screenplay, Best Actress, and Best Cinematography.

Slumdog Millionaire was one of the big winners in the nominations, receiving seven nods: Best Original Score, Best Sound Editing, Best Editing, Best Cinematography, Best Adapted Screenplay, Best Director, and Best Picture.

Among all the nominations, Ratatouille’s Best Animated Feature was the most secure, with virtually no suspense.

Sunshine Girl’s awards would depend purely on luck.

Slumdog Millionaire’s primary goal was to secure Best Picture.

With the Oscar nominations announced, a concern began to spread throughout the industry: Would the Oscars ceremony proceed smoothly given the writers’ strike?

The Writers Guild publicly declared that if the strike continued, none of its members would attend the Oscars, nor would they write any scripts or banter for the ceremony.

As time dragged into February, negotiations made no progress, and patience on all sides was wearing thin.

The Academy was particularly anxious, repeatedly acting as mediator to try to broker a deal between the Writers Guild and the Producers Guild.

But when it came to money, nothing was simple.

From the start of the strike to mid-February, Hollywood studios had lost over $300 million, while Writers Guild members had collectively lost $28 million in wages.

Most ordinary screenwriters were struggling to make ends meet. Without the partial subsidies from the Guild, many wouldn’t even be able to afford basic necessities.

Life wasn’t just about poetry and distant dreams—it was about the daily grind.

Without ideals, what was the difference between a person and a salted fish? But if you only saw the ideals and couldn’t even afford salted fish, what was the point?

If the strike continued, many writers wouldn’t even be able to afford hamburgers.

This sentiment gradually gained traction within the Writers Guild. Though individual voices carried little weight, together they couldn’t be ignored.

Some had even begun secretly making moves, considering returning to work to earn money.

While famous screenwriters had more influence, without broad support from their peers, they couldn’t stand against the Producers Guild.

Moreover, the producers had made some concessions.

In mid-February, negotiations between the Producers Guild and the Writers Guild finally showed progress, offering hope that the strike might end soon.

But the upper echelon of the Writers Guild still hadn’t abandoned their core demand: they wanted the same treatment as the Actors Guild.

This was the biggest point of contention.

Writers believed they were the key to film and television projects, but producers saw them as secondary factors.

Given the circumstances, the Producers Guild ultimately reached a temporary three-year agreement with the Writers Guild.

The most important part of this agreement was an increase in the Writers Guild’s fixed share of revenue from films, TV shows, and reality programs.

For example, their share of various television copyright revenues increased from 1% of global distributor revenue to 1.2%.

The focus was on the Writers Guild’s demands regarding DVD and new media revenue.

In the end, the temporary agreement stipulated that credited writers would receive 1% of the global distributor revenue.

This was a significant increase from the Producers Guild’s previous offer of 1.5% of distributor revenue.

Additionally, for each film released on DVD, studios would pay writers a total of $20,000 in DVD script fees.

As for merchandise and derivative products, the Writers Guild received no share, just as before.

The Writers Guild then held a member vote, with an overwhelming 11,775 votes in favor of ending the prolonged strike. Only 283 votes opposed it.

In a society where people often lived beyond their means, it was remarkable that ordinary writers had held out this long.

The signing of this three-year temporary agreement marked the end of the writers’ strike.

The Writers Guild sent an email to all members, calling for an immediate return to work.

“The strike is over. Tomorrow, writers will return to their posts, and everything will return to normal.”

The Writers Guild also held a press conference: “The strike was never what we wanted. We were simply fighting for a fair share of new media writing income. Now, we’ve achieved enough to secure our place in this digital age.”

The studios had given up some benefits, and though the Writers Guild hadn’t achieved all their initial demands, the results satisfied most members.

For decades, the nature of screenwriting hadn’t changed—it was still about putting pen to paper. But the ways in which their work was distributed and consumed had constantly evolved. If VHS tapes were the rising force twenty years ago, now it was DVDs and digital new media.

If the industry refused to change compensation methods just because the writing process hadn’t changed, that was clearly impossible.

Hollywood producers, including Ronan and Relativity Entertainment, understood this well.

“This is the best treatment we’ve had in thirty years,” many writers said in interviews.

Though writers had finally secured a share of DVD and digital new media revenue, the claim of “best treatment” seemed more like a sigh of relief after a long battle.

This three-year temporary contract was merely a psychological baseline for both sides. The Writers Guild couldn’t use it to change their relatively low position in the industry chain, and the Producers Guild’s dominance wouldn’t shift because of the strike.

It was foreseeable that writers would strike again in the future over issues of revenue and status in the industry chain.

After all, labor-capital conflicts could never be fully resolved unless Hollywood’s guilds became nothing more than decorative mascots.

With the strike over, the Oscars were the first to benefit. Since the strike began last year, several awards ceremonies had been canceled. Now, writers began preparing banter for the Oscars ceremony.

Chapter 1078: The Master of Retcons

With George Clint in Europe and Robert Iger temporarily in New York, Ronan represented Relativity Entertainment at the signing ceremony between the Producers Guild and the Writers Guild, where he signed a three-year temporary agreement with the Writers Guild.

The Producers Guild was a community of shared interests, not a union-like organization. Ultimately, the agreement still needed to be signed by each film company under the alliance with the Writers Guild.

After signing the agreement, Ronan, accompanied by lawyer Diana, left the conference room and saw George Lucas, who had come out a step earlier.

“You came in person?” George Lucas asked.

Ronan smiled and said, “Aren’t you here in person too? This isn’t a small matter; it concerns the entire industry.”

George Lucas nodded slightly and said, “Some people are never satisfied.”

Although he had been a screenwriter himself, George Lucas had long been a typical representative of Hollywood’s capital side.

From his own standpoint, Ronan agreed with George Lucas: “I hope they understand what moderation means.” He glanced at George Lucas and asked, “You don’t look well.”

George Lucas revealed a slightly helpless smile and said, “I’ve been criticized too much lately.”

Ronan had a rough idea and asked, “Because of the Star Wars comics and novels?”

“Yes.” George Lucas sighed softly: “I didn’t expect that in the eyes of Star Wars fans, I would become the villain of this series.”

Ronan said, “In the internet age, don’t take online comments too seriously.” The emergence of Netflix sharing had changed the way people interact, and at the same time, it had a negative effect: the smooth sharing of information had also made the problem of online violence begin to emerge. “No matter what you do or say, you will never convince those people.”

George Lucas rubbed his temples: “I should read fewer online comments in the future.”

Ronan smiled and said, “That’s a very wise decision.”

Strictly speaking, George Lucas wasn’t completely innocent. Recently, under George Lucas’s personal direction, Lucasfilm had produced and released a brand-new series of Star Wars comics and novels.

If the Star Wars prequel trilogy had only disappointed some Star Wars fans, this time the comics and novels had enraged many hardcore fans.

Because these works, based on George Lucas’s creative input, not only retconned the story but also the settings…

Just like how Warcraft fans once felt about Blizzard, the anger of Star Wars hardcore fans was imaginable.

Someone directly cursed George Lucas on the official Star Wars website: George Lucas doesn’t understand shit about Star Wars!

Even the media joined in the fun, calling George Lucas the Dementor of the Star Wars series.

Some even gave George Lucas the nickname “The Greatest Retcon Master in History.”

The Star Wars series had such a huge influence worldwide that even future Blizzard with World of Warcraft couldn’t take away this title of “The Greatest Retcon Master in History.”

This was somewhat ironic for George Lucas, who had single-handedly created the Star Wars series.

As someone not very familiar with the internet, especially internet violence, George Lucas couldn’t completely ignore it.

If these were film critics, George Lucas wouldn’t even bother, but unfortunately, these people were the most devoted supporters of the Star Wars series.

From an outsider’s perspective, it was hard to say who was right or wrong.

Ronan wasn’t a fan of the Star Wars series, but he could understand the feelings of those hardcore fans. It was probably similar to how many people felt when they saw the Lich King’s rage again and again.

The comments in The Hollywood Reporter might be relatively fair: George Lucas is the greatest creator of Star Wars and the worst director of Star Wars.

Of course, reports in entertainment media, even authoritative print media like The Hollywood Reporter, shouldn’t be taken too seriously.

Public figures, after all—one newspaper says they’re male, another says they’re female, and the next might say they’re neither.

If someone who had never been exposed to Star Wars watched the series, they might say that Star Wars: Episode II wasn’t that good, and the prequel trilogy wasn’t that bad.

Unfortunately, Americans were deeply influenced by the Star Wars series and could no longer objectively view those six films and their peripheral series, which had become representative symbols.

It was said that due to the impact of this incident, a documentary director planned to make a documentary titled Everyone Hates George Lucas.

After chatting about the online soft violence against George Lucas, Ronan glanced at his wristwatch and prepared to take his leave.

Valentine’s Day was approaching, and during this special period, just like last year, Embassy Pictures was promoting the release of Twilight: New Moon. There was a premiere in Los Angeles that afternoon.

Since the producer was Lindsay Bill, Ronan had to accompany Jessica Felton to attend.

George Lucas invited, “After the Oscars, I will host a party in Los Angeles. Do you and Jesse have time?”

Ronan said, “I will definitely be there. As for Jesse, I need to ask her.”

George Lucas temporarily set aside those troublesome matters and said, “Good, tomorrow I will have someone send you and Jesse formal invitations.”

The two exchanged pleasantries and soon left the White Tower Building of the Producers Guild.

Ronan first returned to Relativity Tower to handle some matters regarding several film and TV series projects.

With the Producers Guild and the Writers Guild officially signing the agreement, some work related to screenwriters that had to be handled cautiously could now be brought into the open.

The script creation for several new projects could also begin, such as the sequel scripts for some series films and TV series.

Relativity Entertainment was a huge commercial machine that would never stop running.

At four in the afternoon, Ronan left Relativity Tower and went to a nearby styling studio, where he met up with the dressed-up Jessica Felton, and together they hurried to the premiere venue at the Nokia Theatre.

“Dear.” Ronan looked at his girlfriend, who was radiant: “You look too beautiful.”

Jessica Felton said, “This took five hours.”

After the huge success of Twilight, Twilight: New Moon was once again released before Valentine’s Day, attracting countless young women.

This love-to-death series was a favorite of women who liked to dream of love.

The premiere venue gathered thousands of women, as well as many men.

Under the requests of their girlfriends or love interests, many men had to come and watch such a movie that made them want to vomit.

The segmentation of male and female audiences in the film market was exceptionally evident in the Twilight series.

When Robert Pattinson and Kristen Stewart walked hand in hand onto the red carpet, the women let out ear-piercing screams, while the men remained unmoved.

In the eyes of the men, Edward was a greasy, effeminate fool with no masculine qualities, and Isabella was far from pretty, even earning the nickname “pure man.”

At the premiere, Gal Gadot, who starred in The Hunger Games, also walked the red carpet.

The advertisement for The Hunger Games would be shown as a trailer before the screening of Twilight: New Moon.

Lindsay Bill also came over to greet Ronan and Jessica Felton and briefly chatted about the progress of The Hunger Games.

The post-production of this female-led film had been completed, but the screening would have to wait until this year’s holiday movie season.

Entering the screening room and finding their seats, Jessica Felton suddenly thought of something and asked, “I heard Lindsay say that the concepts for Twilight and The Hunger Games originally came from you. The Hunger Games is understandable, a typical utopian type, but Twilight, with its lovey-dovey novel…”

Ronan understood her meaning and gave the excuse he had prepared long ago: “When I was in school, I read the works of an Eastern female writer. All her novels had the theme of… um, how to put it? They were all about these tangled multi-party love affairs, and they were widely adapted into TV series.”

“An Eastern female writer?” Jessica Felton, who was quite well-read, asked, “I think I’ve heard of her. Is she called Ju Yao? She was very popular in Chinese-American circles a few years ago.”

Ronan said, “That’s her. After reading a lot of her works, some ideas came to me, and then I incorporated them into a Western fantasy background, using vampires and werewolves as gimmicks.”

Perhaps thinking of herself, Jessica Felton smiled, her smile sweet: “Love is a theme that will never go out of style.”

Love was indeed a theme that would never go out of style in movies, as evidenced by the female audience at the scene.

These female viewers were immersed in the love triangle between Edward, Isabella, and the little werewolf, seemingly completely putting themselves in the movie, as if they were Isabella on the screen, with a rich and handsome man like Edward devotedly caring for them, and a handsome and wealthy second-generation rich kid like the little werewolf as a backup, making themselves the center of the world.

Which woman didn’t like having a rich and handsome current partner, with a string of equally good backups?

So, it wasn’t without reason that melodramatic love stories were popular.

Perhaps men found them annoying and even disgusting at first glance, but they captured women’s hearts.

Moreover, the love in the film extended into reality.

Under the strong promotion of Relativity Entertainment, the production team led by Lindsay Bill, and the agency, the love between Edward and Isabella moved from the screen to reality.

Robert Pattinson and Kristen Stewart’s real-life couple status also added many promotional points to the Twilight series.

As for the little werewolf.

Ronan had heard that Taylor Swift was dating the actor who played the little werewolf.

As her fame grew and she became a country music diva, Taylor Swift was no longer satisfied with schoolmates and football quarterbacks, and began to extend her reach to Hollywood male stars.

“I have too many ex-boyfriends, but I can’t keep any of them… Heartbreakers just want to break up, break up, break up, break up, break up…”

Chapter 1079: Unbelievable

This was a movie made for fans. Though the plot was incredibly dull, the romantic scenes were enough to send female audiences’ adrenaline soaring.

From a male perspective, New Moon was filled with inconsistent character personalities, absurd plotlines, clunky dialogue, and flat character portrayals.

But female audiences were thrilled. The handsome actors and beautiful actresses on screen, portraying the forbidden love between vampires and humans, had them captivated.

The success of the first Twilight film had already turned the series into a cultural phenomenon. This fantasy series, adapted from the novels of the same name, had created a global impact, continuously breaking records with astonishing momentum. Without a doubt, New Moon had become the most anticipated sequel, the object of desire for the ever-growing fanbase…

Before New Moon was released, the official Netflix sharing account had already surpassed ten million followers! The production team even issued a public letter to express their gratitude to the fans and their determination to make the next sequel even better.

For a fan-driven movie like this, critical reception meant nothing. Female audiences flooded theaters in overwhelming numbers.

When it came to fan-driven films, the most famous example was undoubtedly George Lucas’s Star Wars series. However, in a sense, Star Wars couldn’t truly be called a fan movie. Despite having almost no market in the East, it still had strong appeal.

Hollywood had never seen a film as intensely fan-driven yet attracting such a massive audience as the Twilight series.

On Friday’s midnight screenings, The Twilight Saga: New Moon raked in twenty-six million two hundred twenty thousand dollars, instantly shattering the midnight box office record set by The Dark Knight just last summer.

Countless frenzied female fans gave this fantasy romance film a magical opening.

Often, the market response to commercial films couldn’t be measured by whether the film was good or bad.

On its first day in North America, this fan-driven sequel exploded with incredible power, earning seventy-two million seven hundred ten thousand dollars across four thousand twenty-four theaters!

Such box office numbers were beyond astonishing, especially considering the film’s production cost was only thirty-five million dollars! Including marketing and distribution, Relativity Entertainment’s total budget was just fifty-five million dollars.

The Twilight Saga: New Moon also opened in numerous overseas markets simultaneously. While exact figures weren’t available yet, feedback from various sources indicated that overseas attendance was equally impressive.

High box office for a poorly reviewed film wasn’t rare worldwide—it was almost common.

Because it was a romance, many male viewers were dragged into theaters by their female companions. To them, New Moon wasn’t just bad—it was unbearable.

On its first day, the film’s reputation was already in tatters, facing criticism from both film critics and fans.

On IMDb, New Moon averaged a 4.5, with only a 29% approval rating on Rotten Tomatoes. Metacritic gave it a C, and CinemaScore’s live audience scoring was a B–.

Famous film critic Roger Ebert gave New Moon just one star, stating: “The characters in this film should be arrested. I have no idea what they’re doing, and watching it feels like driving a tractor at a snail’s pace.”

However, in Embassy Pictures’ targeted market research, the film received high praise, especially from female audiences. Many women expressed satisfaction with the film and were already looking forward to the third installment.

Thus, after the first weekend in North America, almost all media outlets reporting on New Moon’s box office used similar headlines:

“The Twilight Saga: New Moon—An Unbelievable Box Office Miracle!”

In just three days of its North American opening, New Moon incredibly grossed one hundred forty-five million eight hundred thirty thousand dollars!

This was enough to make many jaws drop.

In the past, what kind of films had opened with over a hundred million in North America? Without exception, they were Hollywood’s top-tier commercial blockbusters.

New Moon became the film with the lowest investment to ever cross the hundred-million-dollar mark in its opening weekend in North America.

Overseas, preliminary estimates put the box office at one hundred twenty million dollars.

In just three days of release, New Moon had already grossed over two hundred sixty million dollars worldwide.

The charm of the original novels and the dizzying romantic scenes that left young fans swooning were undoubtedly major contributors to this success.

New Moon’s massive box office triumph would be a topic of discussion for novel fans, movie buffs, media workers, and marketing professors for a long time.

As for the film’s future box office performance, one thing was certain: the second-week drop would also be “staggering.”

Some detailed market survey data from Embassy Pictures also reached Ronan’s office.

For example, the utterly rotten reputation.

Was New Moon’s reputation really as bad as it seemed on the surface?

On a general public level, yes.

But from another angle, not necessarily.

According to Embassy Pictures’ survey data, among viewers under eighteen, boys gave it a 3.2, while girls gave it a 9.2…

This made it clear who the film’s target audience was.

Some in the industry felt a pang of envy seeing Relativity Entertainment achieve such an astonishing opening weekend with such a low budget.

“Targeting little kids! Just look at who’s sitting in the theaters—how lowbrow can you get!”

“I think it’s shameful for adults to watch such a movie!”

But these words couldn’t stop New Moon’s success.

Just like some of Ronan’s past films in the market, commercial success often had nothing to do with critical reception.

For a film with a modest budget, the power of fans was terrifying. Those who paid attention to IMDb’s ratings would notice that most scores were either 10 or 1—fans and haters locked in a battle of wills.

The only problem with fan-driven films was their lack of staying power.

Fortunately, New Moon had a low enough budget.

To stabilize the box office somewhat, Embassy Pictures and the production team tried every trick in the book.

The film’s main actors were wildly popular, so the publicity surrounding them was played to the fullest.

Embassy Pictures fully utilized the strategy that Brad Pitt and Angelina Jolie had employed over the past two years with Robert Pattinson and Kristen Stewart, and the results were outstanding. New Moon’s box office was proof.

After the film’s release, Robert Pattinson and Kristen Stewart, under the planning of Embassy Pictures and the production team, went all out to feed the public’s appetite for their romance.

When checking into hotels, Robert Pattinson would specifically instruct the staff to place rose petals along every path Kristen Stewart would take, scattering them across the floor and bed, and lighting candles—very romantic.

In the entertainment media market, the price of paparazzi photos of stars like Julie and Pitt, “Sweetie” Britney Spears, and Lindsey Lohan had dropped by at least thirty percent. The only ones still commanding high prices were Robert Pattinson and Kristen Stewart.

As for creating topics, Embassy Pictures’ professionals were experts.

For example, they released photos of Kristen Stewart with a slightly protruding belly, then arranged for reporters to interview her, where she publicly declared: “No, I am absolutely not pregnant!”

This denial only made people think she was pregnant and wonder if Robert Pattinson was the father.

Rumors also spread that Pattinson had proposed to Stewart multiple times.

The pregnancy seemed to be confirmed.

Boosted by the Twilight series effect, at least during this Valentine’s Day period, the “RobKris” combination of Robert Pattinson and Kristen Stewart had surpassed Brad Pitt and Angelina Jolie to become Hollywood’s new king and queen of gossip.

Others weren’t about to be left out. For instance, the young werewolf from the film, during an interview, claimed that a joke he made caused a female fan to strip naked on the spot, demanding he sign her underwear.

On Valentine’s Day, in front of Big Machine Records in Burbank, the young werewolf even publicly knelt and proposed to Taylor Swift.

The marketing for this film focused heavily on the people involved. The various scandal-driven strategies employed by Embassy Pictures could serve as classic case studies in textbooks.

In its second week, including Valentine’s Day, New Moon earned another sixty-six million two hundred seventy thousand dollars in the last four days.

Although the second weekend’s box office saw a seventy-five percent drop compared to the first, the first weekend’s numbers were high enough.

Moreover, this was typical for fan-driven films.

After just ten days of release, New Moon’s North American box office had reached two hundred thirty-nine million two hundred fifty thousand dollars.

In international markets, the film continued to maintain strong momentum and a leading position, grossing one hundred ninety-six million five hundred eighty thousand dollars across more than thirty countries and regions.

However, fan-driven films tended to have explosive box office success in a short period but struggled to maintain it.

After consecutive high box office earnings in North America, New Moon’s market potential was nearly exhausted.

By the end of February, just before the 80th Academy Awards, three and a half weeks after its North American release, the fantasy romance film had accumulated two hundred eighty-seven million two hundred ten thousand dollars in North America and surpassed five hundred million dollars globally.

New Moon’s North American box office was nearing its end. Based on market data analysis, Relativity Entertainment predicted the final North American box office would exceed three hundred million dollars but would struggle to surpass three hundred ten million dollars.

In international markets, more films would join the lineup, and the global box office had a good chance of reaching eight hundred million dollars.

This single film was enough to generate hundreds of millions in profits for Relativity Entertainment in the short term.

Compared to the critically panned New Moon, the highly acclaimed Slumdog Millionaire needed major Oscar wins to turn a profit.

Chapter 1080: An Unsolvable Problem

Both New Moon and Slumdog Millionaire, films under Relativity Entertainment, presented a stark contrast.

Just before the Oscars, the former had an average score of 4.2 on IMDb, with a Rotten Tomatoes rating plummeting to 24%—undeniably a critical failure. The latter, however, boasted an average IMDb score of 8.5 and a Rotten Tomatoes rating consistently above 95%, clearly a runaway hit in terms of reputation.

Yet, their market performances were the complete opposite of their reception.

New Moon’s box office success was undeniable, while Slumdog Millionaire, even after ten weeks in theaters and a round of expanded screenings following its Oscar nominations, had only grossed $48.62 million in North America. Without major Oscar wins, the film struggled to recoup its costs.

Throughout the awards season, Embassy Pictures had set its sights primarily on Best Picture.

With the writers’ strike resolved, the 80th Academy Awards proceeded as scheduled on February 24th.

Sunny Los Angeles had been drizzling since the 22nd, which was disastrous for the red carpet. Without it, the awards ceremony would be a nightmare for the female stars. The Academy, however, demonstrated its “Oscar speed,” erecting a large white canopy over the small plaza in front of the Kodak Theatre in just two days. The red carpet extending to Hollywood Boulevard was also covered by the same white canopy.

The light rain no longer dampened the stars’ enthusiasm for the red carpet, but the wind accompanying the rain made the experience unpleasant, even in Los Angeles’ mild winter.

But for Hollywood, fresh off the writers’ strike, this storm was nothing.

The open-air stands and streets around the Kodak Theatre were packed with thousands of fans. Among the first stars to walk the red carpet were George Clooney, nominated for Best Actor for Michael Clayton, and German supermodel Heidi Klum with her husband, singer Seal.

Rachel McAdams, in a backless evening gown, caused a frenzy among fans. Cate Blanchett, adorned with a dazzling necklace, gracefully ascended the red carpet. Penélope Cruz, Tom Cruise, and other stars followed, entering the Kodak Theatre.

The two-month-long writers’ strike had cast doubt on whether the 80th Academy Awards would proceed. Now, with the strike over, interest in the live broadcast surged, and ad prices soared.

ABC Television, the broadcaster, earned over $100 million in ad revenue for the first time, as if the strike had inadvertently boosted interest in the ceremony.

At major awards shows, male stars typically stick to black suits, offering little novelty.

Thus, the spotlight on the red carpet naturally fell on the female stars. Like their male counterparts, black was the safe choice for female stars—exuding mystery, sensuality, or elegance, rarely going wrong.

Even Penélope Cruz, arm in arm with Tom Cruise, opted for a black dress.

Their appearance together on the red carpet was a clear sign of reconciliation.

“Penny, you look stunning tonight,” Ronan said in the Kodak Theatre’s foyer, watching Tom Cruise and Penélope Cruz. “Definitely the center of attention.”

Penélope Cruz smiled. “Thank you.” She turned to Tom Cruise. “Tom picked it for me.”

Ronan winked at Tom Cruise. “Tom has great taste.”

“Of course,” Tom Cruise said, then curiously asked, “Where’s Jesse? Why are you alone?”

Ronan shrugged slightly. “She took the new crew to Boston for location scouting.”

Jessica Felton’s Miss Congeniality project was ready, and they were heading to Boston for filming.

Tom Cruise remarked, “She’s always so dedicated.”

Ronan replied earnestly, “Jesse said she’s a producer first and my girlfriend second.”

This remark made all three of them laugh.

They then entered the main hall of the Kodak Theatre. The teams from Relativity Entertainment’s Sunshine Girl, Ratatouille, and Slumdog Millionaire occupied a large section on the left side of the front rows.

Most of the attendees were from Slumdog Millionaire. The Sunshine Girl team had only Rachel McAdams and Lindsay Bill in attendance. Director David Finch, not nominated for Best Director, didn’t show up.

As for Ratatouille, only director and producer Brad Bird was present.

Ronan wasn’t familiar with the Slumdog Millionaire team and sat next to Lindsay Bill.

“David is busy with the final post-production of House of Cards,” Lindsay Bill adjusted her glasses. “He called me specifically to apologize.”

Ronan waved it off. “No problem.” He then asked, “How’s the filming of Eclipse going? We need to aim for a release next year.”

Commercial films are mostly fast-consumption products, and the Twilight series is the fastest of the fast—rising and falling quickly in popularity, with rapid production speeds.

Lionsgate Films used to release one film a year, and Relativity Entertainment followed the same pace. New Moon hadn’t even premiered yet, and Eclipse was already in preparation.

Lindsay Bill replied, “Filming is going smoothly. We’ll finish by May, so the Valentine’s Day release next year won’t be delayed.”

She brought up another issue: “Due to New Moon’s unexpected massive success, the actors and director are getting restless. Their agents are all demanding significant pay raises.”

Ronan was aware of this. For example, Robert Pattinson’s salary for the first film was only $500,000, which increased to $3 million for the second. For Eclipse, it was $5 million. Despite the long-term contract, his agent was now demanding $10 million plus 5% of the North American box office.

“Salary increases are inevitable,” Ronan understood. “The male and female leads’ salaries can go up to $10 million, but we can’t budge on the backend profits.”

With the long-term contract, Relativity Entertainment still held significant leverage, even for sequels. Lindsay Bill nodded slightly. “I understand.”

The music began, and the awards ceremony officially started.

After a brief introductory montage, Jon Stewart, host of The Daily Show, took the stage, opening with the recently concluded writers’ strike.

In a mocking tone, he said, “The past two months have been tough. The bitter writers’ strike split Hollywood, but I’m glad it’s over.”

The awards ceremony began with Best Supporting Actress, as was tradition—either Best Supporting Actor or Actress.

The Best Supporting Actress award went to the former Supreme Sorcerer, with George Clooney’s Michael Clayton taking the lead.

Then, the ceremony continued the slow pace of the previous year.

As the Oscars celebrated their 80th anniversary, the ceremony included many tributes and retrospectives. The lengthy tribute segments caused viewership to plummet from its initial peak.

Fortunately, learning from last year’s mistakes, the producers made some changes to the tribute segments.

Before each major award, montages of past winners were shown, interspersed with clips of famous winners, especially Oscar-winning couples.

This at least gave viewers a reason not to change the channel.

Honestly, the Oscars’ viewership was already terrible, and it would only get worse.

The reason was simple: the old men controlling the Academy’s core believed their era was the best. How to prove it? By constantly reminiscing and paying tribute.

When Ronan’s generation grew old, they might do the same.

Just like in soccer, during the era of the Twin Prodigies, many fans who had witnessed the 80s and 90s believed the Twin Prodigies couldn’t compare to legends like Ronaldo and Batistuta, even thinking their skills were far inferior, despite the Twin Prodigies having more individual and collective honors.

Which era was truly the best? Probably neither side could convince the other.

It was an unsolvable problem.

People always believed their own era was the best.

When this generation grew old and experienced a new era, they too would become part of the “ancient fans.”

Technical awards were presented one after another. Relativity Entertainment had some success—thanks to Rachel McAdams’ captivating look, Sunshine Girl won the Best Makeup statuette.

Sunshine Girl received the first consolation prize.

Next, without any suspense, Brad Bird from Pixar took the stage, accepting the Best Animated Feature statuette from presenter Anne Hathaway.

Similarly, as one of the biggest favorites of this year’s Oscars, Slumdog Millionaire began to rack up awards.

It first won Best Sound, then Best Original Score. For awards closely tied to Best Picture, Slumdog Millionaire took Best Adapted Screenplay and Best Editing, while No Country for Old Men won Best Cinematography. For a while, the overall trend was unclear.

However, there was a surprise—Lindsay Bill won the Best Original Screenplay statuette for Sunshine Girl.

This was Lindsay Bill’s first Oscar after years in the film industry. Overwhelmed with emotion, her acceptance speech was stammering.

Chapter 1081: Equal Distribution of Awards

“Some will speak of the golden age of cinema in the past tense, as if it has been dead for years.”

On stage, last year’s Best Actor winner, Tom Cruise, flashed his charming smile as he delivered the carefully scripted lines: “But the films on this year’s nomination list, with their brilliant performances by these actresses, prove that the golden age of cinema is still very much alive.”

He turned to the large screen behind him: “The nominees for Best Actress are…”

The screen displayed clips from each film as the nominations were announced: “Cate Blanchett for Elizabeth: The Golden Age; Julie Christie for Away from Her; Marion Cotillard for La Vie en Rose; Laura Linney for The Savages; and Rachel McAdams for Sunshine Girl.”

This year’s Best Actress lineup wasn’t particularly strong. While Cate Blanchett was a favorite of the Academy, Elizabeth: The Golden Age was simply a terrible film. Julie Christie and Laura Linney weren’t strong contenders either.

As for Marion Cotillard and Rachel McAdams, it would come down to luck.

Perhaps Relativity Entertainment had won too many awards in recent years, and luck wasn’t on their side this time.

Tom Cruise opened the envelope, glanced at it, and announced: “This year’s Best Actress is Marion Cotillard for La Vie en Rose!”

A wave of disappointment rippled through the Relativity camp. Ronan frowned slightly, sensing something amiss.

A few years earlier, DreamWorks had won three consecutive Oscars, only to fall out of favor afterward.

Was Relativity Entertainment facing the same fate?

Ronan carefully recalled DreamWorks’ situation. After their three-peat with American Beauty, Gladiator, and Life Is Beautiful, their decline was partly due to a lack of outstanding films.

While the Oscars were a game of money and fame—where significant investment was necessary to secure major awards—there was still a baseline. Films competing in this arena had to meet a certain standard of quality. Otherwise, the Academy would have long since tarnished its century-old reputation.

Sunshine Girl had problematic values, so securing Best Makeup and Best Adapted Screenplay as consolation prizes was already impressive.

After all, the film’s themes were completely at odds with mainstream American society and the values promoted by the Academy.

An award as prestigious as Best Actress would never go to this film.

Moreover, Embassy Pictures’ professional team had analyzed the situation beforehand and predicted a strong trend of “equal distribution” at this year’s Oscars.

As it turned out, after years of honing their Oscar PR strategies, Embassy Pictures’ team had a fairly accurate grasp of the Academy’s direction.

Best Actor went to Daniel Day-Lewis for There Will Be Blood.

“And the winner for Best Director is…” announced last year’s winner, Martin Scorsese: “Ethan Coen and Joel Coen!”

Paramount Vantage and Miramax’s No Country for Old Men took home the Best Director statuette.

Three of the four major awards had been given to three different films.

Was this the ultimate “equal distribution”?

Amid the murmurs of the audience, Denzel Washington, the presenter for the final award, took the stage. After the usual preamble, the nominees for Best Picture appeared on the screen: Atonement, Michael Clayton, Slumdog Millionaire, There Will Be Blood, and No Country for Old Men.

The distribution was thorough.

Denzel Washington announced: “The winner for Best Picture is Slumdog Millionaire!”

Cheers erupted around Ronan. Though they had lost Best Director, the crew had just won the most prestigious award of the night.

Andrew led the entire team onstage to accept the award, while Ronan, now retired from frontline production, remained seated, clapping and smiling.

Relativity Entertainment had broken DreamWorks’ record—four consecutive Oscar wins!

Compared to their previous films, Slumdog Millionaire didn’t dominate as strongly. It hadn’t received any acting nominations, and out of the two major nominations—Best Director and Best Picture—it only won one.

But for Relativity Entertainment, this was enough.

Among all the Oscar categories, Best Picture had the strongest market appeal.

With the four major awards announced, the ceremony came to a close.

Afterward, criticism was inevitable, especially regarding the “equal distribution” approach, which only intensified the backlash.

Another undeniable fact was the declining influence of the Oscars.

This was evident in the ratings. American viewers showed little interest in the television broadcast, resulting in the lowest Oscars viewership in history—an average of only about twenty-two million viewers.

Compared to last year, this year’s viewership had dropped by roughly twenty percent, fourteen percent lower than the previous record low set in 2003.

The New York Times commented: “In the face of the writers’ strike and the most interesting presidential election in half a century, what is the Oscars? Who cares where the little gold statuette ends up?”

The presidential election, in which Black Carbon was a contender, was what Americans cared about most at the moment.

The first Black president in history—just the thought of it was enough to understand the massive impact on America.

It would push the various left-wing ideologies that had emerged and developed in American society in recent years to a peak.

The white liberals’ celebration was about to begin.

Similarly, the conservative right’s counterattack would soon follow.

Of course, the so-called “white liberal saint” had always been a facade. The true core of American society remained unchanged.

While European countries were busy rescuing war refugees, the Washington administration had implemented even stricter entry policies…

Those who made it to the top weren’t fools.

Thus, including Ronan and Relativity Entertainment, though they appeared to be white liberals, they were, in reality, opportunists who acted only when it benefited them.

If it was profitable, they would do it. If not, no amount of talk would change their minds.

Though the Oscars’ influence was waning, the Best Picture effect still held weight. After Slumdog Millionaire won Best Picture, it immediately began an expanded release.

With the Best Picture statuette in hand, the film’s positive reputation finally translated into commercial success.

Slumdog Millionaire expanded to 3,215 theaters in North America. In the weekend following the Oscars, it earned twenty-one million two hundred twenty thousand dollars, bringing its North American total to seventy-eight million eight hundred ninety thousand dollars.

The film had finally taken a solid step toward crossing the one hundred million dollar mark at the North American box office.

In the following weekend, Slumdog Millionaire earned another thirteen million five hundred eighty thousand dollars in North America, officially surpassing one hundred million dollars.

Moreover, the film followed a typical long-run strategy, staying in North American theaters for three to four months.

With the prestige of the Best Picture statuette, Slumdog Millionaire had a strong chance of exceeding one hundred fifty million dollars in North American box office.

Including production costs and the PR expenses for the Oscar campaign, Relativity Entertainment had invested a total of twenty-eight million dollars in Slumdog Millionaire. The North American box office alone was enough to generate over ten million dollars in pure profit.

Additionally, after winning Best Picture, the international release of Slumdog Millionaire was fast-tracked.

Embassy Pictures estimated that the overseas box office would exceed two hundred million dollars.

As for the other two award-winning films, the Best Animated Feature win for Ratatouille had only a minimal boost, making it Pixar’s least profitable animated feature since the turn of the century.

Sunshine Girl, which won Best Makeup and Best Adapted Screenplay, saw a decent response after its DVD release post-Oscars.

The two Oscar statuettes helped, even if they weren’t major awards, providing some promotional value.

Additionally, DVDs differed from theatrical releases in that they included more content, much of which had been cut to secure a suitable rating for Sunshine Girl’s theatrical run.

Rachel McAdams had made significant contributions to the art of film— the DVD’s explicit content was on par with Fifty Shades of Grey.

This wasn’t a big deal for Rachel McAdams.

Of course, she also reaped substantial rewards. Though she didn’t win Best Actress, the nomination, combined with Sunshine Girl’s impressive box office performance, had pushed her to the brink of A-list stardom.

At her peak, Rachel McAdams had been a second-tier actress, and later, she hadn’t even been stable in that position.

Her collaboration with Relativity Entertainment had been immensely beneficial.

While her acting had gained recognition, Sunshine Girl’s North American box office of one hundred sixty-five million five hundred forty thousand dollars had also given her significant market appeal.

In its first week, the DVD sold nearly 1.2 million copies, generating over twenty-five million dollars in sales.

Unfortunately, due to its content and themes, Sunshine Girl was banned in many overseas markets, including the Middle East, Africa, and several countries in East Asia and Southeast Asia.

However, in Europe, Australia, Latin America, and Japan and South Korea, the film performed exceptionally well—perhaps because the phenomena depicted in Sunshine Girl were prevalent in these regions.

Who knew if these places also had the tradition of placing a bottle of water on the car roof?

Sunshine Girl had mostly concluded its international run, with an overseas box office total exceeding one hundred fifty million dollars.

This morally questionable film, much like David Finch’s breakthrough Se7en, achieved both critical acclaim and commercial success, ultimately grossing three hundred eleven million two hundred ten thousand dollars worldwide.

As March arrived, David Finch, still adhering to his philosophy of meticulous craftsmanship, continued working on the post-production of House of Cards.

Another director who had been collaborating with Relativity Entertainment, Ang Lee, after several exchanges with Ronan, arrived at Relativity Tower.

Chapter 1082: Serving the Story

“You look much darker.”

In the reception room, Ronan looked at Li’s yellowish-black, almost glowing face and said, “Li, you’ve changed a lot in just a few months.”

Li smiled and replied, “To experience some of the scenes described in the novel, I’ve been going out to sea frequently. This is from the sun.”

Ronan knew Li was the kind of director who led by example. “Life of Pi,” he said, “it seems you’re ready.”

“Yes,” Li nodded firmly, his expression serious. “I’ve been preparing personally for a year.”

This wasn’t just the crew’s preparation—it was Li’s own. Such a director, when inactive, remained still, but once in motion, every cell in his body would be mobilized.

Ronan said, “The more thorough the preparation, the fewer difficulties you might encounter in later stages like planning, filming, and production.”

Li opened his briefcase and took out a clearly printed copy of the script, handing it to Ronan. “I’ve completed the first draft of the script and have some initial plans for the adaptation.”

Taking the script, Ronan slowly flipped through it and said, “Li, tell me about your plans.”

Li organized his thoughts and began, “I plan to shoot and produce Life of Pi in 3D.”

This didn’t surprise Ronan. He looked up at Li and asked, “You want to use 3D?”

“Earlier this year, I specifically went to Weta Workshop in Wellington, New Zealand, to visit James Cameron and his Avatar crew,” Li said, clearly having given this much thought. “I saw some completed segments of Avatar, and the effects were truly astonishing.”

Ronan nodded slightly. “Avatar uses the best special effects and 3D technology in the world right now.”

Li continued, “I want to shoot this story in 3D. Using 3D technology, I can expand the scale of this film, allowing the audience to immerse themselves in Pi’s arduous journey, their hearts completely moved by the story’s emotions.”

He thought for a moment and added, “I hope that when this film is completed, the experience it brings will be as unique as Yann Martel’s novel. Therefore, I must create this film in another dimension. 3D is a new cinematic language. For Life of Pi, it won’t just immerse the audience in the grandeur and adventure, but also in the emotional world of the characters.”

After listening to Li, Ronan, combining his years of experience with what he saw in the script, made an initial judgment: “The production budget won’t be less than one hundred million dollars.”

Li instantly thought of the failure of The Hulk, a high-budget project, and felt a pang of unease, but he still managed to say, “Yes, according to my plan, at least one hundred million dollars.”

He steeled his resolve and said, “This is a very personal story of a young boy who loses his family and must face unimaginable challenges in the grandeur of nature. To capture this part while maintaining the emotional core is extremely complex. It requires technology, determination, and creativity to achieve.”

Ronan put down the script and said, “Li, I believe in you and believe you can bring a successful 3D film.”

Li breathed a sigh of relief and said, “I will do my best.”

Ronan handed the script back to Li and said, “When you return, immediately submit the relevant plans to Shai Entertainment. I will have someone push this project forward as soon as possible.”

“Okay,” Li immediately replied. “I’ll do it right away and then gather people to try to establish the crew as soon as possible.”

Ronan asked, “How long will it take to complete?”

“Before next year’s Cannes Film Festival,” Li answered. “I want to bring this film to next year’s Cannes or Venice Film Festival.”

Ronan understood his meaning: “I will have Embassy Pictures prepare Life of Pi for the awards season.”

For this type of film, to maximize profits, like Slumdog Millionaire, the Oscar prestige is indispensable.

The two then chatted for a while, especially about 3D technology.

Every film worker, especially directors, had different views on 3D.

In Li’s eyes, 3D was just a cinematic technique and should not overshadow the film itself. Specifically for Life of Pi, the 3D technology should solidly serve the story, not just show off.

As this Chinese-American director put it, technology in film should always play a supporting role. No matter how excellent the technology, it could only add to the beauty, not save the day. What truly moves people is always the human heart.

Producing Life of Pi was indeed very difficult, even for Relativity Entertainment. The biggest challenge was balancing the film’s investment.

Just like projects with a production budget of several million dollars, Ronan could let Uwe Boll shoot freely.

For films with a budget under fifty million dollars, Li could shoot and produce according to his ideas within Relativity’s system because, in the global film market, they had the appeal to recoup the investment.

Any film with an investment of over one hundred million dollars was a matter to be taken seriously. Crossing the barriers between art and market had never been simple, especially for a film leaning towards humanities and art.

Fortunately, Ronan had some memory of Life of Pi and enough confidence in Li.

Frankly, Li’s films were quite down-to-earth. Although the pace was slow, they were never obscure or difficult to understand.

In fact, Li had never made a film that deliberately alienated the audience.

Although he had so far messed up the only commercial blockbuster he directed, The Hulk, looking at Li’s filmography, it wasn’t hard to see that his films were basically accessible and easy to understand.

After Li formally submitted the production plan to Shai Entertainment, Life of Pi also set its budget. The initial budget was one hundred million dollars, and they would see later if additional investment was necessary.

Li quickly gathered the shooting team and needed to go to India to personally select a suitable male lead. He hoped to find a simple Indian boy to play the lead role of Pi.

Relativity’s Indian branch in Mumbai would fully assist Li.

Besides Life of Pi, Relativity Entertainment had several other projects officially greenlit this month. Matthew Vaughn, who had completed Kick-Ass, formally moved into the preparation and shooting of the new Ace Agents.

Shai Entertainment Animation Studio’s film about pets was also officially greenlit under Ronan’s promotion, with the project named The Secret Life of Pets.

For live-action fairy tale films, Cinderella began script creation.

Unlike the dark fairy tale films currently evolving in Hollywood, this new Cinderella would follow the fairy tale story as closely as possible.

Of course, it wouldn’t follow the earliest version of the Cinderella story, but the children’s version widely circulated around the world.

If they really shot according to the earliest folk stories, this film might end up with an NC-17 rating.

Many fairy tales originated from folklore. Compared to the later versions, the earliest ones were full of violence, bloodshed, and even suggestive elements.

For example, things like incest were commonplace in those versions.

As for Cinderella running out of the palace to specifically stop and throw a shoe, it was impossible to appear in Relativity’s live-action fairy tale films.

Additionally, Shai Entertainment was also in initial contact with Angelina Jolie, planning to invite her to play a witch in another live-action fairy tale film.

But Angelina Jolie was full of doubts about playing a witch because, since she got together with Brad Pitt, although her commercial value had clearly increased, her image was worrying. From a long-term perspective, playing an evil witch was not an ideal choice.

Shai Entertainment wasn’t in a hurry and planned to wait until the script was completed to dispel Angelina Jolie’s doubts with the plot and character settings. After all, this witch wasn’t evil.

Just like the subversive prince and Snow Queen in Frozen, the witch wasn’t necessarily a bad person, and Sleeping Beauty didn’t need a prince to wake her up.

In March, Relativity Entertainment still had films released. In this relatively cold schedule, there were no first-line commercial films.

In the first ten days, the Final Destination series appeared in North American theaters for the fifth time. Death might be late, but it would never be absent.

This time, a group of Americans who escaped a bridge collapse would face Death’s journey of claiming lives. No matter where they escaped to, it would be of no use.

It was still a formulaic routine with bloody and cruel deaths, but compared to previous works, this one still successfully created a thrilling atmosphere of the entire slow death process, allowing the audience to experience that sitting-on-pins-and-needles, breathless sensation again.

The unseen Death was more terrifying than a visible killer. This had always been a major selling point of the Final Destination series.

No matter how they escaped, people were ultimately doomed to die.

With the fan base accumulated from the first four parts, Final Destination 5 was not lacking in audience. The North American opening weekend brought in twenty-eight million nine hundred fifty thousand dollars at the box office.

The overseas release, synchronized with the domestic one, had an even better response, with nearly thirty-five million dollars entering the box office account in the first weekend.

Embassy Pictures’ conservative estimate was that the global box office of Final Destination 5 was expected to reach one hundred eighty million dollars.

Not to mention predictions, the opening results had already allowed Death’s torture game to continue.

After this film, Embassy Pictures released another work, Abraham Lincoln, Vampire Hunter. Due to the final production cost of only one hundred fifty thousand dollars, the shooting was quite rough, and there were no special points for publicity. The film was directly pushed into the DVD market and Netflix Streaming Media.

For such a B-movie, recouping the cost wasn’t a big problem; the only suspense was how long it would take.

With the help of Brother Bao’s Netflix sharing account and the official website of Abraham Lincoln: Vampire Hunter, Abraham Lincoln, Vampire Hunter sold fifty thousand DVDs in the first week after its release, not only achieving a return on investment but also making a profit of several hundred thousand dollars.

By the end of March, Embassy Pictures released the real highlight of the month—The Karate Kid.

Chapter 1083: The So-Called Freedom

If Hollywood were to rank good husbands, Will Smith would undoubtedly be at the bottom of the list. But when it came to being a good father, he was among the best—if not the very best.

Starting with The Pursuit of Happyness, Will Smith had been bringing his son along to act in films, hoping that Jaden Smith, who had a deep passion for acting, could establish himself in Hollywood as soon as possible.

To be honest, Jaden Smith had a head start over ninety-nine point nine percent of people in Hollywood, and with his father’s guidance, it would be against all odds if he didn’t succeed.

For The Karate Kid, Will Smith had gone above and beyond. He personally went to Sony Columbia Pictures to secure the remake rights for The Karate Kid, then convinced Jackie Chan to co-star with his son as the male lead. Later, he even brought the entire crew to the East, filming on location in the capital city.

Though the production and investment were handled by Relativity Entertainment, it was no exaggeration to say that without Will Smith, The Karate Kid would not exist.

At the premiere, Will Smith had pulled every string he could, inviting numerous stars and celebrities to cheer his son on.

Among them were fellow Black actors Halle Berry and Denzel Washington, as well as past collaborators like Charlize Theron and Michael Bay.

Keanu Reeves, Matt Damon, and Russell Crowe were also in attendance.

Ronan and Tom Cruise, of course, would not miss such an event and arrived right on time for The Karate Kid’s premiere.

“Hello, Mr. Anderson.”

As soon as they entered the theater’s foyer, Jackie Chan came over to greet them. “It’s an honor to collaborate with Relativity Entertainment.”

Ronan shook his hand politely. “The honor is ours to have you in this film. I’ve always admired your work—your action films are incredible.”

Jackie Chan, accustomed to grand occasions, remained composed. “Thank you.”

Ronan exchanged a few words with Jackie Chan, particularly about the state of the Eastern film industry. No one could underestimate Jackie Chan’s immense influence in the Eastern market.

And Ronan would never let internet rumors color his perception of Jackie Chan—such things were just part of the entertainment industry’s norm.

Looking around at the Hollywood male stars present at the premiere, how many of them were truly better than Jackie Chan in that regard?

Many people came over to greet Ronan, and he handled each interaction with ease, exchanging pleasantries.

Keanu Reeves approached next, his unkempt hair and thick beard giving him the typical “hobo” look of a celebrity.

“Any new films coming up?” Ronan asked casually.

“No,” Keanu Reeves replied, his beard obscuring his expression. “I’ve just been resting lately.”

Ronan, seemingly offhand, asked, “Any interest in working with Relativity Entertainment?”

If Keanu Reeves wasn’t interested, they could always find another actor.

Keanu Reeves had an eccentric personality. After a moment of silence, he said, “Sure. Everyone in Hollywood wants to work with Relativity.”

Ronan replied, “We’ll have someone from Shai Entertainment reach out to you soon. Tiger Chen will also be part of the project.”

Compared to most Hollywood stars, Keanu Reeves was low-key and valued loyalty. He had once personally funded Tiger Chen’s film.

The Smith family of three entered the theater.

Jada Smith chatted with a group of women, while Will Smith and Jaden Smith made their rounds, greeting everyone before finding Ronan and Tom Cruise.

“Mr. Anderson, Mr. Cruise.” Jaden Smith seemed a little nervous in their presence.

Ronan smiled and nodded. “You did great. The film is excellent.”

When it came to children, encouragement was always appropriate.

Jaden Smith was exceptionally polite in front of Ronan. “I just did my best not to disappoint you and my father.”

Tom Cruise lightly patted Jaden Smith’s shoulder. “Action films are tough.”

Jaden Smith nodded in agreement. “Yeah, training five hours a day, and when filming, you have to actually hit people—but lightly, while making it look powerful. It’s really hard.”

“But you pulled it off,” Will Smith said proudly. “Jaden loved every minute of the training and filming.”

Jaden Smith, still nervous, quickly said, “Dad, I see a friend.”

Will Smith waved him off. “Go ahead.” Once Jaden left, he continued, “Filming in the East really broadened my horizons. I realized that even authoritative media like The New York Times talk nonsense. Their reporting on the East is completely off—just blind guesswork.”

Ronan couldn’t help but laugh. “When have they ever not been blindly guessing?”

Tom Cruise nodded in agreement. “These so-called authoritative media? They just serve certain interests. They only see what they want to see, report what they want to report—even if it’s fabricated.”

Will Smith shrugged slightly. “I’ve learned my lesson—never trust American media. You have to see things for yourself to know the truth.” He then changed the subject. “Take kung fu, for example. I used to think it was this high-level, powerful martial art. But when I went to the East for filming, I attended some kind of kung fu conference—supposedly a gathering of the heads of different martial arts schools, some with centuries of history. And what did I see?”

Having lived in the East before, Ronan could already imagine the scene.

Tom Cruise asked curiously, “What happened?”

Will Smith covered his forehead. “I saw a show—a super exaggerated performance, even more over-the-top than WWE. It ruined all my good impressions of kung fu.”

Ronan could guess what Will Smith had witnessed—likely one of those chaotic “masters” displays.

There had been far too many such cases, like that female tai chi “master”…

“Oh, right, Ronan, you know the East better than I do,” Will Smith asked. “Has kung fu just become a performance there?”

Ronan didn’t know how to answer. “Kung fu is like boxing, Muay Thai, or MMA—it’s a form of martial arts. But just like WWE, there are a lot of external performances involved.”

He couldn’t explain it clearly, but in the internet age, many so-called kung fu masters were being exposed as frauds. One particular madman had humiliated countless “masters,” shattering the myth of kung fu in the public eye.

On some level, this had dismantled the idea of kung fu masters in folk culture.

Anyone with half a brain knew that in the face of more scientific equipment, better nutrition, and professional training, amateur practitioners couldn’t compete with professionals.

Modern professional sports were influenced by too many factors—doping, for instance.

American professional sports were practically leading global trends—just look at the Tour de France doping scandals.

And no one dared to criticize the big names. When professional sports became intertwined with commerce, performance was all that mattered.

In recent years, track and field and swimming had been hit hardest.

It was almost time. Will Smith gestured for Ronan and Tom Cruise to enter the screening hall. As they walked, he said, “The test screenings went great. The film should do well, and Jaden will become a star overnight.”

Tom Cruise added, “Hollywood will have a new rising star.”

Will Smith beamed with pride.

“This is good, but you should be careful,” Ronan warned, given his close relationship with Will Smith. “Will, you need to manage and guide Jaden more…”

Will Smith, deeply influenced by American ideals—especially Southern California’s liberalism—replied, “Jaden isn’t a child anymore. I believe giving him freedom will help him grow even more.”

Ronan didn’t know what to say. After all, Jaden was Will Smith’s son.

The so-called “freedom” often led to recklessness.

But there was no way he could say that to a doting father like Will Smith.

Ronan wasn’t some hot-headed teenager who thought he could change the world. He decided to drop the subject.

Soon after entering the theater, The Karate Kid began screening.

This kung fu film, adapted from the 1980s classic The Karate Kid, was one of the few films Ronan had directly influenced in recent years.

Compared to the original, the plot had undergone massive changes.

The original The Karate Kid, despite its Eastern elements and homage to kung fu, was riddled with Hollywood and American biases toward the East. It often defied Eastern social norms, portraying characters with clear prejudices.

For example, the film’s theme followed the typical “good vs. evil” trope, where the American protagonist, Dre, representing “good,” ultimately triumphs over the “evil” Eastern dojo.

To create conflict, the film had sacrificed basic logic, crafting a series of biased character portrayals.

Setting aside emotional factors, this was commercially unsound.

The Karate Kid’s largest markets were North America and the East Asian and Southeast Asian regions. While average American audiences didn’t care about the specifics of foreign lands—only seeking novelty—the growing Eastern market would be directly affected by negative portrayals and biases.

Ronan, emotionally, would never allow a Relativity film to perpetuate such stereotypes.

Thus, whether from a commercial or emotional standpoint, even though the story was still set in the East, the characters and plot had undergone drastic changes under Ronan’s direct intervention.

Chapter 1084: Castle in the Air

Under the premise of ensuring the North American market, the film’s content leaned slightly toward the East.

The male lead, following his mother who had been transferred to work in the East, arrived in the capital city and enrolled in a bilingual international school. School violence is a universal phenomenon worldwide, especially for newcomers who have just transferred, often plagued by it.

Jaden Smith, playing the male lead Drew, faced this situation. A group of Thai boys, led by Chai, relied on their training in Thai boxing gyms and their foreigner status to frequently bully local students, even resorting to physical violence.

The status of foreign friends made the school and even law enforcement agencies hesitant, further fueling the arrogance of this group.

Inevitably, Drew clashed with the school violence gang led by Chai and was knocked out.

What followed was the familiar routine of Eastern kung fu films: a plumber with extraordinary skills became Drew’s kung fu teacher, teaching him martial arts to combat the school’s evil forces.

The hot-blooded Thais and the Americans, who thought they could save the entire universe, clashed.

Of course, the image of the East was portrayed very positively. For example, Eastern students were always helping the new student Drew integrate into the school and the new environment.

For instance, Drew’s rough attitude toward his mother was eventually softened by Eastern warmth, leading to a harmonious mother-son relationship.

For example, the display of Eastern harmonious society.

The Eastern metropolis, serving as the backdrop, was an absolutely modern city with towering skyscrapers, as well as traditional courtyard houses and the Forbidden City.

In the movie, it truly reflected the real scenery of an Eastern metropolis, a bustling international city no less than New York and Los Angeles.

There were also some Eastern elements forcibly added for the overseas market, especially some iconic buildings and backgrounds.

For example, before the final martial arts competition, the plumber used Drew’s vacation to take him on a journey of training and enlightenment, experiencing the true essence of kung fu.

The Forbidden City, the Great Wall, bamboo forests, Wudang Mountain, and so on, all became the backdrop for Drew’s training.

These piled-up Eastern elements were superficial and had no effect on the plot development, merely catering to Western audiences’ curiosity about exotic scenery.

The Karate Kid was a standard Hollywood assembly-line product. The first half had a good pace, but the second half, with its training on the Great Wall and Wudang Mountain, was bound to be uninteresting in the eyes of Eastern audiences.

But in North America and the international market, this was a very important selling point.

Moreover, this film was shot in the East, and Relativity Entertainment’s Eastern branch also respected the opinions of the local film department. According to the intermediary from China Film, the leaders attached great importance to this, as it represented cultural output.

What could be output from such a clichéd story and such a cooperative model?

Hoping that Hollywood would produce a film reflecting the core of Eastern culture was impossible, even if the director was Ang Lee.

Hollywood directors and production teams ultimately served Hollywood companies.

In short, to truly spread Eastern films worldwide, don’t pin your hopes on Western screenwriters and directors.

Even with people like Ronan and Relativity Entertainment, despite making so many settings favorable to the East within the scope of the North American market, the ultimate goal was still commercial profit.

The Eastern film industry had a long way to go for cultural output.

This was not something that could be solved by the film industry alone.

Although many changes were made, after the premiere, Ronan still felt the entire film was floating.

Because it had to consider the market and commerce, The Karate Kid was fine when set in the metropolis, at least somewhat resembling real Eastern life, not an Eastern story imagined by Americans sitting in their offices. But when it came to the stage where the male lead traveled and trained, it became a castle in the air satisfying curiosity.

Who trained on the Great Wall at Badaling every day? Even if you were an international friend, you still had to buy a ticket. The cost of tickets alone would be terrifying.

Also, Eastern scenic spots were always full of hidden masters. On the peaks of tourist attractions, there were always some idle monks practicing martial arts.

This was even more ridiculous. There were monks, but they were not practicing martial arts; they were making money.

Anyway, Westerners didn’t understand this. Maybe after the release, it could attract a large number of foreign tourists.

Some scenic spots didn’t charge the crew any fees and even provided advertising sponsorship, showing great foresight in making money.

To some extent, this was also an Eastern tourism advertisement.

Giving a few days’ worth of ticket fees and waiving the crew’s ticket and venue fees didn’t cost much. This crew was led by Will Smith! And there was a superstar like Jackie Chan! What if it became a worldwide hit?

People might not know Will Smith, but Jackie Chan was a household name.

The scenic spot where Jackie Chan came to film!

This promotional gimmick was hard to resist. It could at least boost tourist numbers by a few points. Even if it didn’t, couldn’t they take this opportunity to raise prices? Look at the neighbors. Originally, a 10 yuan ticket, after spending money to hire a bunch of fake monks for some grand event, suddenly rose to 50 yuan.

Then, the next year, they continued, and the ticket price directly became 150 yuan!

Following this trend, in a few years, the ticket price would surely break 200 yuan.

Now, the competition among scenic spots was also fierce. It was said that Michael Bay’s Transformers 2 crew intended to shoot in the East, and instantly, more than a dozen cities and over twenty scenic spots actively contacted Relativity Entertainment’s Eastern branch.

As for advertisers, there were countless.

To make their computer the only one used by the female lead Candice Swaneepoel in the movie, the famous trade-driven technology company offered a $10 million advertising sponsorship fee during their first contact with Relativity Entertainment’s Eastern branch.

There was an even crazier one: if Optimus Prime drank milk, a dairy company was willing to provide $6 million for the crew.

It was said that Michael Bay, adhering to the principle of being responsible for the crew and making more money for the producers, was seriously considering the relevant advertising sponsorships. Fortunately, after Ronan received the news, he temporarily called a halt.

The computer was not a problem, and the milk was not a problem, but the milk had to be drunk by Candice Swaneepoel. It absolutely could not be drunk by Optimus Prime.

Advertisements couldn’t be forcefully inserted!

The Karate Kid received a total of $3.6 million in advertising sponsorship from the East, including scenic spots and multiple brand manufacturers, as this was a story set in a modern Eastern metropolis.

For The Karate Kid, which ultimately cost $25 million in production, this was also a significant amount of income.

In the end of the film, the American boy, after receiving training and guidance from his Eastern teacher, defeated the savage Thais and became the champion of the martial arts competition.

In the Hollywood film model, this was a frequently used inspirational story. The protagonist must reach the pinnacle of his work tasks through effort. Relativity Entertainment’s The Pursuit of Happyness, produced a few years ago, also showed Will Smith’s character going through hardships to finally achieve success.

This father and son could be considered a continuation of the same legacy.

Will Smith poured countless efforts into The Karate Kid. Relativity Entertainment’s internal preview evaluation was quite good, and Embassy Pictures invested sufficient promotional and distribution resources.

Despite the same weekend seeing the large-scale release of 21, distributed by Sony Columbia Pictures, Embassy Pictures still secured nearly 4,000 theaters for The Karate Kid.

This week’s competitor, 21, also had some strength, claiming to be based on real events from Las Vegas casinos. The pre-release promotion also created quite a momentum.

But this could not stop The Karate Kid from topping the North American box office chart this week.

In the North American opening weekend, The Karate Kid lived up to the expectations of Will Smith, the warm-hearted father, and topped the box office chart with $58.96 million.

The higher-budgeted 21 also exceeded Sony Columbia Pictures’ expectations with $24.1 million, sitting in second place on the box office chart.

Both films were full of gimmicks, with momentum far exceeding their actual strength.

Frankly, The Karate Kid sold well, largely thanks to Will Smith.

In this era, it seemed that any movie directly associated with Will Smith had no poor commercial performance.

This black actor with a pair of prominent ears seemed to possess a magical power in the movie market.

After the film’s release, Will Smith worked hard to promote his son.

“When we chose Jackie Chan to play Drew’s master, an exciting idea flashed in our minds—East!” Will Smith continuously dragged his son Jaden Smith to media interviews: “We knew we were asking for trouble, but it turned out that this arrangement not only made the film’s theme more prominent but even turned it into an epic. I am very proud that we completed the filming in the East. When you see Jaden and Jackie Chan training together on the Great Wall, you will definitely be shocked—that’s a scene we could never have filmed in Los Angeles.”

He had always been a smart man, praising the filming location: “The power contained in such a place is something no one can replicate. Its magic brings a more realistic texture to the film. Working together in such a place is a very important experience for me and my family.”

Released simultaneously in the United States and the East, The Karate Kid also achieved remarkable results in the East, earning nearly 35 million yuan in the first three days, with the final Eastern box office expected to reach 150 million yuan.

After all, this was not a top-tier production like Transformers with a strong fan base. In this era, such box office results were already very good.

In North America, despite the very average word of mouth, The Karate Kid performed quite stably. After the second weekend with $29.87 million, the box office accumulated to $111.13 million in ten days.

The film also gradually opened in international markets, with overseas box office quickly exceeding $40 million. The scale of screenings would soon spread to more than 80 countries and regions in the following weeks.

Through this film, Relativity Entertainment could be said to have made a fortune.

Will Smith and his son Jaden Smith were also winners.

Chapter 1085: Unease

“Cut! That’s a wrap…”

The director’s voice echoed down the street, and the crew bustled into action. Jessica Felton glanced at the sun sinking below the horizon and walked toward her SUV.

Two female bodyguards immediately followed.

This was Boston, and Jessica Felton had been leading the crew here for some time.

The SUV was spacious. Jessica Felton leaned back in the comfortable seat, stretched out her long legs in jeans, and yawned before taking a sip of water.

She checked the time, pulled out her phone, and dialed Ronan’s number. The familiar voice answered quickly, and a smile involuntarily spread across her face. “I just finished work and am heading back to the hotel.”

On the other end, Ronan asked, “How’s the filming going? When are you coming back?”

Jessica Felton thought about the shooting schedule and said, “The outdoor scenes should be done this week. The remaining studio scenes will be shot back in Los Angeles.” She asked, “Is something up?”

“There’s a party we need to attend together,” Ronan said simply. “The Karate Kid is a box office hit, and Will is planning a celebration party. He sent us both an invitation.”

Jessica Felton asked, “When?”

“This weekend.”

Jessica Felton calculated briefly, “The crew returns to Los Angeles Friday afternoon. We’ll make it.”

They exchanged a few intimate words before Jessica Felton hung up and put away her phone.

She rolled down the window and glanced at the crew, who were still clearing the set.

She didn’t need to worry about that. She rolled up the window and said to Anna, who was driving, “Let’s go, back to the hotel.”

As soon as she finished speaking, someone knocked on the car door. Aisha, sitting in the passenger seat, looked over warily and said, “It’s Miss Bullock.”

Jessica Felton opened the door. Sandra Bullock, her makeup removed, stood by the car and asked with a smile, “Jesse, can I hitch a ride?”

She was the female lead of the film. Jessica Felton, of course, wouldn’t refuse such a small request. “Get in.”

Sandra Bullock quickly got in and sat in the seat next to Jessica Felton.

The car started and drove toward the hotel where the crew was staying.

“Miss Congeniality will be finished soon,” Sandra Bullock probed. “Jesse, are you going to continue with the next Fast & Furious sequel?”

Jessica Felton tucked a strand of her long brown hair behind her ear and said, “It depends on the market response to the fourth one.”

Sandra Bullock immediately said, “The third one was a box office hit. The fourth one is bound to be a success.”

Jessica Felton smiled. “Hopefully.”

She looked at Sandra Bullock and suddenly asked, “Are you very interested in this series?”

Sandra Bullock looked like a typical American airhead, but she was anything but. She smiled and said, “No.” Then she explained, “I signed a three-picture deal with Relativity Entertainment. Besides Miss Congeniality, I don’t know what the other two will be, and it’s making me a little uneasy.”

“Relativity Entertainment’s reputation is well-known,” Jessica Felton said, her faint smile fading, her expression serious. “Relativity Entertainment has never forced any actor to star in a bad movie.”

Sandra Bullock’s situation hadn’t been great in recent years. She wouldn’t have signed a long-term contract for three films if she had other options. She quickly said, “Relativity Entertainment’s credibility is certainly guaranteed, and I believe that…”

Her words carried a hint of probing, “A few days ago, during a break in filming, I saw you reading a book called Weakness: The Game Process.”

The copyright for this book was already in Relativity Entertainment’s hands, and Jessica Felton hadn’t hidden it when she was reading it. She nodded slightly. “Yes.”

“I’ve read that book too,” Sandra Bullock said. “The Tuohy family is very moving.”

Jessica Felton smiled but didn’t respond.

Sandra Bullock asked, “Is Relativity Entertainment planning to adapt this work? Have they secured the copyright?”

Jessica Felton considered for a moment and said, “Shai Entertainment has already started adapting the script.”

Hearing this definitive answer, Sandra Bullock was tempted. Rather than leaving her next two films to uncertain projects, it was better to choose something she could get involved in.

Moreover, this was a real-life biopic! It involved family emotions, helping a Black man, and American football—all hot topics.

Sandra Bullock looked at Jessica Felton’s face, which was more beautiful and refined than most Hollywood actresses, and sighed inwardly that she had chosen the wrong profession. She asked carefully, “Jesse, are you in charge of this project? Would you consider me for a role?”

Jessica Felton replied directly, “I am in charge, but it will have to wait until the new Fast & Furious is completed.”

Sandra Bullock could tell that Jessica Felton didn’t reject her outright. She immediately said, “I can wait.”

She hesitated for a moment before expressing her strong determination, “I’ve read some of this book too, and I really like it. To be honest, at my age, I can’t keep playing unmarried girls. I should be playing mothers.”

“Alright, when the script is done, you can take a look at it first,” Jessica Felton said, embodying the strong yet approachable style of Relativity Entertainment. “After all, actors and films are a mutual selection.”

Sandra Bullock felt respected. No one disliked being respected, even if it was superficial. “Okay, I’ll wait anytime.”

After finishing their work talk, the two gradually shifted the conversation to topics women loved—fashion and makeup.

The SUV stopped in front of the hotel, and their casual chat came to an end. Sandra Bullock and Jessica Felton got out of the car one after the other. Aisha, who had gotten out first, stood silently by Jessica Felton’s side, looking like an ordinary personal assistant.

Inside the hotel, Jessica Felton and Sandra Bullock parted ways. Jessica Felton took the elevator directly to her luxury suite, with Aisha and Anna following her in.

They exchanged a gesture, signaling Jessica Felton to stay quiet, then used a device to carefully inspect the room.

Ever since arriving in Boston, this routine had been performed every day. Jessica Felton sat on the sofa, watching the two bodyguards work.

She showed no impatience and never complained about Ronan, who was far away in Los Angeles.

Jessica Felton knew this was for her safety. Although Ronan hadn’t been entirely clear last time, she could tell that someone was planning to harm him, and as his girlfriend, she might become their target.

Ronan was a very reliable person and wouldn’t say things without reason.

Jessica Felton picked up Weakness: The Game Process and began considering the movie adaptation.

The female lead was easy. Sandra Bullock’s age and acting skills weren’t an issue.

The male lead was a bit more complicated.

She had someone gather relevant information. In real life, Michael Oher was a standard giant—6 feet 4 inches tall, 344 pounds. He was a “dominant force” feared by all on the college football field.

But finding such a giant in Hollywood, where slender men were the norm, wasn’t easy.

They needed someone with a similar height and weight, basic acting skills, and had to be Black. Combining these three conditions made finding the right actor difficult.

For a role based on a real person, they couldn’t choose someone too far off the mark.

Clark Duncan? Jessica Felton thought of a Black actor in the industry. He was big, but too old.

They would have to check with each talent agency and acting school.

As for the genre, it would definitely be an inspirational film.

Jessica Felton closed her eyes and thought for a moment. The story of a football player rising from the bottom of society seemed more real than those Hollywood inspirational films about success.

Many Hollywood inspirational films were about how fallen people regained their confidence and lives. Their downfall was largely their own fault and didn’t deserve sympathy.

Such dramatic ups and downs weren’t something to be celebrated.

To a large extent, these so-called inspirational films were just sugar-coated bullets, never touching the truth of the matter.

Jessica Felton had heard Ronan say that The Pursuit of Happyness had become a mandatory training film for companies like Amway in the United States.

In comparison, Michael Oher had been an orphan since childhood, enduring hardships. If such a person found meaning in life, their drive would be endless. A story of rising step by step to the pinnacle of life would be more inspiring.

Jessica Felton came from a working-class family and was Latino herself. She had seen too many Latino and African growth experiences. It was hard to imagine how Michael Oher could maintain an optimistic and upward attitude in such an environment.

Anna and Aisha returned to the suite’s living room. The former said, “No problems.”

The latter added, “Ma’am, there have been more people following you lately. You need to be more careful.”

“Are they reporters?” Jessica Felton had noticed this. As Ronan became the first hundred-billionaire in history, the reporters and paparazzi following her had increased. “They all want to dig up some big news from me.”

Aisha said, “Our people have observed carefully. Most are paparazzi and reporters, but we can’t let our guard down. It’s hard to say if some of them have other motives.”

Jessica Felton nodded. “I’ll have to trouble you with this.”

Aisha quickly said, “Ma’am, it’s our job.”

Jessica Felton put down her book. “I’m going to take a shower. Let’s go out for dinner later.”

The filming of Miss Congeniality in Boston went smoothly, and the crew returned to Los Angeles on Friday as scheduled.

Chapter 1086: S.H.I.E.L.D.’s Coffee

The first weekend of April, which was the third day since Jessica Felton had returned to Los Angeles from Boston, she accompanied Ronan to the celebratory banquet hosted by Will Smith.

“Congratulations, Will. Congratulations, Jada.”

In the bustling banquet hall, Jessica Felton, following Ronan, extended her congratulations to the couple and handed the gift in her hand to Jaden Smith: “Congratulations, future superstar.”

Will Smith smiled and said, “Jesse, you’re too kind.”

Jaden Smith was very polite: “Thank you.”

Ronan looked at Will Smith and said, “The movie was such a success, and Jaden performed brilliantly. Your efforts as a father have not been in vain.”

Will Smith looked at Jaden Smith with pride in his eyes and smiled, “Finally achieved some success.”

Jessica Felton, arm in arm with Ronan, sighed inwardly, thinking that there were indeed no parents in the world who did not love their children.

Moreover, with The Karate Kid project, Ronan had killed two birds with one stone, both maintaining his long-standing friendship with Will Smith and securing actual commercial gains for Relativity Entertainment.

“Regardless, Ronan, I still have to thank you.” Will Smith had a server bring over several glasses of champagne and toasted with Ronan and Jessica Felton, saying, “Without your strong support, this movie would not have been a success.”

Ronan did not stand on ceremony with Will Smith: “You owe me a treat next time.”

Will Smith laughed heartily and said, “No problem.” Jaden Smith and Jada Smith had gone elsewhere at this point, and he asked, “Is there hope for a sequel to The Karate Kid?”

When it came to movies and work, Ronan put away his smile and seriously said, “This is not something Relativity Entertainment can decide. Will, the rights to The Karate Kid were negotiated by you from Sony Columbia Pictures. Although Sony Columbia gave full rights, the authorization is only for one film. If you want to shoot a sequel, you need new authorization from Sony Columbia.”

Sony Columbia was not foolish; they only sold the remake rights to Will Smith and Relativity Entertainment, but sequels were not included.

Ronan continued, “Given the situation with The Karate Kid, Sony Columbia will not give Relativity Entertainment authorization again.”

Will Smith only thought about it briefly before realizing that Ronan was telling the truth. He sighed and said, “Sequels are troublesome.”

Ronan suggested, “You can continue to cooperate with Sony Columbia.”

“This… wouldn’t that be inappropriate?” Will Smith said, “Without Relativity Entertainment, The Karate Kid would not have been a success.”

Ronan spoke frankly, “If it were someone else, I definitely wouldn’t say this. But Will, given our friendship, this is nothing. Jaden’s future is important.”

Truthfully, he did not want to see Will Smith become a figure despised by Hollywood for endlessly dragging his son along. If Jaden Smith could solidify his rising fame with The Karate Kid and its sequels, Will Smith would not have to work himself to the bone.

Jessica Felton glanced at her boyfriend, more or less guessing Ronan’s thoughts. As a friend, Ronan was truly beyond reproach.

Undeniably, Ronan had an extremely utilitarian, thick-skinned, and cunning side, but when it came to friends and those around him, he always left people speechless.

Perhaps this was one of the major reasons why she could let go of the past and wholeheartedly accept Ronan’s pursuit.

Jessica Felton was very clear that the temptations Ronan faced were only increasing, yet he firmly held his ground, cutting ties with the past.

Ronan chatted with Will Smith for a few more moments before taking Jessica Felton elsewhere. Soon, they found Tom Cruise and Penélope Cruz.

“Hey, Jesse.” Penélope Cruz warmly hugged Jessica Felton lightly and said, “Long time no see. There are some things I want to ask you. Shall we go somewhere else?”

Jessica Felton smiled and said, “Sure.” She turned to Ronan and said, “Penny and I are going to chat about some girl talk.”

Ronan watched the two women leave and asked Tom Cruise, “So, is this officially confirming your relationship with Penny?”

“Something like that.” Tom Cruise felt like he was stuck in a bad stock investment: “At least it reduces a lot of unnecessary harassment, especially from that aspect.”

Ronan understood what he meant: “Penny is a smart woman.”

Tom Cruise saw no need to hide anything from Ronan and said, “Having Penny handle some things is better than me getting a headache.”

Ronan then changed the subject and asked, “How is the progress on Mission: Impossible 4?”

“Preparations are almost complete.” Tom Cruise simply said, “Estimated to start filming around May, aiming for a summer release in 2009.”

He asked concernedly, “What about Inception? Will it be released on time?”

Compared to his previous situation, Tom Cruise’s circumstances were much better now. Thanks to Ronan and Relativity Entertainment, he not only avoided the persistent smear campaign by Pat Kingsley but also won Best Actor for The Departed and starred as the male lead in Inception.

Ronan said, “Rest assured, it will definitely be released on time. This is Relativity Entertainment’s key project this year.”

Tom Cruise sighed and said, “Relativity Entertainment has too many key projects.”

He had seen Embassy Pictures’ distribution list. Relativity Entertainment was releasing several big-budget productions this year, including Iron Man 2, Avatar, Alice in Wonderland, Fast & Furious 4, Inception, Captain America…

Ronan was straightforward: “Relativity Entertainment has been planning for years, and now it’s time to reap the rewards.”

Tom Cruise lowered his voice and asked, “I heard that Shai Entertainment has confirmed several 3D movie projects. Do you have high hopes for the future of 3D?”

Ronan said, “At least in the short term, 3D will be popular. Moreover, the number of North American theater audiences has not only failed to increase in recent years but has been slowly decreasing. How can box office revenue increase? We can only think of ways to increase ticket prices.”

Tom Cruise slowly nodded: “3D movie tickets are a third more expensive than regular ones.”

Ronan directly said, “In many overseas places, 3D movie tickets can double in price, or even more.”

In the short term, 3D was undoubtedly a good way to increase movie revenue, but over time, the flaws of 3D would also be exposed.

Ronan knew why Tom Cruise was asking these questions and advised, “Mission: Impossible 4 is better off not using 3D format. Fast-paced action films using 3D screenings can be disastrous and make people dizzy.”

“I understand.” Tom Cruise took Ronan’s words about movies very seriously: “I will have a good talk with Paramount.”

The rights to the Mission: Impossible series had always been a troublesome matter and a source of various conflicts between Tom Cruise and Paramount. The two sides had quarreled many times over investment and profits before finally reaching a balance.

Ronan then saw Samuel L. Jackson, the black old man wearing a beret, looking quite stylish.

“Look who it is.” Ronan shook hands with Samuel L. Jackson and joked, “Isn’t this my S.H.I.E.L.D. director?”

Samuel L. Jackson played along with Ronan’s joke: “Mr. Anderson, you can’t reveal my identity in public, or I’ll have to invite you to S.H.I.E.L.D. for coffee.”

Ronan seriously replied, “I heard S.H.I.E.L.D.’s coffee is terrible.”

Samuel L. Jackson said, “My future is tied to S.H.I.E.L.D.”

Ronan solemnly said, “Samuel, when you look back ten years from now, you will definitely think this was a very wise decision.”

Compared to others, Samuel L. Jackson was more deeply involved in the Marvel Avengers series. It wasn’t that Nick Fury was particularly important, but aside from the movies, Samuel L. Jackson had also authorized Marvel to use his likeness for all Marvel comics and merchandise toys featuring Nick Fury.

Of course, the premise was that Nick Fury had to be a positive character.

This king of agents was not a simple character in movies and comics—dark-skinned, with a heart even darker.

If it weren’t for this, how could he be the director of S.H.I.E.L.D.? He would have been taken out by Hydra long ago.

This May, Iron Man 2 would be released, and Nick Fury would officially enter the movie, having several scenes with Tony Stark.

Next was the holiday season’s Captain America, with the official title being Captain America: The First Avenger!

Then, next May, The Avengers would be released.

Iron Man and Captain America would be the two core characters of the Marvel Avengers Initiative from the first phase to the third phase. Tony Stark was the core of the storyline and the team, while Steve Rogers was the commander and spiritual leader.

Perhaps Captain America was somewhat outdated, but the principles he upheld were still recognized by mainstream American society.

Of course, no one was perfect, and Captain America was no exception. As long as the Winter Soldier appeared, Steve Rogers would always make mistakes.

The movie would not portray Captain America as a morally perfect person.

The failure of the Superman movie had fully proven that overly lofty superheroes were not very popular in this era.

Even Warner Bros and DC Comics were now racking their brains, trying to find as many flaws as possible for Superman within a reasonable range.

This would directly relate to the success or failure of the new Superman movie.

Warner Bros also had two superhero movies releasing this year: Watchmen and Green Lantern.

The latter, as the beginning of the entire Justice League movie universe, would have to wait until the summer season.

The former had once caused a strong response in North America in the comics and was once hailed as the best superhero comic.

Ronan had also received an invitation to the premiere from Warner Bros and Zack Snyder.

Chapter 1087: Watchmen

Originally, Warner Bros had scheduled Watchmen for an early March release, but the sudden outbreak of copyright disputes forced the film’s premiere to be postponed until April.

Just like Marvel’s comic works, DC’s copyrights for some of its works are also quite complex. Especially for comics that no one expected to become wildly popular later on, they didn’t pay much attention to certain rights, unknowingly granting authorizations.

Granting authorization is easy, but reclaiming rights is difficult. This is especially true when part of the rights to Watchmen ended up in the hands of another one of Hollywood’s Big Six companies—20th Century Fox.

As early as the early 1990s, after the success of Tim Burton’s Batman, Warner Bros planned to adapt Watchmen into a film and even began scriptwriting. The screenwriter at the time was Sam Hamm, and there were rumors that Robin Williams would play Rorschach, Jamie Lee Curtis would play the Spectre, and Richard Gere and Kevin Costner would also be involved.

To share the risk, Warner Bros brought in 20th Century Fox and granted them the distribution rights to Watchmen. However, after multiple script rewrites and strong opposition from the original author, Warner Bros ultimately shelved the filming plan for Watchmen, and the collaboration with 20th Century Fox fizzled out.

Hollywood has never been a harmonious place, and competition among the Big Six companies has always been fierce. Due to the passage of time, Warner Bros overlooked—or simply didn’t take seriously—the agreement from over a decade ago.

As a result, during the most intense phase of this year’s writers’ strike, 20th Century Fox directly sued Warner Bros in court, demanding the distribution rights to the Watchmen film.

Warner Bros’ baffling operations often leave people scratching their heads. They didn’t take this lawsuit seriously at first, and it wasn’t until the court ruled in favor of 20th Century Fox that they finally realized the gravity of the situation and filed a copyright appeal.

Due to the copyright dispute, the release date of Watchmen had to be postponed. In the end, to ensure the film could be released and to secure the complete rights to Watchmen, Warner Bros had to grit their teeth and reach an out-of-court settlement with 20th Century Fox.

Both parties reached a settlement agreement before the Oscars, and the copyright dispute between Warner Bros and 20th Century Fox was resolved by March.

Warner Bros paid 20th Century Fox a substantial fee, not only compensating for the Terminator sequel rights they had previously exploited but also agreeing to an eight percent share of the global box office.

In return, 20th Century Fox no longer held any rights to Watchmen and would not serve as the film’s distributor. Future sequels would also have nothing to do with them.

To some extent, Warner Bros had openly exploited 20th Century Fox with the Terminator sequel rights, and 20th Century Fox quickly seized the opportunity to get even.

“20th Century Fox went too far,” Ronan said directly to Kevin Tsujihara in the theater. “In such cases, the usual practice in the industry is to collect a symbolic fee, isn’t it?”

Kevin Tsujihara shook his head. “They really went too far. Warner Bros has always maintained good relations with other companies in the industry.”

Ronan casually remarked, “The real controller of 20th Century Fox is back. I’ve heard from people in the UK that James Murdoch is quite aggressive in his dealings.”

Warner Bros had been taken for a ride this time, and Kevin Tsujihara hadn’t suffered such a big loss in recent years. He was furious. “A brash youngster relying on his family’s influence, unaware of his place.”

Ronan said, “Warner Bros and Fox, along with News Corporation, are in a sensitive situation now, Kevin. There’s no need to get so worked up.”

Kevin Tsujihara didn’t respond but instead asked, “I’ve heard that Relativity Entertainment also has conflicts with 20th Century Fox.”

Ronan nodded, looking sincere. “Regarding Fantastic Four and X-Men, the conflicts are sharp and irreconcilable.”

“This company…” Kevin Tsujihara implied, “This family is really unlikable.”

Ronan faintly agreed, “Who says it isn’t?”

From the current situation, if 20th Century Fox and James Murdoch encounter any trouble, Warner Bros will definitely kick them while they’re down.

The competition among Hollywood’s major companies is fierce; otherwise, it wouldn’t have become the Big Six and later the Big Five.

When Zack Snyder arrived, Ronan chatted with him for a while. Since Watchmen had already completed all production, Zack Snyder had been working on the Justice League cinematic universe since last year. Of course, he wouldn’t disclose the specific progress to Ronan, but it was publicly known that he was re-directing the Superman film.

The production company, Warner Bros, had full confidence in Zack Snyder, believing that “he has a keen sense of popular trends and a matching visual style.”

Zack Snyder also stated that due to the success of Christopher Nolan’s The Dark Knight, his position at Warner Bros and within the Justice League cinematic universe had been solidified.

Ronan understood his meaning. In terms of visual style, Zack Snyder was the director closest to Christopher Nolan.

Given the enormous success of The Dark Knight, and with Christopher Nolan not collaborating, Warner Bros’ choice of Zack Snyder seemed to be a very correct decision.

At the very least, it allowed the successful model and style to continue in future DC comic adaptations.

The visual style of Watchmen was clearly influenced by The Dark Knight, with its thick dark-themed atmosphere evident from the very first second.

The dark-themed style is one of the film’s major features. Another is that Zack Snyder, as a die-hard DC Comics fan, ensured the film remained as faithful to the comic as possible.

During media interviews, Zack Snyder also mentioned this, stating his commitment to staying true to the original work and the original author: “So far, their creativity has stood the test of time.”

Whether this is good or bad is hard to say.

For comic fans, this is a major event. Zack Snyder adhered to the principle of fidelity to the original work—the original comic highlighted elements of sexuality and violence, breaking the tradition of superhero comics. The film followed this setup, filled with extremely bloody scenes, which can be considered a breakthrough in superhero films. The film not only retained the structure of the original work but even maintained consistency in shot composition with the comic.

Many casual viewers found it unfriendly, especially the interspersed comic scenes in the film. Although it highly restored the comic, casual audiences felt this part was somewhat redundant.

Fortunately, Zack Snyder didn’t follow the comic entirely, successfully linking many classic comic scenes, so it wasn’t completely confusing.

Undeniably, some fans who had seen Watchmen and were familiar with the comic had an illusion: Zack Snyder seemed afraid to leave his mark on the film. It felt more like a translation than a conversion from one medium to another, making some of the original comic’s flaws more apparent.

Comics are not films.

In fact, one of the wisest decisions made by the Marvel series of films was the bold modification of the comics. Despite various issues, such as the portrayal of villains as idiots, it ensured the films’ mass appeal and significantly lowered the entry barrier for theaters.

What about Warner Bros and Zack Snyder’s approach? On the contrary, they continuously raised the entry barrier for DC superhero films, eventually leaving casual audiences completely bewildered.

From this Watchmen, it seems Warner Bros and Zack Snyder have embarked on this extremely correct path.

In any case, this film hasn’t gone to extremes, and Zack Snyder has initially solved a difficult problem—how to retain the richness of Watchmen’s multi-layered and multi-character original work to satisfy comic fans, while also providing enough setup in the film to ensure that more audiences unfamiliar with the original work are willing to sit through this 160-minute R-rated film.

This story about “superheroes” is not ordinary. It depicts a world filled with sin and conspiracy, where “superheroes” are exiled. Their most important task is not to save humanity but to save themselves amidst extreme anxiety, nihilism, and loss.

Even so, the reputation of Watchmen is inevitably divided, much like 300.

Although not as exaggerated as The Twilight Saga: New Moon, where ratings are either 10 or 1, it’s not far behind Brother Bao’s Abraham Lincoln: Vampire Hunter.

Those who like it praise it to the skies, while those who don’t, criticize it harshly.

Comic-themed films, especially superhero comic adaptations, have always been seen as purely commercial money-making ventures.

In recent years, films adapted from superhero comics have seen successes like Spider-Man, Iron Man, and The Dark Knight, as well as flops like The Hulk and Daredevil.

But one thing is clear: even commercially unsuccessful superhero films don’t perform terribly at the box office.

Watchmen opened in 3,911 theaters, the largest scale for an R-rated superhero film. Warner Bros seemed to want to make this film more successful and talked-about than Zack Snyder’s previous 300.

However, the film’s box office performance wasn’t great, especially its trajectory: Friday > Saturday > Sunday, with $25.14 million > $19 million > $11.52 million, which isn’t a healthy curve.

Normally, for non-sequel films, Saturday’s box office should exceed or at least match Friday’s.

During its North American opening weekend, Watchmen grossed $55.21 million.

Not particularly good, but not bad either—it even exceeded Warner Bros’ expected $50 million.

Zack Snyder at least delivered a passing grade to Warner Bros and DC Comics.

(In reality, Warner Bros and 20th Century Fox had a serious copyright dispute over Watchmen, with both parties suing each other, dragging on for several months.)

Chapter 1088: Insisting on the Dark Style

In the eyes of its fans, Watchmen was absolutely on par with The Dark Knight.

In terms of popularity, however, the former fell far short of the latter.

Watchmen was arguably the most sophisticated of all superhero comics, and the film adaptation, from content to theme, exuded an air of prestige—unlike the typical lowbrow superhero movies. In fact, its thematic depth even surpassed Christopher Nolan’s two Batman films.

But there was one undeniable truth in the film industry: once a movie became too highbrow, it risked alienating the masses.

This was especially true for superhero films, which thrived on commercial appeal.

Watchmen had a strong opening weekend, exceeding Warner Bros’ expectations, but the steep drop in its second weekend caught them off guard.

A nearly seventy percent decline was nothing short of alarming.

With a second-weekend gross of just seventeen million eight hundred thousand dollars, it was clear that unless a miracle occurred, Watchmen had no chance of surpassing two hundred million dollars in North America. Even breaking one hundred fifty million was unlikely.

And the film’s production budget alone had been one hundred thirty million dollars.

Faced with this situation, Warner Bros’ executives couldn’t help but revisit the topic of Zack Snyder.

“Given the current circumstances, Watchmen has no hope of recouping its costs through box office alone,” said Diego Harris, the executive president of DC Comics. “Strictly speaking, this film can’t be considered a success. As for director Zack Snyder, we…”

Zack Snyder had been recommended by Charles Roven, Warner Bros’ most senior and successful producer. “But Watchmen hasn’t failed!” he interjected. “Beyond theatrical earnings, there’s still the DVD market. Given the film’s reputation, turning a profit isn’t impossible.”

He glanced at Kevin Tsujihara before continuing, “Look at Watchmen’s critical reception—an 8.2 on IMDb, overwhelmingly positive media reviews, and film critics leaning favorable. Roger Ebert even called it the best sci-fi film he’s ever seen.”

Diego Harris remained skeptical. “Many films have great reputations but no market success.”

Charles Roven spoke up again. “That’s only true for a minority of films! Art-house films with good reputations might struggle at the box office and see limited physical sales, but they were doomed from the start—from greenlighting to release. But commercially successful films with strong reputations? Even if their box office underperforms, they’ll thrive in home media.”

He knew who the real decision-maker was and turned to Kevin Tsujihara. “Watchmen was also affected by external factors. The copyright dispute with 20th Century Fox forced us to scrap much of our marketing campaign planned for a March release. The negative impact of delaying the film is undeniable.”

Diego Harris couldn’t deny this. It was something Warner Bros and DC Comics had anticipated before Watchmen’s release.

Changing a film’s release date, especially so close to its original premiere, was a major taboo in film distribution.

Kevin Tsujihara’s expression darkened at the mention of 20th Century Fox. Combined with News Corporation’s aggressive acquisition attempts across Warner, he couldn’t help but feel that the Murdoch family were nothing but scoundrels.

Originally, he had been one of the staunchest opponents within Time Warner against News Corporation’s takeover. Now, with the Watchmen debacle, his disdain for the Murdoch family, News Corporation, and 20th Century Fox had only deepened.

“Charles has a point,” Kevin Tsujihara said, still leaning toward Zack Snyder. “Watchmen’s positive reviews far outweigh the negative, and its visual style aligns with The Dark Knight. Since Christopher Nolan refuses to work with us, Zack Snyder remains our top choice.”

Diego Harris persisted, “But Watchmen’s box office trajectory…”

Kevin Tsujihara countered, “Diego, The Dark Knight grossed over one billion dollars worldwide. Has any other superhero film achieved that?”

“Only The Dark Knight,” Diego Harris admitted, genuinely impressed by its success. “It was a monumental triumph. Future Justice League films and all DC adaptations should follow this model and style.”

Kevin Tsujihara concluded, “Then your concerns are resolved. In Hollywood today, aside from Christopher Nolan and Zack Snyder, which other director embraces this style?”

Diego Harris finally nodded. It was too early to judge Watchmen’s success or failure, especially since the comic itself was niche. The film’s struggles weren’t solely the director’s fault.

Moreover, there was one aspect of Zack Snyder’s work on Watchmen that Diego Harris admired: his deep respect for DC Comics’ source material, ensuring the adaptation stayed as faithful as possible.

As before, Warner Bros’ management, deeply influenced by The Dark Knight’s success, chose to trust Zack Snyder’s commitment to the dark style—even if Watchmen’s box office performance was mediocre.

The meeting adjourned, and the attendees dispersed to their respective tasks.

Back in his office, Kevin Tsujihara reviewed the settlement agreement between Warner Bros and 20th Century Fox regarding Watchmen, growing increasingly displeased.

20th Century Fox had clearly taken advantage of the situation. Watchmen had been greenlit and in production for years, with large-scale marketing beginning last year. Even if there had been a copyright dispute, why hadn’t 20th Century Fox raised the issue sooner? Why wait until the film was less than two months from release?

This was nothing short of pushing Watchmen off a cliff, leaving Warner Bros and DC Comics with no choice but to accept 20th Century Fox’s terms.

20th Century Fox hadn’t always been this aggressive. Since James Murdoch had arrived in Los Angeles from the UK to take direct control of the studio, the company had become far more confrontational.

Even Kevin Tsujihara had to admit that 20th Century Fox had chosen the perfect moment to strike.

Warner Bros had suffered significant financial losses this time. There was a good chance the board would demand an explanation from him.

Kevin Tsujihara pressed the intercom and summoned his assistant.

“Keep an eye on 20th Century Fox,” he ordered, his Japanese heritage lending a ruthless edge to his tone. “I want updates every… no, every two days. Send them to me promptly.”

The assistant understood immediately. “Yes, sir. I’ll arrange it at once.”

Beverly Hills, Century City, Fox Building.

James Murdoch reviewed the latest weekend box office reports. “Good work, Jim.”

Jim Prather modestly replied, “It was all about your timing. You left Warner Bros powerless to react.”

“Terminator always belonged to 20th Century Fox,” James Murdoch said, never one to suffer in silence. “We had previously considered our partnership with Warner Bros and, out of goodwill, lent it to them. But instead of gratitude, they turned around and bit us.”

Jim Prather added, “That was my oversight.”

James Murdoch waved a hand. “This has nothing to do with you. Warner Bros broke the rules.”

Hearing the phrase “the rules,” Jim Prather couldn’t help but glance at James Murdoch. It seemed the man before him had never cared much for rules, trampling over them at will.

But with News Corporation and the Murdoch family behind him, perhaps that wasn’t such a big deal?

Jim Prather, as a visible Fox executive, wasn’t fully aware of James Murdoch’s dealings. If he were, he wouldn’t have entertained such thoughts.

James Murdoch continued, “Keep an eye on Warner Bros regarding Watchmen’s box office share. Don’t let them pull any tricks.”

Warner Bros had taken a bite out of 20th Century Fox, and now 20th Century Fox intended to take a pound of flesh in return.

Jim Prather quickly assured him, “I will. The industry’s usual tactics work fine against outsiders. 20th Century Fox won’t give Warner Bros any opportunities.”

James Murdoch then asked, “How’s the summer season distribution shaping up?”

“It’s all set,” Jim Prather reported. “Starting in May, 20th Century Fox will release a new film every month. May’s offering is Robin Hood…”

This film wasn’t expected to perform well. To minimize losses and avoid the fallout from previous epic film failures, Robin Hood’s release had been moved from last year’s holiday season to this summer, allowing time to dull audience memories.

James Murdoch inquired, “And the disaster film, Super Storm?”

Jim Prather replied, “June. We scheduled it for mid-June to avoid clashing with James Cameron’s new film, Avatar.”

“James Cameron, huh,” James Murdoch mused, thinking of his old rival, Relativity Entertainment. “I recall Relativity’s promotional material claiming Avatar has a five-hundred-million-dollar budget.”

Jim Prather considered this. “That’s just marketing hype. The actual budget is still unclear.”

James Murdoch nodded slightly. “How many films does Relativity have this summer?”

Jim Prather recalled, “The summer kicks off with Iron Man 2, followed by Avatar, Fast & Furious 4, Alice in Wonderland, Cloverfield, and an animated feature…”

He emphasized, “There’s confirmed intel that Avatar is Relativity’s top priority this year!”

Chapter 1089: Technical Issues

Shai Entertainment, in a small venue built specifically for internal screenings.

The large screen transitioned from brightness to darkness, and the ceiling lights turned on, illuminating the entire venue. Ronan and the other participants in the screening gradually removed their 3D glasses.

“The visuals are incredible!” Despite her vast experience, Jessica Felton was still somewhat shocked. “Is this the effect that can be achieved when technology reaches its peak?”

In some ways, she was also part of Hollywood’s technical stream.

On the other side, George Clint put away his 3D glasses, lost in thought. “The visual effects of this film are something Hollywood has never achieved before!”

Robert Lee agreed. “The Polar Express didn’t! Transformers didn’t!”

Robert Zemeckis suddenly interjected from the front. “I used to think Alice in Wonderland had reached the peak, but now I see the gap is too large.”

Ronan was quite calm, having experienced the visual charm of Avatar before.

Muller from Embassy Pictures suddenly chimed in. “The story is a bit simple, though.”

“Just the visuals and 3D effects are enough.” Thomas, the online distribution director of Embassy Pictures, said. “What more do you need in terms of story?”

Since director James Cameron was not present at the venue, the people from Relativity Entertainment spoke without restraint.

Ronan clapped his hands lightly, and the venue immediately quieted down. He slowly said, “What do you think?”

“Very good!”

“Market prospects look good!”

People gradually expressed their approval. Thomas, the online distribution director of Embassy Pictures, was more professional. After some calculation, he said, “I think this film will have no problem crossing the one billion dollar mark at the box office. If it’s well-managed, it could even reach fifteen billion globally.”

Muller regrettably added, “It’s a pity it’s an original film. The start might not be particularly smooth.”

The others agreed. With the effects displayed in this film, if it were an adaptation with a certain fan base, the box office would surely be a huge hit from the beginning.

“Proceed as planned.” Ronan didn’t need to say much. The relevant work had already been done beforehand. This internal screening was more about boosting Relativity Entertainment’s confidence in Avatar. He only emphasized, “Do your best to promote this film.”

Thomas assured, “Embassy Pictures will not let Avatar go to waste in any way.”

In other words, they would definitely squeeze every bit of value out of this film.

After years of development, Ronan also believed that Embassy Pictures had this capability.

From production to final marketing and distribution, Relativity Entertainment’s total investment would be as high as five hundred million dollars. Naturally, there needed to be sufficient returns.

Ronan returned to his office and saw James Cameron waiting for him there.

“You’ve brought a masterpiece.” Ronan didn’t need to deny it. “This will be a great film.”

James Cameron accepted the praise without modesty. “I’ve never doubted this.”

Ronan knew very well that all great film directors were extremely confident individuals.

Regardless of other aspects, at least commercially, Avatar was absolutely great enough for Relativity Entertainment.

When he lived on the other side of the Pacific, Ronan had a period where he thought the greatest luck in films was being able to see Avatar on the big screen, first in 2D and later in IMAX 3D.

Although he strongly disagreed with Avatar’s themes and ideas, he was easily conquered by the film’s visuals. Even many years later, in terms of the immersive effect of 3D films, he still believed no commercial film could rival Avatar.

Relativity Entertainment’s marketing and distribution capabilities were powerful enough. Ronan had also seen the screening of Avatar and believed this film would create a miracle. So he directly asked, “James, what about the sequel? Do you have plans for the sequel?”

James Cameron said somewhat helplessly, “Ronan, aren’t you asking for progress too quickly? The first part hasn’t even been released yet, and you’re already considering the sequel.”

Ronan slightly shrugged and said, “This shows I have enough confidence in you and Avatar.”

James Cameron thought for a moment and said, “This story isn’t finished. Obviously, there will be a sequel, but it can’t be filmed yet.”

“Why?” Ronan asked.

From a commercial investment perspective, the sequel couldn’t be released too quickly, but it also couldn’t be too slow.

Talking about work, James Cameron became very serious and said, “I have many ideas for the sequel, especially in terms of technology, which is the most crucial aspect of Avatar.”

Ronan naturally understood his meaning. After Titanic, James Cameron hadn’t filmed any formal feature films for many years. It wasn’t that he was traveling the world; each documentary was an experiment preparing the technology for Avatar.

James Cameron continued, “In my vision, the Avatar sequel needs many hard technical adaptations. It would be best to present it with naked-eye 3D, 120 frames, holographic projection, and Dolby Atmos technology.”

Ronan shook his head. “I understand your pursuit of technology, but James, have you considered that with the current development trend of film technology, it will take at least ten years to widely implement these technologies in theaters?”

James Cameron defended, “All of this is to achieve perfect visual experience and 360-degree natural sound, making the audience feel as close as possible to ‘being there’ in reality.”

Ronan added, “There’s more than one Avatar sequel, right? We can prepare to film the sequel while building up the technology. Given the scale of Avatar, each sequel from preparation to filming completion will take at least three years. During this time, the work of the crew can also serve as a process to foster new technology. On-site filming is the best condition for developing and testing new technology.”

This wasn’t just empty talk. Although a lot of technological preparation had been done, during the preparation and filming of Avatar, James Cameron used and developed more new technologies than in the nearly ten years of preparation before.

Thus, James Cameron seriously said, “Ronan, I will seriously consider your words.”

Even for a director of James Cameron’s caliber, Ronan couldn’t force him. He immediately nodded and said, “I hope we can work together to create the future of sci-fi films.”

James Cameron thought about Relativity Entertainment’s works over the past two years and said, “In my view, Hollywood sci-fi films will present two trends in the future.”

Ronan never looked down on anyone. Communicating with James Cameron also helped him have a clearer understanding of the future. He asked, “Oh, what two trends?”

James Cameron roughly said, “One is superhero sci-fi, like Iron Man, Superman, and the like; the other involves more serious sci-fi films that discuss science, which will involve technical issues during filming, like Avatar, etc. This type needs to pay more attention to details and make the details more scientifically accurate.”

He sighed. “Actually, before Avatar, I always had a worry: has the market undergone a huge change, and are audiences no longer willing to sit in a dark room with strangers to watch movies?”

Ronan knew this concern wasn’t entirely unreasonable, as the number of theatergoers in North America declined every year.

“Don’t worry.” Ronan said. “Avatar will prove that audiences are still happy to go to the theater to watch super blockbusters.”

James Cameron didn’t stay long and soon left. When Ronan returned to his office, the scores from the screening had just come out.

This was Relativity Entertainment’s internal screening standard, which didn’t consider the film’s artistic value but only looked at its commercial prospects.

Among the many producers and executives of Relativity Entertainment, Avatar received a score of 9.8.

In the past, films that scored above 9 in internal screenings were all box office hits without exception.

Connie knocked on the door and entered, saying, “I just got some news. Zack Snyder and Charles Roven rejected the new Superman movie script and asked the screenwriter to make changes.”

Ronan had been keeping an eye on the developments at Marvel’s neighbor and asked, “Do you know the reason?”

Connie said, “It’s said that the theme isn’t deep enough, the content isn’t substantial enough, and it’s not sufficient to carry the dark-themed style.”

Ronan slightly nodded. “I see. Keep an eye on the situation over there.”

This situation wasn’t entirely unexpected. After all, Warner Bros and DC Comics had set The Dark Knight as the benchmark for DC comic adaptations.

Thinking about the currently showing Watchmen, it was more appropriate to say it was a pure live-action film rather than a comic adaptation.

Once, Ronan had seen several versions of this film. Different editing versions made the film’s ratings fluctuate like a roller coaster.

At that time, there was a saying that wasn’t entirely unreasonable: Marvel’s superhero films were consistently stable—good ones weren’t exceptionally good, and bad ones weren’t very bad; while DC’s comic adaptations were mystical. Even with the same director, different editing versions could be worlds apart.

Some even joked that Warner Bros and DC Comics hadn’t collapsed because they sold director’s cut discs.

Ronan had obtained a list of the summer season’s film schedules, which included a super blockbuster from Warner Bros and DC Comics.

Influenced by the early Marvel Avengers Initiative, Warner Bros and DC Comics also started the Justice League movie universe earlier. The opening blockbuster was Green Lantern, which cost two hundred million dollars just in production!

This superhero blockbuster would be released in mid-May.

Since Warner Bros and DC Comics wanted to build anticipation, due to confidentiality needs, Green Lantern didn’t hold any external screenings. Ronan wasn’t sure about the specifics of the film.

Hopefully, it would be green from start to finish.

Relativity Entertainment’s Iron Man 2 once again occupied the beginning of this summer season.

In recent years, including last year’s Spider-Man 3, the first weekend of the summer season had almost become a Marvel superhero film special.

However, before Iron Man 2, Relativity Entertainment had another superhero film in April, which was Kick-Ass.

Chapter 1090: Someone Else’s Child

On the third weekend of April, the premiere of Kick-Ass was held in Los Angeles.

“Mr. Anderson.”

Inside the premiere theater, a delicate little girl stood before Ronan, her face serious as she asked, “Could you sign this for me?”

Looking at the adorable blonde girl, Ronan hesitated—he hadn’t signed many autographs before.

The ten-year-old girl wore a pink off-the-shoulder dress with an oversized bow at her waist, making her look especially cute. Jessica Felton had no resistance to her charm and gently pinched Ronan’s arm. “Don’t disappoint the child.”

Ronan took the pen and notebook, scribbling a quick message before asking, “Chloë, why did you think to ask me for an autograph?”

Chloë Moretz tilted her small face, thinking for a moment before replying, “Because I want to be like you—the richest person in the world.”

Ronan added another line to the notebook: “May your dreams come true.”

In Jessica’s eyes, Chloë’s face lit up with a honey-sweet smile as she thanked Ronan.

Jessica couldn’t take it anymore—this child was too cute! She took Chloë’s hand and asked, “Did you come alone?”

“No,” Chloë replied, her voice just as adorable. “My mom came with me.”

She blinked and asked, “Ma’am, can I stay to watch the premiere screening?”

Though charmed by the little girl, Jessica remained clear-headed. “I can’t decide that—you’ll have to ask the MPAA.”

Chloë’s cute face immediately fell. “My first starring role, and I can’t even watch the premiere…”

Jessica felt her heart soften. “It’s okay, you’ll be able to in a few years.”

Due to Kick-Ass’s pervasive profanity and graphic violence, Chloë was too young to watch it in theaters. After the premiere, she had to go home.

Someone waved at Chloë, and she said, “My mom’s calling me. I have to go.”

Jessica nodded. “Go ahead.”

Chloë waved. “Goodbye, ma’am. Goodbye, Mr. Anderson.”

Ronan took one last look at the girl, who was so cute it was almost surreal. The contrast between her current self and her future self was staggering—if he hadn’t seen it with his own eyes, he wouldn’t have believed it.

“What a cute child,” Jessica mused, her emotions stirred. “I wish my future child could be this adorable.”

Ronan casually remarked, “Haven’t you heard? The cuter and prettier a child is, the higher the chance they’ll grow up… differently.”

Jessica turned to him. “Who says that? I was the prettiest, cutest girl in town when I was little. Did I grow up differently?”

Ronan couldn’t afford to be vague on this. “No, absolutely not.”

Jessica returned to the topic. “I really love cute girls like her.”

Ronan shook his head. “Too bad she’s someone else’s child.”

Jessica seemed to have something to say but swallowed it. He wasn’t wrong—she was someone else’s child.

They quickly moved on from the topic. Nicolas Cage came over to greet them—he played Chloë’s father in the film.

“I’ve always been a Marvel Comics fan,” Nicolas expressed his strong desire to collaborate with Relativity Entertainment. “If I could appear in a Marvel superhero movie, my acting career would be complete.”

Ronan couldn’t make any promises and replied vaguely, “I hope we’ll have the chance to work together.”

Nicolas Cage’s career was on the decline, and his financial troubles were becoming apparent. If he didn’t want to hit rock bottom, he needed a strong project to revive his standing. A small film like Kick-Ass, even if successful, wouldn’t be enough to turn things around for him.

Moreover, he wasn’t even the lead.

As for Nicolas wanting to play a Marvel role, Ronan had given it some thought. After all, Nicolas still had some draw, and his salary had dropped significantly. He was a better option than hiring a newcomer. If he was willing to sign a long-term contract, it wasn’t impossible.

The specific role would depend on the production team and Kevin Feige’s opinions. For now, it was just a preliminary idea.

Ronan was considering something like Doctor Strange. Nicolas Cage could certainly be described as having an unusual appearance—no worse than that British actor whose name was so long no one could remember it.

Dr. Strange’s dramatic rise and fall, forced to sell off his possessions—Nicolas had likely experienced something similar. In a few years, that experience would only deepen.

Doctor Strange wouldn’t be greenlit for another two or three years at the earliest. By then, Nicolas Cage might be a strong contender for the role.

As for that British actor, Ronan still couldn’t recall his convoluted name.

Speaking of which, Hollywood was much like the other side of the Pacific—many actors didn’t use their real names but adopted stage names. A name that was easy to remember was what made a star.

In talent-rich Hollywood, countless exceptionally skilled child actresses had emerged. Currently, there were the likes of the Fanning sisters and Saoirse Ronan.

If there were a contest for the coolest child actress, many would likely vote for Chloë Moretz in Kick-Ass.

In fact, Hit-Girl could be considered the coolest, sharpest, and most lethal little girl in history—without question.

Hit-Girl perfectly blended coolness and cuteness, creating an on-screen persona that was both badass and adorable, stealing the spotlight from every other character in the film.

Though the other characters had their own traits, there was no denying that everyone was there for the cute little girl—everything else was secondary.

Even someone like Ronan, when recalling this film, had initially thought Hit-Girl was the protagonist. The actual lead barely left an impression.

This could be called the first Hollywood film where a ten-year-old girl spewed profanity while wielding guns and knives.

Still, Matthew Vaughn had created a film distinct from other superhero movies, blending elements of youth, romance, dark humor, and sci-fi action—bringing something fresh to the traditional Hollywood hero formula.

The film was unapologetic—funny when it needed to be, chatty when it called for it, action-packed when required, and unafraid to jump into the next scene without over-explaining. It seamlessly combined brutal hand-to-hand combat with gunfights, splattering blood and severed limbs without restraint.

Especially when the one doing the slicing and dicing was an adorable blonde girl—it was enough to make countless people lose their minds.

The film meandered through various themes but always circled back to its most eye-catching element: the coolest, toughest little girl in history.

In more profound terms, someone once said that knife-throwing was a form of emotional release. Watching a flexible, acrobatic little girl wield swords and throwing knives, slicing open the necks of grown men or piercing their hearts in close combat—how many questionable uncles and bad brothers fell in love with her on screen?

Perhaps some of them even vowed to remain chaste for her—though whether they still could was another question.

As for those who sought life lessons in films, they were bound to be disappointed.

From its posters to its title to its content, Kick-Ass proudly declared—I’m lowbrow, I’m vulgar.

Given that, anyone who insisted on watching it for profound insights was only setting themselves up for disappointment.

In this era, Kick-Ass was the kind of film that made men excited, women feel vindicated, and kids think they were badass.

Beyond describing it as “cool” and every synonym for cool, there was nothing else to say.

In its first weekend in North America, the $25 million film grossed $26.89 million—a promising start.

The little girl had carved out a bloody, beautiful future.

By the second weekend, Kick-Ass earned another $14.21 million in North America.

Though its ten-day total of $48.04 million wasn’t outstanding for Relativity, recouping its budget in North America alone wasn’t difficult.

According to projections from Embassy Pictures and CinemaScore, Kick-Ass was expected to surpass $70 million in North America.

Though it hadn’t yet opened overseas, its international box office wouldn’t be far behind.

There would be no sequel to Kick-Ass. Chloë Moretz’s best role would remain Hit-Girl.

Director Matthew Vaughn had no plans for a follow-up, shifting his focus entirely to the new Ace Agents.

This fresh spy film would return to traditional genres, blending what was superficially known as British gentlemanly style.

Of course, the surface-level British gentleman—if the true nature of British gentlemen were depicted in film, the British would likely riot.

What British gentlemen had done was known worldwide.

This weekend, another Relativity film concluded its North American run—Uwe Boll’s Abraham Lincoln: Vampire Hunter had exhausted its theatrical potential, ending with $88.67 million.

As the beginning of the American Historical Figures Cinematic Universe, Vampire Hunter Lincoln had set a strong foundation.

Soon, The Witch Hunter Washington would follow.

Other studios had taken note of the massive market potential in successful cinematic universes. Beyond Warner Bros. and DC Comics, Universal Pictures also aimed to build its own “Universal Monsters” cinematic universe.

But every cinematic universe needed a strong start.

As pioneers, the Marvel Cinematic Universe not only had a successful beginning but continued to push forward.

Chapter 1091: The Return

To date, Marvel’s Avengers movie universe plan had already released three films—Iron Man, The Incredible Hulk, and Thor—all of which had achieved success without exception.

Iron Man had become a massive hit, and Tony Stark had become the living poster boy for Marvel’s superhero films.

While Thor and The Incredible Hulk had received slightly less enthusiasm, Relativity Entertainment had formulated a meticulous plan from the start, pouring vast resources into both films. Ultimately, their box office earnings alone had recouped all investments.

Compared to the former Walt Disney, Relativity Entertainment had a clear vision and greater confidence in the series. From the outset, they had resolved all copyright issues for the first phase of superhero films, avoiding the distraction of legal disputes.

Disney had only settled the distribution rights disputes with Paramount for Marvel’s superhero films by the time The Avengers was released.

To some extent, these issues had affected the promotion and distribution of the films at the time.

As Marvel Entertainment’s first film, Iron Man laid a solid foundation for the series’ success.

Robert Downey Jr. had also completely broken free from the whirlpool of drug addiction through this role, becoming Hollywood’s best example of a “salted fish turning over.”

If not for Relativity Entertainment’s long-term contract, it wouldn’t have taken long for Robert Downey Jr.’s status in the Marvel series to rival that of Kevin Feige.

Unfortunately, Ronan had foreseen this and effectively constrained Robert Downey Jr. with a long-term contract.

But there was no denying that the combination of Robert Downey Jr. and Tony Stark, bolstered by Relativity Entertainment’s promotion, was evolving toward an almost limitless influence.

The action-packed spectacle, romance, and high-tech elements satisfied everything audiences wanted in a superhero blockbuster. Compared to many flawless, upright heroes, the uninhibited Iron Man was far more impactful.

As one of the superheroes closest to ordinary people’s values, Tony Stark’s “playboy” and “wealthy scientist” persona was irresistible.

Living a life of excess until his kidnapping brought him to the brink of death, he finally turned over a new leaf, transitioning from self-rescue to saving the world.

The seamless switch between billionaire and superhero made Iron Man the envy of male fans and the ideal husband for female fans.

Starting in April, Embassy Pictures’ main focus was no longer The Sea Flattener. The company’s promotional resources had been heavily tilted toward Iron Man 2.

Having weathered many ups and downs, Robert Downey Jr. was no longer the reckless young man he once was. He had truly matured, with Susan Downey pushing him forward. Understanding the weight of responsibility, he poured himself into his work with unwavering dedication.

As a superstar in a series, the transformed Robert Downey Jr., in terms of personality and emotional intelligence, was far more likable than Johnny Depp in the Pirates of the Caribbean series.

During promotions, facing the frenzied adoration of fans, Robert Downey Jr. even vowed in front of the cameras: “If Iron Man needs ten sequels, I will persist in filming them without hesitation!”

Of course, with that long-term contract, he had no choice but to film them.

But saying it this way clearly had more promotional value, and fans loved it.

Though he would inevitably be bound by the role of Tony Stark in the future, Robert Downey Jr.’s emotional intelligence was clearly a cut above the Captain’s.

Well, there was an undeniable fact: among Hollywood’s top-tier stars, Johnny Depp probably had the lowest emotional intelligence.

At the end of April, Embassy Pictures held a grand premiere for Iron Man 2 at the Hollywood Sheikh Theater.

On the red carpet, Robert Downey Jr. and Susan Downey flaunted their affection for the world to see. Samuel L. Jackson and director Jon Favreau, dressed in black and white, resembled the Eastern deities of life and death.

Throughout the promotional period, Gisele Bündchen and Scarlett Johansson, who had been repeatedly reported by entertainment media as being at odds, continued their feud. After their gray bodycon dresses at the recent press conference, they both chose white Armani gowns, seemingly determined to carry their rivalry to the end.

Conflict was also a form of celebrity promotion, and sometimes it worked remarkably well.

For example, Big Machine Records’ two star singers, Taylor Swift and Katy Perry, under planned promotion, staged a drama where the latter “stole” the former’s boyfriend. The two then began publicly clashing at various events, drawing massive media and fan attention.

Such promotion easily achieved a one-plus-one-greater-than-two effect.

At the entire premiere, Scarlett Johansson and Gisele Bündchen had no interaction, continuing their scripted feud and giving the media plenty to gossip about.

Mickey Rourke, playing the main villain, added fuel to the fire as planned. In an interview, he expressed dissatisfaction with a major female star he had recently worked with, claiming she was not the “good” actress she was rumored to be.

Naturally, Scarlett Johansson and Gisele Bündchen became the prime suspects.

What seemed like a normal premiere was, in terms of creating topics, something Embassy Pictures excelled at.

Iron Man’s current momentum wasn’t just due to Robert Downey Jr.’s performance and the film’s success; Relativity Entertainment’s promotion was crucial.

In this information age, countless cases had shown that good promotion was more important than a good film.

A high-quality film without proper promotion would likely fade into obscurity, while a terrible film with excellent promotion could rake in huge profits.

Since the new century, such cases had become increasingly common.

Bad films selling well and good films sinking were happening repeatedly in the global film market.

“Hard to imagine.”

Inside the theater, Ike Perlmutter, the Chief Executive Officer of Marvel Entertainment, said to Ronan, “By this time next year, the Avengers will be assembling on the big screen.”

Ronan looked through the glass wall at the cast taking photos and said, “This is a planned success.”

Ike Perlmutter fell silent for a moment, thinking back to a few years ago when Marvel Entertainment was still Marvel Comics. Back then, they couldn’t even imagine the current situation; they were struggling for basic survival, even on the verge of bankruptcy.

With Relativity Entertainment’s acquisition, Marvel had truly flourished under Ronan Anderson’s leadership.

Ike Perlmutter continued, “The copyright lawsuit has been resolved. The court ruled in Marvel’s favor.”

Ronan nodded slightly. “There was never any copyright dispute. Some people were just greedy, wanting to share in our profits.”

Ike Perlmutter said, “There will be more. A few days ago, some former Marvel Comics writers came causing trouble.”

People were always blinded by greed. Huge sums of money could make many people entertain thoughts they shouldn’t, coveting profits that didn’t belong to them.

Ronan was well aware of this. He instructed, “Strengthen security. Leave legal matters to the professionals. If someone causes trouble in the company, you know what to do.”

Ike Perlmutter was no pushover. “I’ll find an appropriate opportunity to make an example of someone, warning everyone.”

These issues were troublesome but unavoidable. Those writers, blinded by money, wouldn’t care about copyright laws or the contracts they had signed. They believed that since they had created the works, they deserved a share of the profits.

No one could wake those who pretended to be asleep.

Their conversation then turned to next year’s The Avengers.

The film had already begun shooting. Under Joss Whedon’s direction, the crew was filming on location worldwide. Following Ronan’s suggestion, they had signed a long-term contract with Josh Brolin.

Josh Brolin would play Thanos in The Avengers, a role with minimal screen time.

Since Thanos was coming, the other side of the Red Witch’s battle against Thanos couldn’t be missing.

Ronan had already ordered someone to gather the latest information on Elizabeth Olsen. With two sisters by her side, she wasn’t exactly unknown.

A few years ago, Ronan often saw Elizabeth Olsen at the Los Angeles racetrack. After the Olsen sisters moved to New York, he hadn’t seen the former Red Witch again.

The main creative team finished their photos, and Ronan didn’t say more to Ike Perlmutter. He went straight to the theater. Just as he found his seat, a woman in a white ruffled dress sat down beside him.

“Hi, Ronan.” Scarlett Johansson crossed her legs and turned to him. “Long time no see. How have you been?”

Ronan nodded slightly at Scarlett Johansson. “Hello, Scarlett.”

Scarlett Johansson looked curious. “I didn’t expect you to still be with Jessica Felton. I thought you were the same as before.”

Ronan calmly replied, “I remember telling you I was serious.”

“Really?” Scarlett Johansson pretended to think. “I don’t recall.”

Ronan smiled and decided not to continue the conversation. Regardless, when they were together before, even though there were no feelings involved, their relationship had always been good.

A friendly start, a friendly end.

As he had told Anne Hathaway before, Scarlett Johansson had long been free.

Scarlett Johansson knew who Ronan was and the power he wielded. She didn’t dare say much more. After a moment of silent consideration, she said, “Ronan, there’s one opinion I’ve never changed—monogamy is unnatural. It goes against human nature.”

Ronan glanced at her. “Is that so? I don’t think so.” Clearly, as a well-known leftist in Hollywood, Scarlett Johansson had been too influenced by so-called liberalism. He waved his hand. “Scarlett, go to your seat.”

Scarlett Johansson nodded and left.

The premiere screening began soon. In Iron Man 2, after Tony Stark revealed his identity as Iron Man, he faced doubt from the media, public opinion, and government sectors. Evil forces launched another attack.

Chapter 1092: The Money-Making Journey

Perhaps no superhero was more carefree than Tony Stark. Batman and Spider-Man had to constantly hide their identities, burdened by childhood traumas and other troubles, while Tony Stark lived boldly and uninhibitedly.

For superheroes, the best part of Iron Man was its unapologetic nature. The “coming out” at the end of the first film left audiences exhilarated.

Compared to Batman, who turned Gotham City upside down to conceal his identity, or Spider-Man, whose girlfriend repeatedly faced danger because of his secret, Tony Stark was refreshingly straightforward.

Audiences were tired of brooding heroes and tragic backstories. Finally, here was a handsome, wealthy, and hilarious middle-aged man showcasing his charm and abilities—how could they not be excited?

Since The Avengers was set to release next summer, Iron Man 2 had to serve not only as a standalone film but also as a setup for the entire series.

Thus, Iron Man 2 was even more polished than the first, with more connections and Easter eggs tying into the Marvel Cinematic Universe.

In a way, Relativity Entertainment was using Iron Man 2 to advertise the entire Marvel universe and next year’s The Avengers.

The film introduced a new cinematic language, filled with Easter eggs and crossovers that enriched the experience—a richness that would continue to expand.

In other aspects, it still followed the first film’s philosophy: “Fight monsters, but look cool doing it.”

Tony Stark remained as arrogant, self-centered, and reckless as ever—quitting his CEO position on a whim, rebellious and impulsive like a child.

The film was chaotic in the best way: Iron Man caused trouble, the villains caused trouble, Pepper Potts caused trouble, Black Widow caused trouble, and even Nick Fury and S.H.I.E.L.D. joined in on the fun.

Iron Man 2 was a film where you didn’t need to see the beginning to know the end.

But with Tony Stark, everything became endlessly charming.

On its own, Iron Man 2 wasn’t exceptional, but the market response it generated far outweighed its quality.

At the premiere, thousands of screaming fans nearly lifted the roof off the Sheikh Theater, chanting “Tony Stark” with the same fervor as they had for Captain Jack Sparrow years before.

But for a film to succeed, it needed more than just hype—it needed a massive release.

As the kickoff to the 2008 summer season, with the success of the first Iron Man, the strong reactions to The Incredible Hulk and Thor, and Embassy Pictures’ efforts, Iron Man 2 set a new North American record before it even opened—securing 4,580 theaters, the most ever for a premiere.

Relativity Entertainment was ready.

A film of this global magnitude demanded a simultaneous worldwide release to maximize its impact.

Since international markets didn’t have a “summer season” in May, Iron Man 2 opened a week early in 53 countries and regions, primarily in football-dominated Europe, to avoid clashing with the UEFA Euro 2008 tournament starting on June 7.

Football’s influence was not to be underestimated.

With the foundation laid by the previous three films and Relativity’s aggressive marketing, Iron Man 2 dominated overseas even before its North American debut.

By the day before its North American release, it had topped the weekend box office in 52 out of 53 markets, grossing $146.22 million.

This international success fueled North American excitement.

The midnight screenings alone brought in $15.2 million—not as much as The Dark Knight or the Twilight phenomenon, but still among the top five midnight openings in North America.

An impressive start.

With the success of Iron Man and The Dark Knight, the golden age of superhero films had arrived.

In the early 2000s, sci-fi films dominated the global top ten, making up 60-70% of the list.

Last year, only two sci-fi films remained, while superhero films claimed three spots.

This trend continued into this year.

On its first day in North America, Iron Man 2 set a new May single-day record with $63.38 million—nearly 50% higher than the first film’s opening day.

As a sequel, much of the fan excitement was front-loaded, so Saturday’s earnings dipped slightly to $51.21 million.

Still, in just two days, Iron Man 2 crossed the $100 million mark in North America.

The film’s success was never in doubt; the only question was how high the numbers would go.

After its opening weekend in 4,580 theaters, Iron Man 2 grossed $158.11 million—the second-highest opening weekend in North American history, just behind The Dark Knight.

However, under Relativity’s profit-driven approach, Iron Man 2 inherited the studio’s signature style: polarizing reception.

CinemaScore gave it an “A” from audiences, but Rotten Tomatoes scored it a barely passing 63%. IMDb users averaged 8.1, while media reviews were just above mediocre.

For a studio, though, the most important metric was the box office.

A strange phenomenon had emerged worldwide: good films flopped while bad ones thrived. Many great films went unnoticed, while terrible ones raked in millions. Some niche groups even equated high box office with poor quality.

Some filmmakers even avoided discussing box office numbers.

But studios and investors had no choice—box office was everything.

At its core, film was a commercial product, governed by cost and profit. Relativity, like the Hollywood Big Six, existed to make money—and as much of it as possible.

Ronan had never wavered from this principle. Relativity’s approach remained unchanged: prioritize commerce.

In Iron Man 2, this meant a mediocre plot stuffed with Easter eggs and teasers, serving Tony Stark but also the broader franchise.

Critics slammed Relativity, Embassy Pictures, and Marvel Entertainment for sacrificing artistic integrity for profit.

They were naive. Wait until Marvel turned superhero films into long-running TV series—then they could complain.

Did they not understand the nature of film companies? Without loud protests, how would they assert their relevance—or make their money?

Even fools knew that capital had no shame. For profit, corporations would destroy anything—even America itself.

Relativity’s money-making journey with Iron Man 2 had only just begun.

That same weekend, Iron Man 2 expanded into East Asian markets, bringing its international release to nearly 80 countries.

Overseas earnings surged again, reaching $247.72 million.

Global box office easily surpassed $400 million.

But box office was just the beginning. If Relativity relied solely on ticket sales, they’d barely break even.

With a $180 million production budget and over $100 million in marketing, the real profits came from merchandise.

Thanks to the film’s massive hype, Iron Man merchandise was flying off shelves—masks, mini-figures, and action figures were hot sellers.

Even the expensive life-sized Iron Man models sold thousands of units.

Though exact numbers weren’t finalized, Relativity estimated that global merchandise sales over the past ten days had neared $300 million.

Relativity was the pinnacle of Hollywood’s business model: theatrical releases for promotion and investment recovery, with real profits coming from merchandise.

Even on the other side of the Pacific, Ronan had seen middle schoolers carrying Captain America shield backpacks, using Iron Man stationery, and wielding Mjolnir-shaped erasers.

The trend was even spreading to elementary schools.

Though most were knockoffs, the franchise’s influence was undeniable.

These fans were the future consumers of the series.

With Robert Iger’s involvement, Relativity was following Disney’s old marketing playbook for the Avengers series.

Even Warner Bros. couldn’t compete.

Chapter 1093: The Advantage is Clear

Burbank, outside an AMC theater.

Kevin Tsujihara, having just stepped out of the theater, ducked into the car after his assistant opened the door. Charles Roven, walking beside him, went around to the other side and sat down next to Kevin.

The two had just watched Iron Man 2, the latest blockbuster from their neighboring studio.

Kevin rubbed his temples and sighed, “Noisy and chaotic. Gives me a headache.”

Charles knew his boss wasn’t referring to the theater’s atmosphere but the movie itself. “Indeed,” he agreed. “The quality is mediocre.”

Kevin nodded in full agreement. “It feels more like an advertisement. The only praiseworthy aspect is the special effects.”

Charles nodded repeatedly. “From the box office performance of this film and Relativity Entertainment, it’s clear the market has an insatiable appetite for superhero movies.”

Kevin cut straight to the point. “Charles, how does our Green Lantern compare to Iron Man 2?”

After all, in just one weekend, Green Lantern—the film marking the beginning of the Justice League cinematic universe—would be hitting theaters. This was a major reason he had taken the time to watch the competition’s movie.

“Iron Man 2 has three major selling points,” Charles analyzed confidently and methodically. “First, Tony Stark himself. Second, the continuity brought by sequels and the series. Third, the film’s production, specifically its visual effects.”

Kevin pondered for a moment before giving a slight nod.

Charles continued, “In terms of the character, Green Lantern’s fame in comics far surpasses Iron Man, providing a strong foundation for adaptation. The biggest uncertainty is that it’s not a sequel, so pre-sales are lackluster. But the first Iron Man also had poor pre-sales.”

He then addressed the crucial third point: “The special effects in the first Iron Man were nothing extraordinary, but Iron Man 2 has made significant strides in visual effects, making it one of its main selling points. Our Green Lantern, however, excels in visual effects. The production team even used the most advanced CGI technology to create Green Lantern’s suit. In terms of visual effects alone, Green Lantern completely outshines Iron Man 2.”

Kevin had, of course, seen Green Lantern—at least parts of it—and was confident in its effects. “Green Lantern is currently the film with the best visual effects in the world.”

“Yes,” Charles agreed with equal confidence. “The visual effects alone are a major draw for audiences.”

Kevin nodded slowly. “If Green Lantern succeeds, the rest of the plan can proceed smoothly.”

In the world of comics, DC’s Justice League had a greater influence than the Avengers, and Warner Bros and DC Comics believed the same would soon hold true in the film market.

Warner Bros was making a final push for Green Lantern’s release, and some of their promotional strategies were inspired by Relativity Entertainment, such as the marketing for The Twilight Saga: New Moon featuring Robert Pattinson and Kristen Stewart.

Rumors had it that Green Lantern’s leads, Ryan Reynolds and Blake Lively, had turned their on-screen romance into a real-life relationship. This was a common occurrence among Hollywood star couples.

On one hand, actors were generally more emotionally expressive than ordinary people. If a film had extensive romantic scenes, the intense performances could easily blur the lines between fiction and reality.

On the other hand, it was often a promotional tactic. Hollywood had created countless temporary couples for marketing purposes. Some of these fake relationships turned real, as celebrities were open-minded. If they found mutual attraction, they might explore the relationship further, and if it worked out, they would make it official.

After all, most celebrities had a long list of romantic entanglements—one more wouldn’t make much difference.

As for those that remained fake, there were plenty. The most typical scenario was couples getting together during filming and promotion, breaking up after the hype died down, reuniting for the sequel, breaking up again, and repeating the cycle with each new installment.

In Hollywood, everything related to celebrities was a performance—falls, romances, friendships, even feuds.

After achieving the “glorious feat” of sleeping with her childhood idol, Blake Lively seemed ready to end her wild ways and pursue a serious relationship with Ryan Reynolds.

As for Blake Lively and Leonardo DiCaprio, their relationship was more like mutual stamp collecting.

Ronan had also seen the rumors about Ryan Reynolds and Blake Lively, especially since Ryan Reynolds’ avocado-like head had left a deep impression on him.

Unfortunately, the rights to Deadpool were still with 20th Century Fox.

Otherwise, filming a scene where Purple Potato Spirit and Rotten Avocado battled it out, with Rotten Avocado engaging in some “action” with an even older, more disgusting avocado, would have been spectacular.

There was a time when Ronan would see avocados in the supermarket and think of that scoundrel Deadpool.

But he had to admit, the Deadpool movie was far better than the disgusting-tasting avocado.

If everything went smoothly, Deadpool should return to Marvel Entertainment, and perhaps Deadpool’s movie could be incorporated into the Avengers universe.

These were distant prospects. What Ronan was most concerned about was Green Lantern, as it was a direct competitor to Relativity Entertainment and Marvel Entertainment. If it succeeded, the Justice League cinematic universe would be firmly established.

If it failed, well, they would just have to keep trying.

Additionally, Ronan was keeping an eye on this weekend’s other release, 20th Century Fox’s Robin Hood.

This was one of the six “dragon balls” he had given to 20th Century Fox. Last year, they had successfully collected two, and with the current situation, Robin Hood was practically in their hands.

20th Century Fox seemed to have realized the declining market interest in period epics and had not invested heavily in Robin Hood’s marketing and distribution.

Even so, the production budget and marketing expenses had cost at least one hundred and fifty million dollars.

With only twenty million dollars spent on marketing, it was far too little for a film with a production budget exceeding one hundred million dollars.

Nowadays, for major commercial films with production budgets in the hundreds of millions, unless they were well-established sequels, marketing and distribution costs typically reached the hundreds of millions.

For example, Iron Man 2, despite having a strong fan base, had marketing and distribution expenses exceeding one hundred million dollars globally.

In this era where marketing was essential, Robin Hood’s fate was clear even before its release.

In some ways, 20th Century Fox’s decision was quite wise—they had not poured excessive funds into marketing but had cut their losses in time.

The facts also proved that large-scale war epics were no longer popular.

From its opening, Robin Hood had faced constant criticism. Other aspects aside, the audience reception was poor.

Most importantly, audiences lacked interest in Robin Hood.

Perhaps the world no longer needed another version of the Robin Hood story, despite the film’s high production costs and undeniable pedigree.

Moreover, it was unclear what the director and producers were thinking—maybe they wanted to add something new to this old tale. The film spent too much time on story structure, weakening the impact of the war scenes in the eyes of the audience. Even the scenes of Russell Crowe as Robin Hood drawing his bow were few and far between.

Perhaps the producers and director had aspirations for awards, hoping to follow in the footsteps of Gladiator and make a push for next year’s Oscars with this epic.

Limited by marketing and distribution, Robin Hood opened in just over three thousand theaters in North America. Coupled with the lack of audience interest, it only grossed five million and twelve thousand dollars on its opening day.

In contrast, Iron Man 2, entering its second weekend, began to rebound at the box office, earning eighteen million and six hundred and twenty thousand dollars on Friday alone.

Robin Hood could not pose even the slightest threat to Iron Man 2. Instead, it suffered from Iron Man 2’s strong performance, with shockingly low attendance.

After the weekend, Robin Hood had only grossed thirteen million and nine hundred and sixty thousand dollars. Its North American box office was unlikely to exceed forty million dollars.

20th Century Fox had successfully collected its third “dragon ball.”

Iron Man 2 retained its crown at the North American box office, earning sixty-two million and two hundred and seventy thousand dollars in its second weekend.

Ten days after its North American release, the superhero blockbuster had accumulated two hundred and fifty-one million and twelve thousand dollars at the domestic box office.

Internationally, as more countries and regions joined the screenings, the overseas box office had also surpassed two hundred and fifty million dollars.

Currently, Iron Man 2’s global box office had reached five hundred and twelve million and forty-seven thousand dollars.

Compared to the box office, the offline merchandise and derivative products had also exploded in popularity over the past ten days. Relativity Entertainment’s global merchandise revenue exceeded three hundred and fifty million dollars, drawing the attention of the entire Hollywood industry.

Iron Man 3 was definitely happening, but preparations would not begin immediately. Currently, all of Marvel Entertainment’s resources were focused on The Avengers. The sequel would only start preparations after The Avengers had finished filming.

Since Jon Favreau had signed a long-term contract, he would continue to direct the third installment.

20th Century Fox’s three consecutive failures with period epics had caused quite a stir in the industry. Once could be a coincidence, twice a mistake, but three times?

Many Hollywood companies conducted targeted market research and analysis, subsequently putting potential large-scale period epic projects on hold.

This genre, much like pirate movies in the late nineties, was beginning to fall out of favor in Hollywood.

But superhero movies were different—they were the hottest genre in the market.

Chapter 1094: Love Is a Beam of Light

Every May in summer, a batch of blockbusters is released. Any given weekend sees at least one major commercial film hit theaters, and premiering at the start of the summer season means the film’s screenings can sustain the audience’s high spending enthusiasm throughout the entire summer.

The trend of superhero films becoming increasingly popular is undeniable. With the success of Iron Man 2, Marvel Entertainment’s superhero films have achieved a streak of four consecutive wins, and the promotional wave for The Avengers is rising higher and higher. Even though the film is still a full year away from release, it has already garnered significant market attention.

Warner Bros, of course, is not willing to lag behind. DC Comics is one of the two major comic giants in North America, on par with or even surpassing Marvel. Warner Bros believes it must achieve corresponding success and status in the superhero film market.

Frankly, Warner Bros and DC Comics’ response cannot be described as slow. As soon as Iron Man achieved success and Marvel’s Avengers cinematic universe began to reveal its true form, they immediately mobilized their resources to plan the Justice League universe.

But one step slow, step by step slow.

Relativity Entertainment had already prepared for the entire plan for several years before Iron Man, and before the first film was greenlit, there was a very complete plan.

Most importantly, Ronan could determine the plan at the fastest speed and find the most suitable executors for it.

Warner Bros and DC Comics responded quickly, and the project was launched quickly.

This is also the situation Ronan hopes to see.

Because, after all, the other party does not have a special experience like him. While being fast, it also means haste.

In the past, Warner Bros had various mysterious operations in DC comic adaptations.

At that time, the difficulties faced by DC comic adaptations were largely due to Warner Bros’ top management.

Compared to Marvel Entertainment, with its scattered copyrights and Relativity Entertainment behind it, Warner Bros, which holds the complete Justice League copyrights for Superman, Batman, and Wonder Woman, truly holds a royal flush.

Perhaps it is precisely for this reason that Warner Bros and DC Comics are full of confidence from top to bottom—Marvel’s second and third-tier heroes can achieve success on the screen, so our more famous first-tier heroes, presented with higher investment and more exquisite production on the big screen, will surely succeed.

Before the premiere of Green Lantern, there were no external test screenings, and only three trailers and commercials were released, but they were enough to showcase its astonishing CG effects.

Love is a beam of light, bringing a green world.

As a long-term partner of Warner Bros, the producer who created two new Batman films, Batman Begins and The Dark Knight, Ronan also received an invitation from Warner Bros and DC Comics and appeared at the premiere of Green Lantern.

The scene was truly a sea of green—green posters, green decorations, even the carpet the stars walked on was green.

At the premiere, Kevin Tsujihara, the Chief Executive Officer of Warner Bros, announced to the public: “Warner Bros Pictures has decided to release one to two superhero films adapted from DC comics every year.”

Among them, Kevin Tsujihara specifically mentioned the new Superman film and the Flash film.

The former needs no introduction; the news has long been public, and next year, the new Superman film, named Man of Steel, will be released.

Superman is the most well-known superhero. When the name “superhero” is mentioned worldwide, almost everyone first thinks of Superman.

The Flash film has been put on the agenda by Warner Bros. The most circulating related news is that Brad Cooper, who has had a series of collaborations with Relativity Entertainment, may play the Flash.

According to the news Ronan received, the script for The Flash will be submitted before Halloween, and the script for Green Lantern 2 will also be completed simultaneously.

Whether these plans can be implemented depends on whether today’s premiere film can succeed.

“Hi, Ronan.”

In the crew, as the host, Kevin Tsujihara took the initiative to greet him: “Welcome to the premiere.”

Ronan smiled and shook hands with him, saying, “This premiere is too unique, green is dazzling.”

Kevin Tsujihara also smiled and said, “How can it not be green if it’s Green Lantern?” He then said, “Your Iron Man 2 has an astonishing box office. Fortunately, we are separated by a weekend.”

Ronan said, “I wish Green Lantern success.”

“Thank you.” Kevin Tsujihara paused slightly and then said, “I believe the audience also likes to see both the Avengers and the Justice League shining on the big screen.”

Ronan nodded slightly: “I hope so too.”

After all, this is the premiere of Warner Bros and DC Comics. Ronan did not say much more, let alone make conclusions without seeing the film.

After chatting with Kevin Tsujihara for a few words, he went directly into the theater to wait for the movie to begin.

Because of his relationship with Marvel, Ronan also has some understanding of the old neighbor DC Comics. Currently, in the comics, Green Lantern is still one of the founders of the Justice League and a famous superhero in the United States. In terms of fame before the film’s release, Green Lantern clearly surpasses Iron Man.

To be precise, it should be the Green Lantern Corps.

The worldview and storylines of Marvel Comics and DC Comics are a mess, with various derivative universes emerging one after another. The number of these lantern-wielding guys in DC is truly countless.

Ronan remembers there are probably seven lantern corps, and there seem to be black lanterns and seven-in-one white lanterns. He just doesn’t know if there is a one-lantern.

But no matter which lantern, they can’t escape the daily team wipeout meme.

Ronan forgot where he saw it, but it was said that the number of Green Lanterns who died in battle in the Green Lantern Corps is countless, and if they were connected, they could circle the Earth?

It is said that in the Green Lantern comics, there is also a pair of “divine lantern lovers.”

In fact, in DC’s comic universe, being a Green Lantern is truly a high-risk profession. The seemingly powerful Green Lantern Corps not only has internal strife but is also wiped out by various villains.

The film soon began to screen. Overall, it is not much different from that previous film, and the main storyline is very similar.

In simple terms, it is an inspiring story of a poor second-generation heir fighting with an official second-generation heir for a rich second-generation heir.

The special effects of Green Lantern are truly outstanding, even surpassing Iron Man 2. The special effects are indeed worth every penny, and the $200 million Warner Bros spent on filming and production is well worth it.

For this era, Green Lantern is truly an incredible audio-visual feast. The dazzling visual effects are breathtaking.

Ronan also understood why Warner Bros and Kevin Tsujihara were so confident in Green Lantern—because in terms of special effects, it is absolutely stunning.

If this were a sequel, or if the Justice League cinematic universe had already had a successful start, and Green Lantern appeared as a sequel, the commercial performance of this film would not be bad.

Unfortunately, this is the opening masterpiece of the entire Justice League cinematic universe.

On the first day of its North American release, Green Lantern lived up to expectations, ranking first on the North American box office chart that day, with a box office revenue of $20.21 million.

For ordinary films, this single-day box office revenue is not low, but for Green Lantern, with a production budget of $200 million, it is significantly lower than expected.

Warner Bros and DC Comics have always been optimistic about the film’s commercial expectations, believing that even if Green Lantern’s opening weekend box office is not as good as Iron Man, the difference will not be too great.

In Hollywood history, many films have had average opening box office performances but later succeeded in a comeback through audience recognition.

As the first film in the entire series, Green Lantern can be said to lack sufficient audience base. The less-than-ideal first-day box office in North America is not a big deal, and there is still a possibility of a comeback later.

But worse than the lower-than-expected first-day box office is the audience’s disapproval!

Although the special effects are excellent, even to the point of being top-notch in Hollywood, the main green special effects, to some extent, are like an endless snowfield. After watching for a while, a monotonous feeling naturally arises.

The film’s main villain, Parallax, is even worse. If Marvel’s villains are flat, Parallax is as monotonous as a line.

What is this dark mass of clouds? It looks more like a giant pile of dung.

How can such a villain leave an impression on the audience?

As for the plot, if Iron Man 2’s story is a mess, then Green Lantern’s story is super bad.

Only one day after its North American release, Green Lantern’s audience reception collapsed. On IMDb, the average rating from tens of thousands of viewers is 5.6, and the CinemaScore audience rating is B.

The audience reception is very poor.

If the audience reception is not good, but other aspects are outstanding, the film still has other operational space.

The problem is that the reception in other aspects is even worse. Rotten Tomatoes’ freshness rating is only 26%, and the media composite score is 32.

The miracle of a bad film exploding did not happen to Green Lantern.

In the first three days of the North American opening weekend, Green Lantern grossed $48.26 million in over 4,100 theaters. Although it prevented Iron Man 2 from achieving a three-peat at the North American box office, this number is far below the expectations of Warner Bros and DC Comics.

Iron Man 2 dropped to second place on the North American box office chart, but with a box office revenue of $33.58 million, the film’s North American box office is infinitely close to $300 million.

Green Lantern’s poor reception and unsuccessful opening box office make it clear to anyone with a bit of reason that there is no possibility of a future comeback.

As the film continues to screen, the audience reception is further rapidly declining.

“A film that makes people drowsy.”

“Stupid plot, dog-blood production.”

“Truly no bright spots at all.”

“Compared to Green Lantern, the neighboring Iron Man 2 is a conscientious good film.”

In fact, some fans’ views are quite representative: the special effects have some watchability, but other aspects are not worth mentioning.

It is very clear that Hal Jordan’s green special effects tight suit has not conquered the audience and the market.

Chapter 1095: Ten Years to Forge a Single Sword

Some things only reveal their true nature when they actually happen. Green Lantern had undoubtedly brought Warner Bros and DC Comics such a feeling.

In the conference room, the dozen or so attendees all wore grave expressions. Kevin Tsujihara, seated at the head, remained tense, as if the air itself had solidified.

Everyone directly involved in the production of Green Lantern sensed something was amiss.

Executive producer Donald De Line, DC Comics’ co-producer Geoff Johns, and Warner Bros’ senior executives like Jeff Robinov, along with distribution head Lynn Harris—each felt an invisible dark cloud looming over them.

Even Kevin Tsujihara’s most trusted confidants, Charles Roven and Diego Harris, appeared cautious.

Kevin Tsujihara surveyed the room before speaking slowly, “Let’s hear it. What’s the current situation? You should all be aware.”

No one spoke hastily. Everyone present understood that Green Lantern’s failure wasn’t just about one film—it would impact Warner Bros’ entire strategic plan.

As DC Comics’ de facto leader, Diego Harris couldn’t remain silent. He spoke first, “The box office performance of Green Lantern has fallen far short of expectations. This will severely affect our entire plan. We must respond immediately.”

With the first voice breaking the silence, others relaxed slightly. The problem was laid bare and needed solving.

Even if they didn’t solve it, someone would inevitably bear the blame.

Jeff Robinov asked, “Is there still a chance to turn things around?”

Lynn Harris shattered any false hope, “Based on data from various sources, our predictions align with CinemaScore’s conclusions. Green Lantern’s North American box office will likely land around one hundred million dollars, possibly even failing to reach that.”

He paused to organize his thoughts before continuing, “Given the typical ratio of North American to international box office for major Hollywood productions, Green Lantern’s overseas earnings won’t surpass its domestic performance—it might even be lower. So, the most optimistic estimate places its global box office around two hundred million dollars.”

The room fell silent. Everyone understood what these numbers meant. Though the offline market remained, the online performance was so dismal that offline wouldn’t fare much better.

Massive losses! Massive losses…

Charles Roven spoke, “More terrifying than the box office failure is the damage to its reputation. Poor reception will drag down all future plans.”

Driven by a strong sense of responsibility, Lynn Harris suggested, “We should cut our losses. We’ve invested two hundred million dollars in production, and marketing and distribution have already cost one hundred thirty million. Further investment won’t significantly impact the film’s market performance.”

Kevin Tsujihara’s expression remained unreadable. After ten seconds, he finally spoke, “Lynn, proceed with marketing and distribution as you suggested. Cut our losses promptly.”

At this moment, impulsiveness and anger wouldn’t solve anything. They had to consider the market’s reality.

But Green Lantern’s failure brought more than just financial loss.

“If we continue using Green Lantern as the starting point for the Justice League cinematic universe, what will happen?” Kevin Tsujihara asked directly, “Is that still possible?”

Diego Harris was the first to respond, “This film’s failure will drag down all subsequent films.”

Jeff Robinov added, “Green Lantern has already failed. That can’t be changed. It’s best not to let it affect future plans.”

Charles Roven had considered this for a long time. He spoke slowly, “I propose we adjust the series. Temporarily abandon Green Lantern.”

This decision was painful but the wisest choice.

Others shared this view.

To prevent negative effects from dragging down the entire Justice League cinematic universe, Kevin Tsujihara made a swift decision, “Discard Green Lantern. Mobilize the media as much as possible. In new promotions, position Zack Snyder’s Man of Steel as the beginning of the Justice League cinematic universe.”

Charles Roven asked, “What about The Flash’s solo film?”

“Temporarily halt script development,” Kevin Tsujihara said. “Apart from Superman and Batman, all other superhero film projects are suspended for reevaluation.”

Diego Harris spoke up, “Our progress will fall far behind Marvel.”

Kevin Tsujihara glanced at him before continuing, “We’ll accelerate our pace. I have an idea. Why should Warner Bros and DC Comics follow Relativity Entertainment and Marvel Entertainment’s rhythm? Green Lantern’s failure proves one thing: Marvel’s model isn’t necessarily suitable for DC. We need to determine our own plan.”

“Indeed,” many agreed.

Kevin Tsujihara had clearly given this thought. He continued, “DC Comics’ flagship characters are Superman and Batman. They’re also America’s most influential superheroes. We should get Superman and Batman into the same film as soon as possible, using them to drive other superheroes.”

“The Dark Knight Returns!” Diego Harris immediately thought of the comic Christopher Nolan had heavily drawn from. “We can adapt parts of this comic and have Superman and Batman battle on screen!”

Charles Roven caught on, “The strongest mortal challenging the god among men—great idea!”

Kevin Tsujihara considered for a moment before nodding slightly, “Prepare a plan quickly.” His gaze swept across the conference room. “Everyone, regarding DC’s superhero films, you need to be more proactive. Offer more suggestions, participate more in specific matters. The Harry Potter series is nearing its conclusion. We need a new successful film series to support us.”

Others breathed a slight sigh of relief. Given the current situation, their boss, who was skilled at shifting blame, didn’t seem intent on making them scapegoats.

Kevin Tsujihara emphasized, “We’ve fallen too far behind Marvel Entertainment. So, show your efficiency. Accelerate all work! I want us to catch up to Marvel within the next three years!”

At Relativity Entertainment, Ronan was reviewing specially collected materials about Green Lantern. The film’s failure was now certain, offering many lessons worth learning.

Only now, after Green Lantern’s release, had Warner Bros stopped keeping many materials secret, allowing others to access some information.

Ronan studied them carefully and summarized his findings.

The most crucial point was that, unlike Marvel’s Avengers cinematic universe, where he and Kevin Feige made all decisions, Green Lantern’s production involved too many influences from Warner Bros.

Kevin Tsujihara, at least, knew he wasn’t skilled in filmmaking and didn’t directly interfere with the production team. However, his subordinates Charles Roven and Diego Harris had led the Green Lantern project.

If only these two had been involved, it might have been manageable. In reality, the film’s production had shown clear signs of multiple voices.

Many Warner Bros executives—Donald De Line, Geoff Johns, Jeff Robinov, Greg Silverman, Lynn Harris, and others—had exerted significant influence over Green Lantern’s production.

This wasn’t beneficial for filmmaking but was a long-standing tradition at Warner Bros.

Ronan vaguely recalled that many Warner Bros executives had liked to directly interfere with DC comic adaptations, even if they didn’t hold producer positions on the films.

Thus, a popular saying had emerged: DC’s royal flush wasn’t ruined by directors and producers but by Warner Bros executives.

Now that Green Lantern had failed, Warner Bros would likely return to its old ways.

Could Green Lantern make a comeback? Impossible. Moreover, its second weekend box office might face a massive drop.

Relativity Entertainment had a film scheduled for release the weekend after Green Lantern—James Cameron’s Avatar.

For promotional momentum, in mid-May, Embassy Pictures had screened a fifteen-minute segment in numerous 3D and IMAX theaters worldwide. Almost all viewers described the experience as insane.

Avatar’s marketing differed from traditional trailer releases and market promotions. Though 3D and IMAX technology was becoming more widespread in North America, globally, the latest wave of 3D films was just beginning. Many moviegoers hadn’t yet experienced 3D theaters, and some were deterred by high ticket prices.

This new promotional approach allowed more people to enter theaters and experience 3D for free—a forward-thinking innovation.

This day was named “Avatar Day” by Relativity Entertainment.

On “Avatar Day,” 248 IMAX theaters across America and 438 theaters in 77 other countries and regions, totaling about 700 3D screens, simultaneously showed this Avatar preview that required 3D glasses.

The fifteen-minute preview included five segments from Avatar and a fast-cut preview. Director James Cameron appeared in person on the 3D screen, leading audiences into the world of Avatar.

“The 3D effects in Avatar surpass all 3D films of recent years, presenting an entirely new 3D experience. Additionally, the realistic CGI characters set a new milestone in film industry history. The segments clearly show Director Cameron’s dedication and exceptional directorial skills. However, fifteen minutes is too short. Just as everyone was getting into it, it ended. I really want to see the full Avatar…”

Veteran film enthusiasts who had seen the preview didn’t hesitate to use exaggerated praise, even though the ten minutes James Cameron had cut weren’t the film’s true highlights. Still, it fully deserved such acclaim.

“James Cameron—ten years to forge a single sword!”

This promotional slogan had already been released.

Chapter 1096: A Renaissance in Film History

Apart from the fifteen-minute preview shown on “Avatar Day,” Embassy Pictures relied heavily on Hollywood’s traditional promotional tactics for Avatar, supplemented by online hype.

The effectiveness of promotion often correlates directly with the amount of money invested.

Avatar was touted as having a budget of five hundred million dollars, though its actual production costs amounted to two hundred and thirty million. The remaining two hundred and seventy million was poured entirely by Relativity Entertainment into global marketing, promotion, and distribution.

Every blockbuster film owes its success in part to exceptional marketing. Behind the production costs often lies an equally massive—or even larger—budget for promotional campaigns.

To capture attention, the truthfulness of promotional content is often a secondary concern.

In film marketing, even relationships can be fabricated—so why not everything else?

Thus, Avatar inevitably became another “labor of love” that its director had meticulously planned for years.

“The script for this film was actually completed as early as 1995, but the necessary film technology to realize my vision didn’t exist at the time. Due to my insistence on perfect filmmaking, I set the script aside and focused on developing and testing the required technology.”

In a promotional featurette aired on television and online platforms, James Cameron solemnly introduced the origins of the film: “Over these past ten-plus years, I worked on Titanic, filmed The Abyss and Deep Sea Alien, but my ideas for Avatar and my exploration of 3D technology never ceased.”

“By 2005, Ronan and I both felt the time was ripe, and that’s when we began the production of Avatar.”

The potential value of this film was enormous. Even Ronan personally stepped forward, rarely granting media interviews to champion Avatar: “This has been an unprecedented collaboration. James Cameron not only created an entirely new world—the planet Pandora—with unparalleled creativity, but he also developed a new language and culture for it. The uniqueness of the Na’vi and other creatures on the planet is breathtaking. In my eyes, James Cameron is a perfect inventor!”

A film without any A-list stars, telling an original story about unknown alien life, not a sequel to any existing franchise, with a price tag of five hundred million dollars—could such a film actually turn a profit?

Even with the success of Titanic preceding it, industry insiders and the media remained skeptical about whether such a massive investment could yield a return.

After all, James Cameron’s last major success had been too long ago.

For a company like Relativity Entertainment, a loss of this magnitude would be devastating, potentially triggering a chain reaction of financial woes.

All would be revealed in late May.

On the fourth weekend of May 2008, Relativity Entertainment hosted a grand premiere for Avatar at the newly renovated IMAX 3D Nokia Theatre in Los Angeles!

The area in front of the Nokia Theatre was packed with people. The scale and excitement of the premiere were no less than that of the Oscars. Over a hundred well-known Hollywood figures had already entered the theater, eager to catch a glimpse of the film touted as the “greatest spectacle in history.”

In this day and age, one person might not be able to change the world, but one person can revolutionize an industry.

Over thirty years ago, George Lucas profoundly transformed Hollywood’s film industry. Today, James Cameron would bring revolutionary changes to the field.

Perhaps, ten or twenty years from now, people inside and outside Hollywood would view Ronan in a similar light.

As Jessica Felton walked into the Nokia Theatre arm in arm with Ronan, she heard him say, “This film, Avatar, will elevate the entire industry to an unprecedented level!”

Jessica Felton pondered the internal screening she had seen and replied, “Yes, and the ticket prices have gone up too.”

Ronan couldn’t help but laugh. “For Americans, movies are still a very affordable form of entertainment.”

“Hey, Ronan.”

As soon as the voice rang out, Leonardo DiCaprio strode over and shook Ronan’s hand. “Long time no see.”

Ronan, familiar with him, replied directly, “You’ve put on some weight.”

Leonardo laughed, turning to Jessica Felton. “Hello, Miss Felton.”

Then, he introduced the blonde girl who followed behind him: “This is Aileen Heatherton, my girlfriend.”

Ronan nodded slightly in their direction, and Jessica Felton politely greeted her as well.

Leonardo continued, “James has spent years honing his craft and created another masterpiece.” He looked at Ronan. “This isn’t going to be another Titanic, is it?”

“I wish it were,” Ronan shook his head slightly. “The test screenings of Avatar have received quite a bit of criticism.”

Among Hollywood’s many stars, Leonardo had a keen eye for selecting films and a solid understanding of the movie market. He immediately said, “Those boring critics, can their words really sway the movie market? Looking back at James’s filmography, from The Abyss to Terminator 2 to Titanic, each time he broke records for big-budget films, and each time before release, countless film critics predicted box office disasters. And what happened?”

He didn’t need anyone to answer: “The box office always ruthlessly shatters their last shred of dignity.”

Ronan acknowledged this point: “You’re right.”

Everyone knew James Cameron was a money-burning machine, but he had the knack for turning investments into multiplied profits, even putting his own salary on the line to achieve the most perfect effects in his mind!

A murmur arose in the theater’s foyer as James Cameron entered.

The renowned director immediately became the second focal point after Ronan.

Ronan noticed an interesting scene: Suzy Amis and Kathryn Bigelow stood on either side of James Cameron, chatting and laughing with him without a hint of awkwardness.

For former spouses or ex-lovers in Hollywood, this was nothing out of the ordinary. The circle was small, especially at the top, where the same faces kept reappearing, often running into each other at public events.

Thinking of this, Ronan glanced at Leonardo and Aileen Heatherton, and a whimsical thought suddenly crossed his mind.

Compared to Leonardo, who remained true to his roots, had he become a traitor?

“It’s about time,” Jessica Felton’s voice sounded beside him. “Let’s go into the screening room.”

Ronan turned to look at Jessica Felton, pushing all those whimsical thoughts out of his mind.

Jessica Felton asked, “What’s wrong? You look a bit strange.”

Ronan said earnestly, “Jesse, meeting you is my luck.”

Jessica Felton beamed. “It’s my luck too.” She tightened her grip on Ronan’s arm. “Let’s go.”

Entering the screening room, they didn’t have to wait long before the premiere of Avatar began.

Apart from minor changes, the film was largely the same as the one Ronan had seen before. It was undoubtedly a massive technological breakthrough in filmmaking, though the story and plot remained thin—something that left Ronan, who preferred stories centered on humanity, feeling somewhat helpless.

No matter what significance James Cameron attributed to the Na’vi, in the hearts of people like Ronan, being human was far better than being anything else.

He could accept something like the T-800 from Terminator—after all, it was aligned with humanity.

But human traitors? That was just inexplicable.

As for the film’s visuals and technology, they were beyond words. Even piling on layers of elaborate descriptions wouldn’t do justice to the depiction of the planet Pandora.

That said, while watching a film, few people hope for the protagonist to die—after all, they’re the audience’s point of entry. But even though Ronan had seen the rough cut, sitting there watching the male lead, he still desperately wanted to see him taken out by a human mech.

In terms of plot, Avatar could be said to lack any imagination.

As some had pointed out, the love story running throughout was the most brainless part of Avatar. The plot progression incorporated typical elements like the hero and the beauty, bows and arrows versus cannons, from chance encounters, misunderstandings, family opposition to resolving misunderstandings, the handsome guy turning against his own kind for the love of a woman—all the clichés. Justice triumphs over evil, the bad guys die ugly deaths, the good guys have the last laugh, and love lasts forever… All the tacky Hollywood elements were present.

The storytelling in Avatar was undeniably formulaic.

James Cameron’s energy was clearly focused entirely on the visual effects.

The former truck driver turned director proved that his nickname “King of the World” was no exaggeration. As the commander-in-chief of the visual effects army, the biological design army, the motion capture army, the stunt performers, the dance performers, the actors, and the music and sound army, he brought sci-fi films into a new era in a way that left people stunned.

After the premiere screening, the Hollywood directors who attended the event shared their impressions of Avatar via Netflix sharing.

“Movies have new rules now. Avatar is the future!” — Jon Favreau

“We can now divide film history into ‘Before Avatar’ and ‘After Avatar’.” — Steven Soderbergh

“This is a ‘perceptual’ film that makes your work stand out. I should start researching 3D films too.” — Ridley Scott

“The first audiences of sound films were amazed by the sound; the first audiences of color films were amazed by the color. Avatar achieves the same effect.” — George Lucas

“A renaissance in film history.” — Luc Besson

For Ronan and Relativity Entertainment, Avatar wasn’t just a film—it was a gold mine, worth digging deep into!

Chapter 1097: A Cultural Phenomenon

The sun had just risen over Century City, its bright rays streaming through the massive windows of the Fox Building, illuminating James Murdoch’s office.

“Boss, several lending institutions are pressing for repayment due to the poor performance of Robin Hood,” his assistant reported from across the desk. “They’ve joined forces.”

James Murdoch remained calm, unfazed. The failure of Robin Hood had been expected, and the banks’ demands for repayment were equally unsurprising. Most of these institutions had provided loans for 20th Century Fox’s projects like Pharaoh and the Gods, 10,000 BC, Robin Hood, and Super Storm. When projects underperformed, loan recalls were only natural.

The assistant continued, “Their representatives have made it clear—if 20th Century Fox doesn’t respond soon regarding the loans for Super Storm, Dragonball Evolution, Wolverine, and Terminator 4, they’ll call in the loans early.”

James Murdoch knew he couldn’t ignore the situation any longer. After a moment’s thought, he said, “Use the returns from Pharaoh and the Gods, 10,000 BC, and Robin Hood, along with some liquid funds from the group, to repay one-fifth of the debt. We’ll delay the rest for now.”

The assistant noted this down. Repaying a portion would buy them time—after all, loan recalls and outright conflicts benefited no one.

James Murdoch then asked, “What’s the status of the financing from Wall Street?”

“Lehman Brothers is in poor shape,” the assistant replied quickly. “They won’t be able to provide financing for us in the short term.”

No one could have predicted Lehman Brothers’ future collapse—it was one of the Big Four investment banks, and James Murdoch was no exception. He didn’t dwell on it, simply saying, “Keep an eye on Lehman Brothers.”

The assistant instinctively glanced at the office door, seeing it firmly shut, and lowered his voice slightly. “There’s one more thing—the new equipment is in place, but we haven’t gotten any useful information. Most of the calls are trivial matters.”

James Murdoch understood what he was referring to. “Office phones and mobiles?”

“The other party is using encrypted devices.”

This wasn’t surprising. After all, they weren’t dealing with ordinary individuals. James Murdoch said, “Keep monitoring. Notify me immediately if there’s any news.”

“Understood.”

As the assistant was about to leave, James Murdoch called him back. “Avatar’s midnight screenings have started, right? Do we have any data?”

News Corporation’s plan to acquire Time Warner was progressing poorly, and James Murdoch was already preparing for a new strategy. If Avatar turned out to be a box office disaster, the subsequent problems might be simpler to handle.

Since taking the position of Animation Chairman at 20th Century Fox, James Murdoch rarely paid much attention to a single film’s box office—except for a monumental project like Avatar.

Behind this film stood a man named Ronan Anderson, a legend in Hollywood. In just ten years, he had transformed a small company that produced B-movies on videotapes into what it was today. James Murdoch knew his own limitations—he could never have achieved such a feat.

The assistant immediately replied, “$4.75 million from 3,850 theaters!”

Hearing this number, James Murdoch’s mood, which had been soured by the loan issues, inexplicably improved.

A $4.75 million midnight box office!

This was the total from Avatar’s midnight screenings across 3,850 theaters in North America. For a sci-fi film with no prequels, no source material, no major stars, and a story lacking audience familiarity, this was no small achievement.

But for the “most expensive film in history,” this number wasn’t particularly impressive.

A faint, almost imperceptible smile tugged at the corners of James Murdoch’s lips.

Avatar’s opening wasn’t exactly ideal.

On its first day of North American release—a Friday—Avatar grossed $29.25 million from 4,215 theaters.

This figure also suggested that Avatar’s North American opening weekend box office would likely fall short of $100 million.

However, some objective factors affecting Avatar couldn’t be ignored.

The film’s nearly three-hour runtime meant fewer screenings per day in each theater, directly impacting ticket sales.

Additionally, unlike adaptations or sequels like The Twilight Saga: New Moon or Iron Man, which had substantial fan bases, Avatar was a truly original film.

To this day, no original, non-sequel film had ever broken $100 million in its opening weekend in the North American market.

Frankly, in an era where original films were at a significant disadvantage, few individuals or companies dared to invest such a massive sum in an original project.

The original Avatar had relied heavily on financing, with nearly ten institutions and companies involved. 20th Century Fox’s investment accounted for less than a third of the total.

Moreover, while James Cameron’s fame and influence were undeniable, one fact couldn’t be ignored—it had been ten years since his last feature film. No one could expect the fickle audience and market to be greatly drawn in.

This first-day box office performance wouldn’t even crack the top ten in today’s North American market. Compared to the film’s reported $500 million budget, it was far from impressive.

Furthermore, adverse external conditions had also affected the box office.

Several southern states in the U.S. were hit by storms, keeping many potential moviegoers at home and impacting Avatar’s earnings.

“Avatar—Ronan Anderson and James Cameron’s Waterloo?”

As expected, Avatar’s lackluster first-day performance drew skepticism from many media outlets. Some long-awaiting and ill-intentioned groups began attacking and predicting the film’s downfall.

“The most expensive film in history = the biggest box office disaster in history!”

On the second day of Avatar’s North American release, those eager to see Relativity Entertainment fail couldn’t wait to proclaim such slogans.

“Since Relativity Entertainment’s inception, Ronan Anderson’s advocacy for effects-driven, high-budget industrialized filmmaking has produced too much visual garbage. Avatar is the pinnacle of these two elements, and it will only induce aesthetic fatigue in audiences. If you don’t want to leave the theater with ringing ears and tired, teary eyes, it’s best to avoid this film—it’s practically draining human vision and hearing!”

The rise of a new company and power always threatened many interests. Because Relativity Entertainment was strong enough, perhaps no one would openly challenge it. But when Relativity faced setbacks, quietly stepping in to kick it while it was down was an easy move.

However, under Relativity’s aggressive promotional campaigns and Avatar’s undeniably high quality, these issues were insignificant.

After the first day of screenings, Avatar’s word-of-mouth among audiences exploded. Websites, forums, communities, Netflix sharing, and other social media platforms were flooded with recommendations for the film.

“Avatar is the most beautiful film I’ve seen in years!”

“Whether you choose 3D or standard, Avatar delivers shock and awe worth experiencing.”

“It’s a film we’ve seen before, yet it feels like nothing we’ve ever seen—it’s our generation’s Star Wars!”

On the second day of its North American release, Avatar maintained a steady pace, still unremarkable, with a $29.35 million box office that wasn’t particularly impressive.

But by Sunday, everyone realized something was unusual.

Typically, a new film—especially an original one—follows a pattern where Friday’s box office is less than Saturday’s, which is greater than Sunday’s.

Because Monday is a workday, the crucial evening golden hours on Sunday often have lower attendance, which is why Sunday’s box office is usually lower than Saturday’s.

Under normal circumstances, a film’s Sunday box office often drops by more than twenty percent compared to Saturday.

But Avatar not only didn’t decline—it continued its steady performance, earning another $29.41 million on Sunday!

This steady trend reminded some of James Cameron’s last official feature film—Titanic!

That film about a big ship also had an unremarkable opening, with a North American opening weekend box office of less than $30 million. But what happened in the end?

Moreover, Avatar’s opening box office simply didn’t explode like The Dark Knight, The Twilight Saga: New Moon, or Iron Man 2.

Over its North American opening weekend, Avatar grossed $88.01 million from 4,215 theaters!

This set a new record for original films in the North American market!

The film also opened in over thirty countries and regions internationally, with a much stronger overseas response than in North America, earning $123.56 million in its opening weekend.

After three days, Avatar’s global box office had surpassed $200 million.

As the new week began, the film revealed an even more terrifyingly stable box office trend.

On Monday, a workday, any film in North America faces a significant drop in box office—Avatar was no exception. But the minimal decline left people stunned.

On its first workday, Avatar grossed $24.17 million in North America!

“No one doubts Avatar’s potential anymore. James Cameron has created an undefeated legend, whether it’s the historical Titanic or the entirely fictional world of Pandora—both have become cultural phenomena on Earth!”

After the new week began, Avatar not only dominated the global box office with unstoppable momentum but also made headlines in major media outlets. No one questioned anymore that this was a groundbreaking film.

Chapter 1098: A Significant Gain

Compared to the usual market performance of Hollywood films, Avatar’s greatest difference was its stability—its box office trajectory was as steady as a mountain range.

In its second weekend, even with the release of a major tentpole like The Chronicles of Narnia, Avatar still retained its crown on the North American box office chart.

Its earnings were a staggering seventy-seven million dollars!

Compared to its opening weekend, Avatar’s second-weekend box office had only dropped by just over ten million dollars.

After ten days in theaters, this visually stunning film had already grossed two hundred and sixty-two million dollars in North America.

At this point, everyone realized—this was another Titanic!

Moreover, with the premium pricing of 3D and IMAX, could Avatar’s box office climb even higher?

In international markets, as Avatar expanded to more countries and regions, its overseas box office was rapidly approaching four hundred million dollars.

The response to Avatar overseas far surpassed that in North America.

“The overseas market for Hollywood is much larger now than it was during Titanic,” Ronan remarked, reading the newspaper in the living room of Future World Estate. He turned to Jessica Felton, who was arranging items on a shelf. “Back then, Titanic’s overseas box office was twice that of North America. For Avatar, it might be three times as much.”

Jessica placed a crystal frame containing a photo of her and Ronan in the most prominent spot on the shelf. “The North American performance of Avatar is too stable,” she said.

Ronan set down the newspaper. “If nothing unexpected happens, this stable box office trend could continue for another three to four weeks.”

Jessica mentally calculated. “If that’s the case, Avatar surpassing Titanic is highly probable.”

Ronan shrugged. “It will definitely surpass it.” He reminded her, “Don’t forget, ticket prices are over a dollar more expensive than ten years ago, plus the three-dollar premium for 3D and double the price for IMAX.”

“You’re right.” Jessica picked up another frame. After Nikita took a platinum art piece from her hands, she arranged the frame and added, “High ticket prices are a factor that can’t be ignored.”

She waved to someone behind her. “Dear, does this look okay?”

Ronan glanced over. “Perfect.”

Jessica took the damp towel Nikita handed her, wiped her hands, and said, “If Avatar maintains this level of heat for a few more weeks, will it impact Fast & Furious 4?”

“Not much,” Ronan replied simply. “The market and audiences have been stirred by Avatar into a craving for 3D films.”

Fast & Furious 4 was separated from Avatar by two weekends, so it wouldn’t be heavily affected. Sandwiched between them was Indiana Jones 4, a collaboration between Lucasfilm and Paramount.

Jessica immediately thought of something. “So, you deliberately scheduled the 3D version of Alice in Wonderland to release before Independence Day?”

Ronan said, “Relativity Entertainment has invested so much in Avatar; of course, we want to maximize the returns.”

Jessica sat down beside Ronan, picked up the newspaper, and opened it. “If I had known, I would have converted Fast & Furious 4 into 3D.”

Ronan poured Jessica a glass of water. “The 3D format isn’t particularly suitable for Fast & Furious 4. Your film has too many intense action scenes, and many shots were filmed directly in the car with significant shaking. If made in 3D, many viewers might get dizzy, and those prone to motion sickness might even vomit on the spot.”

Finch entered from outside and glanced at Ronan.

Ronan stood up and said to Jessica, “I’ll go see what Finch wants. He might have something.”

Jessica waved her hand, her gaze fixed on the newspaper. “Go ahead.”

In a reception room, Finch closed the door and said, “There’s news from London.”

Ever since they had pursued leads to London over a year ago, a team had been active there. After a long period of gathering, investigating, and inquiring—and spending a considerable sum—they had finally made progress.

Ronan sat on the sofa and asked, “When did this happen?”

Finch spoke quickly, “Just last week. The other party made an offer, and after multiple probes, they seem sincere. In the next couple of days, our people will meet with them and might obtain some crucial information.”

Ronan took this matter very seriously. “Have David go personally. He can take my private jet. If he gets the relevant information, have him escort it back to Los Angeles immediately.”

“Understood.” Finch brought up another matter. “They’ve been increasing their activity over there these past couple of days.”

Ronan nodded slightly. “Keep a tight rein on it. Let them hear whatever insignificant details they want.”

Finch stood up, ready to attend to his tasks. “Don’t worry, there won’t be any problems.”

He left the reception room first to arrange for people to head to the UK.

Ronan quickly returned to the living room. Jessica saw him come back, set down the newspaper in her hands, and asked with concern, “Everything alright?”

“A minor issue.” Ronan smiled.

Jessica fell silent for a moment, then said, “Ronan, considering everything, I don’t think it’s a minor issue.” She asked seriously, “Can you tell me about it?”

Ronan sat beside Jessica. Considering Finch’s feedback, and since she was already involved, he slowly said, “It’s not a small matter. If it escalates, the scope of involvement will be very wide.”

Jessica was a clever woman; otherwise, she wouldn’t have waited until now to ask. Living by Ronan’s side, she had made some guesses through observation. Finally, she couldn’t hold back and said, “Ronan, I’m very worried.”

Ronan comfortingly stroked her brown hair. “Didn’t I tell you last time? Someone is targeting me and Relativity Entertainment. They’re gathering information about me and the people around me… Well, some phones in the estate have been tapped.”

Ronan had mentioned this before. Although it was alarming, Jessica wasn’t shocked. “What do they want to do?”

Ronan shrugged. “Simple. Find a weakness in me, then strike a fatal blow.”

Jessica gripped Ronan’s hand, unconsciously tightening her hold out of worry.

“It’s fine, don’t worry.” Ronan gently patted her hand. “I noticed it early and made preparations.”

When he first met James Murdoch, Ronan had thought of those memorable events and had paid special attention to his own security in this regard.

As it turned out, he hadn’t overthought it. The Murdoch family, when they set their minds to something, truly didn’t hold back.

Over the past year, as investigations in the UK progressed, some things gradually came to light—shocking things.

In the last six months, Ronan had also arranged for covert investigations in the United States. Since he had memories of past events, the investigations were highly targeted. The preliminary information obtained could only be described as shocking.

A massive media and entertainment conglomerate, in its quest for sufficient news and to uncover the secrets of celebrities or public figures, had an audacity that was far from ordinary.

Ronan had thought the news reports he had seen before were shocking enough, but the initial information obtained was even more chilling than the news.

Perhaps what had been exposed before was only part of it. The transactions hidden beneath the surface were not something a small figure from that time could have seen.

After all, News Corporation and the Murdoch family had paid an extremely heavy price.

…

London, UK, north bank of the Thames.

A very ordinary-looking, balding man with brown hair arrived at an open-air café, ordered a black coffee, and casually sat at an empty table, gazing at the distant Tower Bridge as he patiently waited.

After finishing half his coffee, someone approached leisurely. Upon seeing the bald man, they pulled out a chair and sat across from him.

“You’re here.” The bald man nodded slightly in greeting. “Mr. Glen Muclair, it seems you’ve made your decision.”

Glen Muclair was a private investigator who had long been employed by a British media outlet. He was quite cautious. “The British police had already noticed something last year but were misled. Is that related to you?”

The bald man said, “Does it matter? If I say yes, will you believe me? If I say no, will you believe that?”

Glen Muclair was uneasy. “I need to know how strong your influence is.”

“You’ll find out in time.” The bald man said indifferently. “Then you can decide whether to show yourself.”

“I will.” Glen Muclair felt somewhat reassured.

The bald man got straight to the point. “Mr. Glen Muclair, did you bring the items?”

Glen Muclair patted the briefcase he was holding. “Everything is inside—what I investigated back then and what I secretly recorded from the editor’s side, including text, video, and audio. I guarantee they’re worth every penny you’ve paid.”

The bald man extended a gloved hand. Glen Muclair instinctively leaned back. “Where’s what I want?”

An ordinary black canvas bag was placed on the table by the bald man and pushed toward Glen Muclair.

Glen Muclair quickly opened the canvas bag and carefully examined its contents before sighing in relief. “No fakes?”

The bald man said indifferently, “We’ll do business again in the future. Would I be so foolish?”

Glen Muclair nodded, took the canvas bag and put it on, then pushed the leather briefcase across. The bald man opened it, gave it a quick look, and said, “Pleasure doing business.”

“Pleasure doing business.” Glen Muclair stood up and left without looking back.

The bald man finished the remaining coffee in his cup, left the open-air café, and walked in the opposite direction. He quickly met up with several companions hiding in the shadows. After making a loop, they returned to the Chelsea district, contacted their superiors, and prepared to send the items back to North America.

Chapter 1099: The Rising Tide

In New York, within the conference room of the presidential suite at the Waldorf Astoria Hotel, Robert Iger was receiving a visitor who had traveled all the way from Montgomery, Alabama.

The middle-aged man with dark brown hair had a furrowed brow. His neat and sharp attire and the air of shrewd competence could not conceal the exhaustion and weariness emanating from within.

Robert Iger, on the other hand, maintained a polite and appropriate smile throughout, much like Mickey Mouse from his former employer, Disney—appearing kind and harmless.

This was not their first meeting; they had discussed matters several times before. Robert Iger was patient, waiting for Richard Fuld, the Chief Executive Officer of Lehman Brothers, to speak first.

Though Richard Fuld had come here, he still hesitated.

A subprime debt bomb had dragged the American real estate market and Wall Street into the abyss, and Lehman Brothers had been severely affected.

Originally, the crisis should not have spread to Lehman Brothers. They held very few subprime debts and had already “cut off the arm” by decisively selling them off.

But the skyrocketing housing prices had driven everyone mad.

Banks began lending to customers who did not meet loan conditions; financial institutions then bundled these loans into bonds and financial products, selling them through investment banks.

Lehman Brothers was no exception.

“Bob, Relativity Entertainment’s offer is too low,” Richard Fuld still tried to secure the best possible deal for Lehman Brothers. “Unless there’s a twenty percent premium, Lehman Brothers will not transfer its shares in 20th Century Fox.”

Robert Iger replied, “That can be arranged, but Relativity Entertainment will pay in installments, completing the payment within three years.”

Lehman Brothers needed funds—how could they agree to that? Richard Fuld’s brow furrowed even deeper. “Bob, don’t say things without sincerity.”

Robert Iger shook his head slightly. “Relativity Entertainment is very sincere, otherwise I wouldn’t be sitting here talking to you, Richard. You know better than I do how many people in all of Wall Street, all of Manhattan, even the entire United States, would love to see Lehman Brothers fail.”

Richard Fuld fell into a brief silence.

Founded in 1850, Lehman Brothers had a history of over 150 years, making it one of the oldest investment banks in America.

In 1994, Lehman Brothers went public on the New York Stock Exchange; in 2000, on the 150th anniversary of its founding, its stock price surpassed $100 for the first time and was included in the S&P 100 Index, becoming one of the top five or four investment banks in the United States.

Even last year, Lehman Brothers’ profits still ranked among the top three investment banks in the United States.

Who could have imagined that the once-mighty Lehman Brothers now faced a life-or-death crisis?

Suddenly, a phone rang. Richard Fuld apologized and left the conference room, entering another room to answer the call. After just a few words, his expression turned unusually grave.

The call was from the big boss in Washington D.C., who had been secretly lobbying for support from the Treasury Department but had been ruthlessly rejected.

Those bastards! When they took Lehman Brothers’ money, they weren’t like this!

Lehman Brothers was a large and prosperous enterprise; it wouldn’t fall so easily. It wasn’t time to give up yet—they just needed to keep trying.

Richard Fuld put away his phone and returned to the conference room, sitting across from Robert Iger. Abandoning his previous hesitation and silence, he said directly, “Do you have sufficient funds?”

Robert Iger replied with certainty, “Of course. Don’t doubt the funds Relativity Entertainment has at its disposal.”

Richard Fuld was straightforward: “Sign the transfer agreement, and your side will pay the full amount immediately. Everything else can be discussed afterward.”

Robert Iger said, “No problem.”

This deal, potentially involving billions of dollars, had finally reached a preliminary agreement after months of effort by Robert Iger, aided by the broader economic trends.

Just like Avatar continuing to dominate the film market, this was also good news for Relativity Entertainment.

The plan orchestrated by Ronan and Robert Iger had taken a crucial step forward.

Meanwhile, Avatar’s momentum showed no signs of slowing down. Including the North American market, there was a global shortage of 3D and IMAX 3D tickets for Avatar. Many fans, eager to secure 3D tickets, even lined up at theater doors as early as seven in the morning.

Even then, they could only get tickets for the next day.

On North American internet ticketing sites, whenever Avatar 3D or IMAX 3D tickets were released, they would be sold out within ten minutes.

As a new weekend arrived, Avatar continued to maintain steady box office performance in North American theaters.

This week, after years of preparation, George Lucas and Steven Spielberg’s so-called “twenty years to forge a single sword” project, Indiana Jones 4, saw Dr. Indiana Jones embark on his fourth adventure.

To reprieve his role as Indiana Jones, 65-year-old Harrison Ford had pushed himself to the limit.

Even Ronan was surprised by how well Harrison Ford had maintained his physique—he looked no different from his appearance in Indiana Jones and the Last Crusade.

Hollywood stars had their quirks, but most were professional.

Even Spielberg’s godson, whom Ronan didn’t particularly like, was said to have worked hard during filming.

Having not starred in Transformers, Shia LaBeouf was relatively unknown. Most stars worked hard before becoming famous—a standard that applied universally in the global entertainment industry.

Of course, there were exceptions, like Jaden Smith, who was born into the spotlight.

After nearly twenty years, Dr. Indiana Jones had aged. For commercial reasons, a successor was needed to carry on the Indiana Jones legacy and continue generating value and revenue for the film company.

Everyone knew that Harrison Ford first swung his whip as Indiana Jones in 1981’s Raiders of the Lost Ark, then returned in the same role in 1984’s Indiana Jones and the Temple of Doom and 1989’s Indiana Jones and the Last Crusade…

As early as the beginning of the 1990s, rumors about Indiana Jones 4 had never ceased, but when the time came to make a decision, producer George Lucas, the creator of the character, and director Spielberg realized that without a sufficiently good story, they would never proceed.

The bar was set high, so the two collaborated to bring a rather lackluster story.

Indiana Jones 4 was undoubtedly consistent with the series, with the two directors striving to maintain the same style as the previous films in terms of dialogue, plot development, and even fight scenes.

But times had changed. For modern young film audiences, especially those born in the 1980s and 1990s, a film series nearly as old as they were did not hold much appeal.

Of course, the series still had immense power.

In its first weekend in North America, Indiana Jones 4 debuted at the top of the box office chart with $101 million, breaking Avatar’s continued dominance.

Undoubtedly, the Indiana Jones series still had significant market value, making it one of Lucasfilm’s most valuable assets.

However, the film fell short of expectations in some aspects.

Spielberg’s attempt to have his godson, Shia LaBeouf, inherit the “legacy” of Indiana Jones was doomed to fail. Both old and new audiences disliked this character, both in and out of the film.

It was said that during filming, Spielberg listened to his godson’s advice, giving him considerable freedom in shaping his role.

One could imagine what kind of character Shia LaBeouf would create—a leather-jacketed, switchblade-wielding delinquent with various bad habits.

Indiana Jones 4 was a box office success, but the future the two directors had envisioned for the film had failed.

In contrast, Avatar, with its steady performance, had not only secured the present for 3D films but would also create a promising future for the next decade.

In its third week in North America, Avatar’s box office only dropped by two percent from the previous week, earning $75.61 million!

After three weeks of release, Avatar’s North American box office had surpassed $400 million, reaching $411.21 million, setting the record for the fastest film to cross the $400 million mark in North American history.

With overseas screenings expanding, the global box office was about to exceed $1 billion.

This wave of 3D enthusiasm was rapidly forming, and a frenzy for 3D films was gathering momentum.

Unfortunately, no one had anticipated Avatar’s explosive success, and no one had prepared corresponding 3D blockbusters in advance.

Except for Relativity Entertainment.

Riding the wave of Avatar’s success, the promotion of Alice in Wonderland was progressing exceptionally well. The 3D trailers shown before Avatar had also received widespread acclaim.

This was not the pseudo-3D film that had only added subtitles in the past; it was a true 3D film meticulously crafted over two years by Hollywood’s renowned technical director, Robert Zemeckis.

Alice in Wonderland began its North American opening weekend ticket presales three weeks in advance, selling over $8 million worth of tickets on the first day.

In three days, the North American opening weekend presales reached $15 million!

Such presale figures almost guaranteed that Alice in Wonderland’s North American opening weekend box office would exceed $100 million.

The only remaining question was by how much it would surpass $100 million.

Hollywood producers had fully grasped the changes Avatar had brought to Hollywood and the entire film industry.

There was no denying that 3D films had become a trend.

As the global pioneer in film trends and the most prolific center for film production, countless companies immediately put 3D film projects on their agendas.

What? Newly greenlit projects were too slow? No problem—there were films currently in production or post-production. Just convert them to 3D.

Poor 3D effects didn’t matter; what was important was riding this wave to make money—nothing else was important!

Chapter 1100: Shocking Revelations

The clock struck two in the afternoon. Ronan stared at the pile of documents before him. Even without watching the discs, the written materials and recordings alone left him with a sense of shock.

These documents, freshly delivered from the UK, had just reached his hands.

As expected, the situation was far more severe and insane than he had anticipated. A media conglomerate bold enough to wiretap William, the Chancellor of the Exchequer, members of Parliament, and national union leaders—one could not hold much hope for their journalistic ethics.

“Is this all?” Ronan asked David, who had just returned from the UK.

“They’re still gathering more information. Our people are also reaching out to other relevant individuals,” David replied. “There may be further developments in the future.”

Ronan nodded slightly. “Keep this to yourself.”

David had been by Ronan’s side for years. “I understand.”

Ronan waved his hand. “Discuss with Finch. We need to accelerate progress in North America as well. Maintain secrecy.”

David responded, “Understood.”

After David left the reception room, Ronan picked up the documents, preparing to head to the underground vault. The door was knocked from outside.

“Dear, are you in?” Jessica Felton’s voice came through.

Ronan replied, “Come in.”

Jessica Felton entered, dressed in a brand-new women’s suit. Seeing Ronan in his sportswear, she said, “Haven’t changed yet?”

Today was the premiere of Fast & Furious 4, and the two were attending together.

Ronan smiled. “I’ll go to the underground vault first, then change.”

Jessica Felton glanced at the large document bag in his hand and asked, “Shall I go with you?”

Recalling that he had already involved Jessica Felton and had discussed matters with her before, Ronan slowly nodded. “Let’s go together.”

The two descended to the underground vault. Ronan opened it, and they entered together.

Then, Ronan opened another safe.

Jessica Felton curiously asked, “This important?”

Ronan first placed the discs and tapes inside, planning to review them later that night or the next day to make targeted arrangements. He handed the written materials to Jessica Felton and said, “Take a look.”

Since he had chosen Jessica Felton, she would inevitably face various messy situations in the future. Allowing her to gain further insight was not a bad thing.

Moreover, Jessica Felton was never naive.

Jessica Felton flipped through the documents, quickly scanning them. Even with her extensive experience, she was quite shocked, as much of the content exceeded ordinary imagination.

Ronan was not surprised. If not for the exposure, who would have dared to imagine that the media could be so reckless, even wiretapping top political figures?

In his memory, they had even more outrageous actions.

“It’s truly… shocking,” Jessica Felton returned the documents to Ronan. “If I hadn’t seen it with my own eyes, if I didn’t know you wouldn’t fabricate, I wouldn’t believe it.”

Ronan placed the written materials into the safe and said, “So, Jesse, you need to be more vigilant. Of course, maintain a relaxed exterior but stay alert internally.”

Jessica Felton replied, “I understand.” She fully grasped the severity of the situation Ronan had mentioned, adding, “If there’s anything you need me to do, just say the word.”

Ronan embraced her and said, “Don’t worry, I can handle it. I’m fine. I have the entire Relativity Media behind me.”

Jessica Felton lightly nodded. “I believe in you.”

She glanced at her watch and reminded, “It’s getting late. Go change.”

After securing the vault, the two returned to the third-floor dressing room. Jessica Felton had already prepared a suit for Ronan, matching hers in color—both in black.

Dark tones made people appear steady. Ronan and Jessica Felton were not stars and did not need bright colors or flashy attire.

At three in the afternoon, the two departed on time and soon arrived at the Hollywood Eastern Grand Theater for the premiere.

The Fast & Furious series had reached its fourth installment, the second under Relativity’s acquisition.

With the success of the previous film, the series’ brand effect was spreading worldwide.

Of course, to become a global blockbuster, more effort was needed.

As the producer, Jessica Felton had to walk the red carpet. Ronan accompanied her but, while she was being interviewed by the media, he went straight into the Hollywood Eastern Grand Theater.

“Good afternoon, Mr. Anderson.” Dwayne Johnson came over to greet Ronan.

Ronan shook his hand and said, “You look even more muscular than before.”

Dwayne Johnson smiled and said, “Lifting weights is addictive. Can’t quit.”

Ronan patted his thick arm and couldn’t help but smile. “The audience will love you.”

Dwayne Johnson, seemingly simple, rubbed his bald head.

Paul Walker, who had just entered the theater, also came over to greet Ronan. Earlier, Ronan had seen him outside. Unlike other stars, Paul Walker had driven a supercar to the premiere, quite the spectacle.

Seeing Paul Walker, Ronan couldn’t help but think of The Dark Knight and Heath Ledger. Although the latter had immortalized the Joker and won the Best Supporting Actor Oscar for the role, nothing compared to the importance of life.

Perhaps influenced by Jessica Felton, Ronan had softened a bit. After chatting with Paul Walker for a few moments, he reminded him, “Supercars are fun to drive, but be careful.”

Paul Walker immediately responded, “Thanks, but that feeling of speeding…”

Ronan said, “Be more careful. The traffic conditions in the United States aren’t great.”

“Uh.” Paul Walker paused, then said, “I understand.”

Ronan added, “I don’t want to see you unable to show up for filming on time one day.”

Paul Walker thought for a moment and said, “I understand. I’ll be careful.”

Hearing this, Ronan didn’t say more. Whether Paul Walker took it to heart was unclear.

Speaking of which, Americans here often shouted about freedom, especially Hollywood, a stronghold of left-wing liberalism.

Even some of Jessica Felton’s matters, Ronan couldn’t interfere with, let alone others.

Jessica Felton entered from outside and went straight to Ronan’s side, chatting with several key members of the crew, mainly about the sequel.

Fast & Furious 5 was already in preparation. The crew would move to the UK and Russia, racing through London and Moscow.

The racing family’s members would also expand further.

The production budget for Fast & Furious 5 was as high as one hundred and forty million dollars, entering the ranks of Hollywood’s top-tier productions.

Of course, this was just a plan. The actual investment would depend on the market response to Fast & Furious 4.

The sequel’s investment was a continuation of the previous film’s success or failure.

Then, Ronan accompanied Jessica Felton into the screening room.

As the producer, Jessica Felton was also busy. After Fast & Furious 5, she planned to adapt and produce Weakness: The Game Process and had reached an agreement with Sandra Bullock, who would play the female lead, Lee Anne Tuohy.

She also sought suitable Black actors through Shai Entertainment and CAA.

Several actors from Fast & Furious 4 would also join Jessica Felton in the new film.

With this series of tense and thrilling car chases and explosions developing into its fourth story chapter, it created not only a grander backdrop but also expanded its mass appeal to every corner of the world.

This racing action series, starting with this installment, officially stepped out of the United States and charged into the global market, with Rio de Janeiro being the first to feel its impact.

The inclusion of multi-ethnic actors also helped the film attract a wide audience worldwide.

The series had previously proven the feasibility of this strategy with a highly successful case.

After the experience of Fast & Furious 3, director Justin Lin’s filming and production had become more mature, incorporating more police and action elements. The gunfights and explosions were more intense, the story’s suspense was heightened, and the character relationships were more complex, making it the pinnacle of the series’ four installments.

Moreover, compared to the first three films, which had somewhat realistic car chases and action scenes, this one pushed the boundaries of physics to the limit.

If there were a Newton in that racing universe.

Fast & Furious 5 went even further in defying the laws of physics, knowingly heading into danger with a hint of hysterical madness. To feel the power of this passion, one must turn off their brain and ignore the illogical and ridiculous details.

Because measuring such an entertainment blockbuster by strict narrative standards would lead to a severe lack of brain cells.

What does this film offer?

Tight, blood-pumping pacing! Speeding cars! Cool driving skills! Thrilling action!

And the camaraderie among men, bravery, and the adventure of team success…

This is a film that can excite the audience as the plot progresses, combining the hard-boiled ‘man’ and the ‘perfect woman’ in an extreme way, presenting the beauty and evil of Rio de Janeiro vividly.

There are car races, gunfights, muscular brawls, beautiful women, beach scenery, a group of unique helpers, and intermittent humor.

The entire film exudes a wild and tough masculine energy, which is enough to attract audiences.

Perhaps the most representative review of Fast & Furious would appear in The Hollywood Reporter the day after the premiere.

“Plot detached from reality, scenes shockingly realistic; full of joy, satisfying without needing to think; quite cool, quite thrilling; its entertainment value deserves a five-star recommendation; one of the best Hollywood films to watch in theaters during the 2008 summer season.”

Chapter 1101: Preparing for the Sequel

After the accumulation and fermentation of the first three films, the series’ influence had grown day by day, finally reaching a breakthrough with the release of the fourth installment.

Though the racing family hadn’t yet taken their cars into the sky or underground, they had already demonstrated formidable power in the film market.

The roar of engines ignited passion, and high-speed racing destroyed Rio!

In its North American opening weekend, Fast & Furious 5 raced into 4,111 theaters across North America, grossing a staggering ninety-six million eight hundred eighty thousand dollars!

This was the best opening weekend in the series so far!

The crown changed hands swiftly—Indiana Jones 4 had only held the top spot on the North American box office chart for one week before being overtaken by Fast & Furious 5. And in its second weekend, with a sharp drop from over one hundred million to forty-two million seven hundred ten thousand dollars, it plummeted to third place.

The top two spots on the box office chart were now both occupied by films from Relativity Entertainment. In second place was Avatar, entering its fourth weekend of screenings.

James Cameron’s mega-production continued to display astonishing stability and endurance. In its fourth weekend, it earned another fifty-five million three hundred thousand dollars in North America, pushing its domestic total past the five hundred million mark to five hundred one million twenty-seven thousand dollars.

This was also the fastest a film had ever reached five hundred million dollars at the North American box office!

Once upon a time, Avatar’s box office had soared to such heights not because of an exceptionally strong opening weekend, but due to its insanely stable endurance.

The film’s performance in international markets far surpassed that of North America. A global Avatar fever had swept the world, and after nearly five weeks of screenings, its overseas total was approaching one billion dollars.

Even on the other side of the Pacific, where the film market was still developing, Avatar had grossed nearly fourteen billion yuan after nearly a month of screenings, setting a new box office record there.

It was clear to all that Avatar was steadily marching toward Titanic’s records. Breaking its North American and global box office records was only a matter of time.

Ronan also took the time to discuss the Avatar sequel with James Cameron. Cameron stated that the sequel could be prepared, but it wouldn’t be ready until at least next year, as he was about to embark on an expedition to the Mariana Trench. There, he would test new filming technology developed in collaboration with Sony Electronics and IX Company.

These experiments would lay the foundation for Avatar 2.

James Cameron intended to further “open Pandora’s box” in the Avatar sequel, revealing more of the wondrous creatures and landscapes of Pandora.

Ronan understood this well and immediately expressed his support. Without sufficient technological advancements, it would be difficult for Avatar 2 to achieve the same level of astonishment as the first film.

James Cameron formally invited Ronan to join him on the expedition to the Mariana Trench in a specially designed submarine.

However, Ronan politely declined.

First, it was too risky—Jessica Felton had explicitly opposed it. Second, he simply didn’t have the time.

Descending to such depths, even with the world’s most advanced submarine, required extensive physical preparation. With so much work at Relativity Entertainment, Ronan couldn’t abandon his responsibilities to go on an expedition in the Pacific.

Moreover, James Cameron wasn’t just playing around. He planned to spend a long time in the Pacific, thoroughly testing the filming equipment, collecting technical data, and then improving the gear.

According to his plans, a significant portion of Avatar 2 would be filmed underwater.

James Cameron had already begun writing the sequel’s script. The renowned director believed that being on a ship in the Pacific would be more conducive to his creative process.

James Cameron had extensive experience in crafting sequels. Both Terminator 2 and Aliens had surpassed their predecessors in critical acclaim and commercial success.

Most importantly, James Cameron repeatedly assured Ronan that he wouldn’t turn Avatar into a “within our lifetime” series.

After all, how many times had James Cameron delayed projects in the past? Countless people had waited in vain. Even before Ronan had come to Los Angeles from the other side of the Pacific, the second Avatar film hadn’t been completed.

Rumors claimed that filming had already begun and a release date had been set, but with James Cameron’s track record, who could guarantee the film would actually come out on time?

It was no wonder that 20th Century Fox had once considered replacing—or even eliminating—James Cameron during the filming of Titanic. Most companies couldn’t tolerate such a director.

Yet, James Cameron always delivered exceptional commercial results, generating enough revenue to offset any shortcomings.

The Avatar sequel was now on James Cameron’s agenda. As for the naked-eye 3D technology he discussed with Ronan, Ronan could only say that he would support it if the conditions were right.

Such technology wouldn’t be widely available in theaters for another decade or so. It was still too early to discuss it now.

This week, Ronan also attended a preparatory meeting for Fast & Furious 5.

With increasing investment, Fast & Furious 5 had entered the ranks of Hollywood’s top-tier productions. In the future, it would have an even larger market presence and could even become one of Relativity Entertainment’s flagship commercial film series.

Any film series capable of generating massive profits would be highly valued by both Ronan and Relativity Entertainment.

Director Justin Lin and most of the main creative team would return for the new sequel.

The new installment wouldn’t just feature racing—it would include even more car-related storylines.

While racing was the most important and indispensable element in Hollywood films, few movies like the Fast & Furious series had managed to link racing, car modifications, and extreme sports into a cultural phenomenon.

The fifth film would take the entire series to a grander, more exhilarating level.

In other words, the new film would feature not only faster cars and larger-scale action but also more thrilling stories and fight scenes. The racing sequences would be more epic and intense than in previous installments.

Jessica Felton and Justin Lin had already reached a consensus and designed a massive story—one so large that it would require two films to fully contain it.

The film’s scope was so vast that the crew planned to split it into two parts. In other words, the fifth and sixth films would actually tell a single story.

Following the example of the Pirates of the Caribbean sequels, the crew would use a back-to-back filming approach to complete both movies.

These two films would feature even more roaring vehicles, and all character relationships would be thoroughly explored.

“When we were considering and discussing this story, we realized that one film simply couldn’t contain all this content,” Justin Lin told Ronan. “The script is a full 310 pages, so splitting it into two parts is absolutely necessary. And the car culture, the vehicle modifications—it will all be incredibly fresh.”

With the success of two consecutive sequels, Ronan had full confidence in the Chinese-American director. With James Wen fully overseeing and directing the “Horror Movie Universe” project, Justin Lin would likely continue directing the Fast & Furious series for a long time, barring any major unforeseen circumstances.

Justin Lin had also signed a long-term contract with Relativity Entertainment, so directing another trilogy wouldn’t be a problem.

Relativity Entertainment hadn’t mistreated him either. For the new film, Justin Lin’s directing salary had already reached ten million dollars.

As filming continued, the salaries of Justin Lin, Paul Walker, Dwayne Johnson, and others would undoubtedly keep rising, but all would remain within reasonable market limits.

The summer season was still scorching hot. This year was destined to be a blockbuster year for films. In the new weekend, Universal’s Assassin’s Alliance hit theaters, with curved bullets once again defying the laws of physics. Newton’s coffin lid rattled loudly once more.

Like the Fast & Furious series, these films appeared to be set in the real world, but their entire worldviews were skewed. Reasonableness wasn’t important—what mattered was entertainment.

As for the plot, there was no need to overthink it.

With Angelina Jolie dealing cards online and James McAvoy, a good-for-nothing from Green Acres, making a comeback to become a top-tier expert, what was impossible?

So, Newton, just lie quietly in your coffin.

When Dwayne Johnson and Paul Walker drive their cars out of the atmosphere and race in space, then you can kick open the coffin lid.

Since hooking up with Brad Pitt, Angelina Jolie’s reputation might have taken a hit, but her career was smoother than ever. Following the success of Mr. & Mrs. Smith, this film, in which she starred as the female lead, was a massive hit upon release. With fifty million nine hundred twenty thousand dollars in box office, it was enough to ensure that Assassin’s Alliance would crush all other films currently in theaters, debuting at the top of the North American box office.

Avatar’s box office decline remained shockingly low. In its sixth weekend, it earned another forty-two million seven hundred eighty thousand dollars, bringing its North American total close to the six hundred million mark.

Fast & Furious 4 saw a significant drop in its second weekend, but with forty million two hundred thousand dollars, it pushed the action film’s North American total past one hundred fifty million dollars.

Similarly, the international response to these two major commercial films from Relativity Entertainment surpassed that of North America.

Including international markets, Avatar’s global box office had soared to one billion six hundred eighty-five million two hundred thousand dollars.

Fast & Furious 4 had a wide release overseas this week, bringing its global box office close to three hundred million dollars.

Additionally, after nearly two months of screenings, Iron Man 2 had accumulated three hundred seventy-two million five hundred eighty thousand dollars in North America, with its global box office surpassing eight hundred million dollars.

The first three films Relativity Entertainment released this summer season had all achieved tremendous success.

As Independence Day approached, Alice in Wonderland was also about to hit theaters.

It was at this time that Ronan and Jessica Felton received an invitation from George Lucas to attend a celebration banquet in San Francisco for Indiana Jones 4, hosted by George Lucas and Lucasfilm.

Due to their alumni connection with USC, Ronan and George Lucas maintained close contact, and Ronan had subtly picked up on certain messages.

Chapter 1102: No Choice But to Accept Aging

The spacious banquet hall was adorned with several long oak dining tables, each laden with food and drinks. Waiters in black suits moved about like swallowtail butterflies, weaving through the crowd.

From any spot in the hall, the stunning views of the San Francisco Bay could be seen through the massive floor-to-ceiling windows. Occasionally, a cool, slightly salty breeze would drift in through the open ventilation windows, caressing every corner of the room like a lover’s hand.

The hall was filled with people, some standing, some seated, gathered in dozens of small groups, laughing and chatting. The occasional innocent remark from a child accompanying their parents would spark bursts of laughter.

Ronan and Jessica Felton, who had traveled from Los Angeles, were engaged in conversation with George Lucas and his new girlfriend, Mellody Hobson.

Today’s event served two purposes: celebrating the box office success of Indiana Jones and formally announcing George Lucas’s relationship with Mellody Hobson to the public.

The atmosphere between them was warm and relaxed, clearly not just a formal social exchange.

Ronan and George Lucas had always gotten along well. Both were core members of the USC School of Cinematic Arts alumni association, and their relationship had grown closer over the past two years. Currently, they ranked among the top two donors in the school’s history.

Most of the recent USC School of Cinematic Arts alumni gatherings had been held at the Beverly Hills club, co-owned by Ronan, Will Smith, and Tom Cruise.

Relationships, after all, required careful nurturing.

Over time, Ronan and George Lucas had developed a friendship, though not as close as Ronan’s bond with Will Smith and Tom Cruise. Still, they could be considered good friends.

Moreover, Relativity Entertainment and Lucasfilm had a close strategic partnership, with shared interests across multiple film and television sectors.

Many in the banquet hall who hadn’t known her before kept glancing at Mellody Hobson.

Being George Lucas’s girlfriend already made her a figure of interest, but the fact that she was African American made her the center of attention.

Indeed, Mellody Hobson was a Black woman.

But she was no ordinary Black woman—far from it. She was the Animation Chairman of DreamWorks Animation, one of the most powerful figures in the DreamWorks hierarchy.

Ronan knew more about her. George Lucas and Mellody Hobson had been dating since last year, which had surprised many, including him. The reason was simple: Mellody Hobson was a pure-blooded Black woman. While anti-racism slogans echoed loudly, Hollywood remained one of the most racially discriminatory industries.

Fortunately, Mellody Hobson wasn’t the stereotypical Black woman from the inner city. She came from a good family, was highly educated, and belonged to the mainstream upper class. Perhaps the term “coconut”—Black on the outside, white on the inside—would describe her best. Otherwise, George Lucas and his children wouldn’t have accepted her.

Of course, like Will Smith or Black Carbon, the Black individuals who truly broke into the mainstream were usually “coconuts.”

“USC School of Cinematic Arts has sent quite a few graduates to Relativity Entertainment in recent years,” George Lucas remarked, glancing at Mellody Hobson as she spoke with Jessica Felton. “Their practical skills have improved significantly, and Relativity Entertainment has played a big role in that.”

Ronan didn’t feign modesty. “The practical training base we established with USC helps further develop the students’ hands-on abilities. In this industry, theory alone isn’t enough—without practical experience, even graduates struggle to find their footing.”

George Lucas nodded slightly. “Those without practical skills are useless.”

Ronan continued, “Next, Relativity Entertainment will expand the scale of the USC training base. Several of our production teams can offer more internship opportunities for students.”

“That’s a good thing,” George Lucas adjusted his glasses. “The Academy and the students should be grateful to you.”

Ronan smiled. “It benefits Relativity Entertainment as well. We can identify the best talent among the interns and bring them into the company.”

He stated a fact: “In recent years, many outstanding USC graduates have made significant contributions to Relativity Entertainment. Several have become mid-level management.”

Steven Spielberg approached, greeting Ronan and George Lucas before joining the conversation. “Relativity Entertainment offers excellent compensation. It’s the top choice for many talented individuals.”

Ronan replied, “DreamWorks isn’t bad either. Its growth has been accelerating.”

Steven Spielberg glanced at Ronan. “DreamWorks and I should thank you.”

There was sincerity in his words. Years ago, Relativity Entertainment’s distribution channels had greatly helped DreamWorks, allowing it to expand its overseas releases and significantly boost its revenue.

“We benefit each other,” Ronan said, appearing trustworthy.

George Lucas warned, “You should prepare for difficult times ahead. The film industry may face many challenges.”

Ronan understood. “The economic crisis is inevitable. Wall Street funds are fleeing Hollywood.”

Steven Spielberg half-joked, “DreamWorks is scrambling for money.” He turned to Ronan. “Would Relativity Entertainment and the Pacific Investment Foundation be interested in investing in DreamWorks projects?”

Relativity Entertainment had ample funds, but Ronan had too many expenses ahead. He wasn’t generous enough to help DreamWorks and politely declined. “Relativity Entertainment is also short on funds. I’m looking for money everywhere.”

Steven Spielberg didn’t believe him. “Relativity Entertainment, short on funds?”

Ronan shrugged. “Though our revenue has been high in recent years, our investments are massive.” He gave a convincing excuse: “Relativity Entertainment also has money-burning machines like Netflix Streaming Media.”

Seeing Ronan wasn’t taking the bait, Steven Spielberg knew the chances of getting funds from Relativity Entertainment were slim to none. He changed the subject, addressing his old friend George Lucas. “You’re the one who’s thinking ahead.”

George Lucas said, “I’m getting old. This is Ronan’s era now. It’s time for me to consider retiring.”

Ronan asked, “George, have you decided?”

Facing his two close friends, George Lucas didn’t hide anything. “Yes, I’ve decided. While filming Indiana Jones, I felt it physically and mentally. My stamina isn’t what it used to be. I have no choice but to accept aging.”

As the words reached Ronan, he subtly glanced at Mellody Hobson. George Lucas’s lack of stamina probably had its reasons.

Steven Spielberg thought the same and teased, “George, you need to pace yourself.”

George Lucas’s weathered face remained unmoved. “You wouldn’t understand.”

Though naturally camouflaged at night, Black people had their own advantages, and George Lucas was clearly enjoying himself.

Ronan lowered his voice. “The mysterious East has some excellent preservation methods. Would you like me to introduce you to a few masters?”

George Lucas asked curiously, “You’ve studied these things?”

The conversation had veered off course, but Ronan didn’t mind. Such topics only brought them closer. He adopted a masterful tone. “I have a wide range of interests.”

Steven Spielberg grew interested. “Does it really work? No side effects?”

Ronan shrugged slightly. “It depends on the individual.”

George Lucas quickly steered the conversation back. “Isn’t Hollywood saying that Ronan Anderson is only interested in movies?”

“Not movies,” Ronan corrected. “Movies that make money.”

All three laughed. Their views on this were entirely aligned.

Steven Spielberg and George Lucas were more like businessmen than directors.

After the laughter subsided, George Lucas continued, “It’s commercialization that made movies the world’s most important form of cultural entertainment. It’s commerce that allowed Hollywood films to conquer the world.”

“I completely agree,” Spielberg concurred.

Ronan added, “If movies weren’t commercialized, they wouldn’t be as widespread as they are today, becoming a global industry.”

Steven Spielberg said, “Unfortunately, not everyone is like you, investing in so many big projects every year.”

Ronan shrugged. “I have no choice. Relativity Entertainment is too large. If I don’t invest in big productions, the pressure will crush me.”

“Every dollar invested in a film,” George Lucas seemed to reflect on himself, “adds tenfold pressure to the investors and producers.”

“Aren’t we always living under pressure?”

Ronan seemed more at ease. “Before a film’s release, we worry about whether it will be finished on time. During its theatrical run, we worry about box office performance. After it leaves theaters, we worry about whether the merchandise will sell.”

In this industry, investors faced as much pressure as lead actors, directors, and producers.

“I’ve carried this pressure for forty years,” George Lucas, now older, began reminiscing. “In 1969, Francis Ford Coppola and I co-founded American Zoetrope. Under his guidance, I completed my debut film, THX 1138. Since then, pressure has surrounded me…”

He shook his head. “From the days of independent filmmaking battling major studios to later collaborating with 20th Century Fox, I’ve always felt a weight on my shoulders.”

“Maybe I’m just getting old,” George Lucas said, almost mocking himself. “I can’t handle the pressure anymore.”

Chapter 1103: Inclination

The reception continued, and Ronan and Jessica Felton went elsewhere to greet some acquaintances. Tonight’s attendees were not just from Hollywood but also from the San Francisco business circle.

This was the world-renowned Silicon Valley.

Strictly speaking, a significant portion of Lucasfilm’s business was part of the computer industry, inherently linked to Silicon Valley.

At the reception, Ronan met Tim Cook, Apple’s Chief Operating Officer, and briefly inquired about Steve Jobs’ condition.

Chairman Qiao’s health was not ideal; he had been hospitalized again last month. Tim Cook had temporarily taken over Jobs’ position, assuming management of Apple.

Unless something unexpected happened, Tim Cook would soon become Apple’s new leader.

Compared to Steve Jobs, he was more of a businessman.

There was a popular joke on the internet across the Pacific: Steve Jobs made products, and Tim Cook sold them.

Chairman Qiao’s days were numbered, and no human effort could change that. His ability to hold on this long was largely due to the power of money.

Ronan remembered a colleague once saying that treating cancers like liver, lung, or pancreatic cancer could be summed up in one phrase: first, they take your money, then your life.

There was a saying that had spread widely: the incurable disease in this world was… poverty.

Thus, countless people tried every means to change their fate. In Hollywood, this manifested in various well-known rules.

It wasn’t just Hollywood; similar situations were common in workplaces and business circles.

There were always people looking for shortcuts.

Jessica Felton ran into a female classmate from her USC School of Cinematic Arts days and started chatting with her. The woman was now a middle-upper management executive at Lucasfilm.

Ronan made his rounds and chatted with Marc Randolph for a while. Seeing George Lucas standing alone by the floor-to-ceiling window, he returned to his side.

“How did you end up alone?” George Lucas asked Ronan.

Ronan didn’t beat around the bush. “George, can we find a place to talk privately?”

George Lucas nodded slightly. “Sure.”

They left the banquet hall together and entered the adjacent lounge.

George Lucas sat on the sofa and asked, “Ronan, what’s on your mind?”

Ronan got straight to the point. “Yes, about your retirement. George, we’ve been friends for years, and I have a question for you. You’re planning to retire—what about Lucasfilm?”

George Lucas didn’t answer immediately. Instead, he looked at Ronan and slowly said, “It seems you have ideas about Lucasfilm.”

Ronan saw no need to deny it. “I think there aren’t many people in this world who aren’t interested in Lucasfilm.”

George Lucas said, “I have considered selling Lucasfilm, but it’s just an idea for now.”

Ronan immediately responded, “George, you know me and Relativity well. Lucasfilm is your child. If you’re looking for a new guardian, shouldn’t you choose someone familiar and well-understood?”

George Lucas had always had a very good impression of Ronan and Relativity. He smiled and said, “Indeed, Relativity is a good choice.”

From George Lucas’ words, it was clear he was considering selling Lucasfilm.

Ronan and George Lucas had been friends for years, with a strong personal relationship, and Ronan had been planning this for a long time. There was no need for excessive beating around the bush. “Our philosophies align, and Relativity and Lucasfilm have a close working relationship, so there won’t be too much conflict.”

This was also what George Lucas was considering. He thought for a moment and said, “Ronan, all I can say is that I am preparing to retire and do have thoughts of selling Lucasfilm. You and Relativity are also a good choice in my eyes. But you understand, Lucasfilm isn’t just my company. I can’t make an immediate decision or give you any promises.”

Ronan nodded lightly. “I understand.”

George Lucas was the major shareholder of Lucasfilm but not the only one.

Moreover, while he and George Lucas did have a good personal relationship, this was a deal involving over three billion dollars.

Such multi-billion-dollar deals required careful and lengthy negotiations. No one would finalize a cooperation intention in just a few words, and Ronan and George Lucas were no exception. George Lucas’ subsequent attitude was clear: if he sold Lucasfilm and the conditions were similar, he would prioritize Relativity.

If someone offered a price far higher than Relativity, then he would have to apologize.

In any case, the two did not reach a clear intention but were both very interested in each other.

Actually, Ronan was very clear that when George Lucas said…

Assuming other shareholders were willing to sell Lucasfilm, the biggest obstacle would not come from Lucasfilm itself but from potential external hidden dangers and several hurdles that Relativity could not avoid.

Lucasfilm had three major profitable projects: Industrial Light & Magic, the Star Wars series, and the Indiana Jones series.

Industrial Light & Magic didn’t need much explanation—it was the most powerful film special effects company in the world, without exception! Although its profits weren’t enormous, they were relatively stable, and its business was somewhat independent, not as influenced by external factors as films.

Regarding the Indiana Jones series, Paramount had some say—Paramount and Lucasfilm co-produced the series and owned the distribution rights. Given the nature of this series, if they could acquire Lucasfilm, Ronan wouldn’t mind Relativity cooperating with Paramount for future sequels or reboots.

The biggest trouble lay in Lucasfilm’s most profitable Star Wars series. Even in 2007, despite the impact of the financial crisis, the Star Wars series’ toys and merchandise, excluding DVD and television network on-demand copyrights, still brought Lucasfilm a net profit of over two hundred and thirty-one million dollars!

If Relativity acquired Lucasfilm, they would definitely reboot the Star Wars series, and 20th Century Fox would become the biggest obstacle.

20th Century Fox owned the copyright to Star Wars: A New Hope and, as the distributor for the entire series, also had long-term rights to some offline distribution profits.

After a successful acquisition by Relativity, if they wanted to re-release the Star Wars series on DVD, 20th Century Fox would be an unavoidable obstacle.

“Lucasfilm has demonstrated extraordinary imagination, passion, and visual effects, as well as a consistent storytelling ability from its founder, George Lucas. If we combine Lucasfilm—a world-class film library—with Relativity’s unique and inexhaustible creativity in platform, business, and market operations, it will undoubtedly bring long-term, visible, and significant driving force and benefits to Relativity.”

This was what Robert Iger, Relativity’s Chief Executive Officer, said to Ronan the next day during discussions about Lucasfilm. Like Ronan, he made no secret of his desire for Lucasfilm.

Apart from acquiring Industrial Light & Magic, a special effects department that Relativity urgently needed, Lucasfilm’s series of classic film images would also effectively supplement Relativity’s film and television brand.

Just as Marvel’s superhero movies were sweeping the globe, with Relativity’s massive platform support, the future new “Star Wars” would be even more explosive.

In many people’s eyes, films like Star Wars were trivial and vulgar, but no one could deny that it was these “daydream”-like films that became globally popular.

People enjoyed embracing this experience, partly because it was indeed fun, and partly because the majority of the world’s audience viewed films as a means of providing simple or even pure entertainment.

For the broadest audience and maximum profit, large conglomerates, big investments, and big films’ successful models were destined to be mainstream. If the Star Wars series were rebooted, it would inevitably be incorporated into this model.

At Relativity’s high-level meeting, they quickly reached a consensus on acquiring Lucasfilm.

After receiving George Lucas’ latest response, Relativity would first assemble a small team to quietly contact Lucasfilm to expedite the acquisition process.

George Lucas had confirmed his retirement and the sale of Lucasfilm but needed to work on the other shareholders.

After years of effort by Ronan, George Lucas was heavily inclined toward Relativity in terms of personal preference.

Of course, the premise was that Relativity’s offer had to be appropriate.

Relativity had already evaluated Lucasfilm at around four billion dollars.

The final details would depend on the negotiations between the two parties.

Time gradually approached Independence Day. On the weekend before Independence Day, Alice in Wonderland officially premiered in North America.

Due to the continued popularity of Avatar, audiences worldwide had developed a keen interest in 3D films, and even 3D glasses had become a hot-selling item.

In the short term, the only true 3D film available was Alice in Wonderland.

Fairy tales were an evergreen landscape in Hollywood films, with romantic innocence and boundless imagination as the eternal themes of fairy tale movies.

This lavish 3D visual effects spectacle gave Alice in Wonderland an extraordinary appeal.

Moreover, the film was well-received by female audiences, who praised its rich imagination and childlike charm.

Riding the wave of Avatar, and appearing in theaters in the most market-appropriate form, this lavish live-action fairy tale film, on par with Avatar, received the market response it deserved.

On its North American opening weekend, Alice in Wonderland grossed one hundred and forty-two million five hundred and sixty thousand dollars in 4,022 theaters.

Chapter 1104: The Stepmother Alliance

The success of a film often triggers a series of chain reactions, a phenomenon frequently seen in Hollywood.

For instance, the success of Avatar sparked a global 3D craze. Within Hollywood’s industry circles, in just over a month, nearly twenty major 3D film projects—either in planning or already scheduled—have emerged from the Big Six and other mid-to-large production companies.

Cinema chains have also been deeply affected. Newly constructed theaters now prioritize 3D screens, given the higher ticket prices.

After the Independence Day movie season, Avatar’s global box office surpassed Titanic, becoming the global box office champion. Even though Titanic still held the North American box office crown, Avatar overtook it in just two or three weeks.

The statistics are clear: purely in terms of audience numbers after a month of screenings, Titanic completely outperformed Avatar.

Yet, the latter’s box office had already surpassed the former by a significant margin.

The reason? Cinema chains felt it most directly—it was the high ticket prices brought by 3D and IMAX 3D.

The frenzy of Avatar made the North American film market, plagued by declining attendance, and Hollywood’s mid-to-large film companies, as both producers and distributors, seem to glimpse the future of cinema.

In the short term, 3D films indeed had a strong market.

This was enough for Hollywood companies and cinema chains.

In emerging markets, where theaters were being built from scratch, new constructions were almost entirely 3D screens.

The same was true for new theaters in North America, with a surge in planned 3D and IMAX theaters.

The 3D market frenzy brought by Avatar and Alice in Wonderland was tangible, already driving changes across the entire industry.

In the future, audiences worldwide would see countless 3D films where only the subtitles had 3D effects.

Regardless of suitability or whether they were shot in 3D, they would be converted to 3D in post-production.

After all, this would significantly increase ticket prices.

Alice in Wonderland’s strong opening weekend box office and the booming market also brought some heat to live-action fairy tale films.

Embassy Pictures attached a trailer for Beauty and the Beast to Alice in Wonderland, featuring a highly faithful Belle and the theme song, leveraging the latter’s popularity to attract a wave of attention.

Especially Belle, who evoked nostalgia in countless people.

Relativity Entertainment further preheated its holiday season film, heavily promoting it in media and online as an epic love story where love conquers all evil, regardless of appearance.

The marketing was elaborate, but the film itself was essentially old wine in a new bottle.

Other live-action fairy tale films were also in development. Cinderella had been greenlit and could start filming as early as the end of the year.

Additionally, a new Sleeping Beauty film was on the schedule. After receiving the initial script, Angelina Jolie had agreed to play the fairy godmother.

For Cinderella’s stepmother, Relativity Entertainment had invited Cate Blanchett.

If all went well, Relativity’s live-action fairy tale films would form a formidable “Stepmother Alliance.”

Ronan recalled that Disney’s stepmothers had once held a stepmother tea party to promote their live-action films.

By mid-July, both Cate Blanchett and Angelina Jolie had signed actor contracts with Shai Entertainment.

As for the male and female leads, they were all new actors.

In Hollywood, actors were never a scarce resource.

Alice in Wonderland had spent its third weekend in North American theaters, easily surpassing $300 million at the North American box office.

With the 3D craze, the global box office effortlessly reached $552.14 million.

Although Alice in Wonderland was well-produced with visual effects far surpassing the previous version, the explosive 3D consumption in the film market was a crucial factor in its outstanding box office performance.

Avatar’s North American box office surpassed $700 million, overtaking Titanic to become the North American box office champion.

Globally, without Titanic being re-released in 3D, Avatar became the first film in history to cross the $2 billion mark at the global box office.

Undoubtedly, with just this one film, Relativity Entertainment had struck gold.

Embassy Pictures collected various data and made estimates. Including box office and DVD sales, Avatar would bring Relativity Entertainment around $1.5 billion in profit within the year.

Then there was Fast & Furious 4.

After a month of screenings, the North American box office had accumulated $232.68 million, with the global box office nearing $500 million.

The Fast & Furious series had begun to show the market prowess of a top-tier blockbuster.

Meanwhile, Pixar’s animated feature WALL-E had also been released in North America, with an opening weekend box office of $63.01 million.

Moreover, WALL-E had received rave reviews, almost being hailed by the media as the best animated film in history.

Embassy Pictures now had extensive experience in distributing animated features and wouldn’t be swayed by hype alone. Based on actual market conditions, WALL-E’s global box office would need considerable luck to recoup all investments.

Additionally, the film’s merchandise market response was lukewarm, with sales of WALL-E-related products not particularly outstanding.

But one thing was certain: next year’s Oscar for Best Animated Feature had already been decided.

……

“This ship looks impressive.”

At the Malibu dock, Ronan stood on a massive ship, saying to James Cameron beside him, “It looks much bigger than the one from a few years ago.”

This was the top deck. Looking out at the sea, the horizon stretched endlessly, an environment James Cameron loved. He simply introduced, “This is a research vessel launched just last year, equipped with the world’s latest technology and equipment, and the best deep-sea submersibles.”

He pointed to the crane on the foredeck below. “Look, those round ones are them.”

The silver submersibles didn’t look particularly large. Technicians were performing pre-departure checks. Ronan watched for a while and said, “Very sci-fi.”

James Cameron said, “The rental is also expensive. Fortunately, Sony Electronics is sponsoring.”

Over the years, he had been collaborating with Sony Electronics. Many new cinematography technologies and equipment patents were held by the two.

Ronan looked at the submersibles and asked, “You’re not really going to personally descend into the Mariana Trench, are you?”

“Of course.” James Cameron extended another invitation: “Come along. The rendered seafloor is the romance of men.”

Ronan leaned on the railing with both hands. “I heard there are many terrifying giant beasts in the deep sea, like octopuses the size of trucks. If you see any, take some photos.”

James Cameron seriously said, “I’m going on a deep-sea scientific expedition to film a documentary. You’re trying to force a horror film twist.”

Ronan couldn’t help but laugh. Glancing at the time, he said, “James, good luck. I’ll come see you sometimes.”

James Cameron also laughed. “Don’t worry, I won’t be eaten by deep-sea giants.”

The two chatted a bit more about the Avatar sequel. The second part would have to wait until James Cameron completed his Mariana Trench expedition before it could truly be scheduled.

In other words, Avatar or James Cameron’s fans, if they wanted to see the sequel, could only hope that the great director wouldn’t encounter deep-sea giants.

The ship would soon depart, heading to the South Pacific via Hawaii. Ronan didn’t stay long and soon took his leave, getting into a car at the dock.

Seeing it was still early, he didn’t return to Century City. Instead, he had David drive to the Hughes Aircraft Factory, where The Avengers was being filmed, now in its final stages.

The set atmosphere was heavy. The six original Avengers had assembled, showing the world through their actions what superheroes should be!

Every hero had their own journey and beginning: We fall so we can learn to stand. Every hero also had their own end: It’s not who you are, but what you do that defines you.

Alright, that was a crossover from Christopher Nolan’s set that Ronan had visited a few days ago.

The Dark Knight Rises had also started preparations, though it had nothing to do with Relativity Entertainment.

Taking advantage of Joss Whedon letting the crew rest, Ronan went over to chat with him.

“All the exterior shots are done.” Joss Whedon briefly updated Ronan on the progress: “Next month, the crew will fully transition to post-production, completing everything by February next year. Hopefully, it will turn out well.”

Ronan nodded slightly. “It will. The solo films have done enough preheating. The Avengers will become the most commercially successful superhero film.”

Joss Whedon was confident in Ronan’s words. “Hopefully, the global box office can reach one billion dollars.”

Ronan smiled without saying more. A global box office of one billion dollars would only allow The Avengers to break even.

This superhero blockbuster had a production cost of $200 million, with global marketing and distribution expenses around $150 million.

Seeing Ronan, the six actors each took time to greet him.

Ronan chatted with them briefly.

Until the Purple Potato Spirit was refreshed, the six original Avengers remained the absolute core of the entire team. For the next ten years, they would be tightly bound to Relativity Entertainment and Marvel Entertainment.

As Ronan was about to leave, Joss Whedon, during the break, brought up another matter: “I have a friend with a realistic sci-fi project that’s been in planning since 2006. It’s been overlooked because the script and story are too simple, but I think the project is good and valuable. Ronan, can you spare some time to meet with him?”

Joss Whedon was reliable. After a moment’s thought, Ronan said, “Have him come to my office tomorrow.”

Chapter 1105: Gravity

The next morning, Ronan met the director recommended by Joss Whedon in his office. The man was not unfamiliar—Alfonso Cuarón, a Mexican director who had previously helmed Harry Potter and the Prisoner of Azkaban.

Once, he had been one of the famed “Three Amigos” of Mexican directors in Hollywood.

It was Alfonso Cuarón who held a hard sci-fi project requiring massive investment.

Ronan flipped through the script. As Joss Whedon had said, it was painfully thin, the story so simple it was almost nonexistent. The kind of script that, for new directors and screenwriters, would be tossed into the script library and ignored for a decade.

But Alfonso Cuarón had a reputation.

The few dozen pages of the script were quickly skimmed by Ronan. The story was straightforward: an astronaut stranded in a space station after an accident, fighting to return to Earth.

Ronan closed the script and asked, “I heard from Joss Whedon that you pitched this to Warner Bros?”

“Yes, but they turned it down,” Alfonso Cuarón said simply. “My son, Jonas, and I finished the script in 2006, not long after Harry Potter and the Prisoner of Azkaban. I took it to Warner Bros to sell the project.”

He sounded resigned. “Warner Bros wasn’t optimistic. They had issues with hard sci-fi and the simplicity of the script. In the end, we couldn’t reach an agreement.”

Ronan had seen the film and remembered it well. The project had been tossed around at Warner Bros multiple times before finally getting greenlit.

“This feels like Cast Away in space,” Ronan remarked.

Alfonso Cuarón nodded. “More or less. The theme is humanity’s defiance of the impossible. Space films have been around in Hollywood for decades, but space travel has lost some of its luster—partly because movies have made it seem ordinary.”

He paused, then added, “To make the audience feel immersed, I researched astronauts extensively while writing the script and even spoke with some.”

Relativity Entertainment had recently pushed forward The Martian, so Ronan knew that hard sci-fi films required more than imagination—they had to align with scientific reality, or at least appear to.

Ronan cut to the chase. “Roughly how much budget are we looking at?”

Alfonso Cuarón didn’t mince words. “The film requires full green-screen shooting and CG. I want to use 3D and IMAX technology, so around one hundred and fifty million dollars.”

Ronan could guess why Warner Bros had passed. A high-budget, original hard sci-fi film was a massive risk by Hollywood standards.

Alfonso Cuarón glanced at Ronan. “Mr. Anderson, about this project…”

Truthfully, he and his son had been discouraged by Warner Bros. If not for Joss Whedon’s recommendation to try Relativity Entertainment, he would have moved on to other films.

“Relativity recently invested in a hard sci-fi project,” Ronan said, tapping the script beside him. “I have a particular interest in realistic sci-fi films.”

Hearing that it wasn’t an outright rejection, Alfonso Cuarón felt a flicker of hope. He had heard about Relativity’s hard sci-fi project—something about Mars exploration. That was a key reason he was willing to give Relativity a shot. In today’s Hollywood, few companies were willing to invest hundreds of millions in original, realistic hard sci-fi.

Ronan continued, “After reading the script, I have a suggestion.”

Alfonso Cuarón looked at him. Given Ronan’s reputation, any suggestion was hard to ignore.

Ronan didn’t beat around the bush. “I suggest changing the male lead to a female one.”

“A female lead?” Alfonso Cuarón frowned slightly.

Ronan explained, “Men and women carry different symbolic weight on the big screen. Men inherently represent resilience and strength, while women symbolize vulnerability and the need for protection. If the protagonist is male, the impact of self-rescue won’t be as powerful as with a female lead.”

Alfonso Cuarón considered Ronan’s words carefully. For a film that was essentially a one-person show, a male lead would traditionally be more appealing—Hollywood’s conventional wisdom held that male-led films were far more marketable than female-led ones.

He had thought about this during scriptwriting. The story itself lacked creativity—it barely had a plot. The film’s appeal would rely on two things: stunning visual effects and the actor’s performance.

“I need to think about it,” Alfonso Cuarón said, not making an immediate decision.

Ronan nodded. “No problem.” He already knew this project was Gravity, so he quickly made his decision. “Director Cuarón, Relativity is willing to invest in your project. Shai Entertainment will handle the specifics with you.”

Alfonso Cuarón smiled. “Thank you. I’m very much looking forward to working with Relativity.”

This was an ideal outcome.

Ronan kept the script and had Connie arrange for someone to take Alfonso Cuarón to meet with the relevant personnel at Shai Entertainment for preliminary discussions.

Ridley Scott’s The Martian, which was already in production, had close cooperation with NASA. Adding Gravity to the mix wouldn’t pose any difficulties.

Gravity wasn’t like Transformers or Star Wars—it needed to minimize unrealistic elements. NASA was the most authoritative institution in this regard. Their support would streamline everything from pre-production to filming and post-production.

Ronan tried to recall details about the film. He couldn’t remember the exact box office numbers, but he knew it had been a success for two reasons.

First, Alfonso Cuarón had won the Oscar for Best Director for Gravity, cementing the reputation of the “Three Amigos.” Second, Sandra Bullock, who played the female lead, had topped the Hollywood actress earnings list that year thanks to the film. Rumors online claimed she had earned over seventy million dollars from her base salary and backend profits for this single film.

If Alfonso Cuarón took Ronan’s advice and changed the lead to a female character, the casting was already decided.

Ronan remembered that when Jessica Felton had secured Sandra Bullock for Miss Congeniality, Shai Entertainment had signed her for three films. Getting her to play the lead in Gravity wouldn’t be difficult.

The film’s biggest selling points were its effects and the female lead’s struggle for survival. Sandra Bullock could handle the role without issue.

Of course, the effects were even more crucial.

Space was humanity’s ultimate dream, and even for the dream-making machine that was cinema, creating a realistic depiction of space on screen was no easy feat.

Alfonso Cuarón quickly reached a cooperation agreement with Shai Entertainment and made adjustments to the script, the most significant being the change from a male to a female lead.

With the contract signed, Ronan and Alfonso Cuarón discussed the project further, especially the effects.

When Gravity’s space environment appeared on the IMAX screen, for audiences sitting in the dark wearing 3D glasses, it was no less than an interstellar journey. Most of the film’s interior space station scenes were shot on constructed sets, but the realistic outer space scenes relied entirely on CG. All space footage was computer-generated.

Additionally, through Relativity’s coordination, NASA provided Alfonso Cuarón with a wealth of firsthand materials.

The project still needed time before entering full preparation. Alfonso Cuarón had a lot of preliminary work to do—interviewing NASA astronauts, reading and watching various space-related materials and videos, studying thousands of space photographs to understand the environment.

Since it was a realistic hard sci-fi film, attention to detail was paramount. As Alfonso Cuarón himself had said, every shot in the film had to be grounded in reality.

Gravity was undoubtedly a complex project, requiring an innovative integration of virtual and live-action footage, which further increased its complexity.

The earliest it could hit theaters would be 2010.

Hard sci-fi projects were time-consuming and labor-intensive.

Superhero films, on the other hand, were much simpler. Before August arrived, Joss Whedon’s The Avengers had wrapped all principal photography and was moving into post-production.

However, the actors in the Avengers wouldn’t have much downtime. A series of Marvel projects awaited them.

Nick Fury, Agent Hill, and the village chief of the newbie village would soon star in the TV series Agents of S.H.I.E.L.D.

Jon Favreau had already begun preparations for Iron Man 3. After a brief break, Robert Downey Jr. would dive into filming.

The scripts for Thor 2 and Captain America 2 were also in development, with early planning underway.

The latter would be particularly significant. The notoriety of Hydra’s S.H.I.E.L.D. branch had spread worldwide through Captain America 2.

In Avengers 4, Captain America’s line “Hail Hydra” had sent shockwaves through theaters.

And then there was Guardians of the Galaxy, which Marvel Entertainment was assembling, featuring some actors from Fast & Furious.

For example, Gianna, dubbed an international superstar by South Korean media, had been confirmed to play the green-skinned Gamora.

Chapter 1106: The Fourth Dragon Ball

Compared to Iron Man, Guardians of the Galaxy was practically unknown, occupying a marginal role in Marvel’s vast comic universe. However, to expand the Marvel Cinematic Universe into the galaxy and beyond, a cosmic-themed film was necessary to introduce the Purple Potato Spirit. And since the audience was made of Earthlings, the protagonist had to be human.

The space dog wasn’t suitable—despite being from Earth, most people would struggle to relate to a canine lead. Characters like Gladiator, Sentry, and Nova Corps had been considered, but Ronan ultimately chose Guardians of the Galaxy.

Thanos was too powerful—without awkward dancing to lower his IQ, how could anyone defeat him? But there was another reason: if the movie succeeded, the merchandise potential for characters like Groot and Rocket was enormous. Cuteness sold worldwide.

After discussing with Kevin Feige, Ronan decided to include a key character in the post-credits scene—Captain Marvel. With Ronan involved, Marvel wouldn’t cast another “square-faced auntie” type. Superhero films didn’t require great acting—just look at Wonder Woman. Gal Gadot’s performance wasn’t the reason for its success; everyone knew the real draw.

Captain Marvel would need to align with societal trends, presenting a strong, independent female hero. That didn’t necessarily mean casting a square-faced actress. The previous Captain Marvel might have flopped without the “Marvel Method.”

Ronan had already considered a potential lead—Charlize Theron, nicknamed the “South African Diamond.” A powerful female superhero needed an actress with a commanding presence. Shai Entertainment would soon approach her, positioning Captain Marvel as the future leader of Marvel’s cinematic universe.

Unlike Warner Bros.’ bizarre casting choices (like making Theron play Wonder Woman’s mother), Relativity Entertainment wouldn’t make such mistakes. Gal Gadot had already signed a long-term contract with Relativity, ensuring she wouldn’t play Wonder Woman for at least a decade—a relief for Warner Bros., who could now focus on casting someone more physically suited to the role.

Ronan received news that due to Green Lantern’s disastrous failure, Warner Bros. and DC Comics had changed course. Realizing they couldn’t catch up to Marvel’s Avengers series, they decided to take a different path. The new Justice League universe would begin with Man of Steel, followed by Batman v Superman, introducing the founding members of the Justice League.

Green Lantern had failed so spectacularly that Warner Bros. seemed determined to distance the character from the Justice League. In the new lineup, Cyborg replaced Green Lantern as a founding member. Love may be a green light, but black had taken over.

Crucially, both Man of Steel and Batman v Superman would be directed by Zack Snyder, with Warner Bros. executives heavily involved as producers or executive producers. Clearly, Warner Bros. couldn’t afford another major failure.

There was also tension between Warner Bros. and 20th Century Fox over Watchmen. Fox, struggling after multiple box office flops, was facing financial strain. Warner Bros. had been delaying payments for Watchmen’s box office share, using every excuse possible.

This summer, Fox suffered another crushing defeat—Super Storm, a disaster epic with a production budget exceeding two hundred and fifty million dollars, opened in late July with a dismal seventeen million dollars in its North American opening weekend. Projections suggested a final domestic gross of thirty to forty million, with global earnings unlikely to surpass one hundred million.

The failure triggered a chain reaction. Banks and financial institutions, already wary due to the economic crisis, began demanding repayment from Fox. Some even initiated loan recalls. Fox’s liquidity was strained, but as an established company backed by News Corporation, it wasn’t in immediate danger. Still, the fourth dragon ball had weakened Fox’s position for the foreseeable future.

Ronan also received updates on the other two dragon balls. Dragonball Evolution and Terminator 4 were major Fox projects. The former was complete and awaiting a release date, while the latter was in post-production, having gained notoriety when Christian Bale’s on-set outburst at the cinematographer went viral. With a two hundred million dollar budget, Terminator 4 was a high-stakes sci-fi blockbuster. Unlike other films, the Terminator franchise was a proven IP, and Fox had funded the entire production to avoid sharing profits.

“Fox’s recent performance hasn’t been strong,” Robert Iger said, seated in Relativity Tower. “Their big-budget films keep failing, leaving them with massive debts and no returns.”

Ronan nodded. “What about their streaming platform?”

Iger smiled. “It’s struggling. Streaming requires massive investment. Lehman Brothers provided some loans, but since last year, Fox hasn’t been able to secure financing. They’ve had to fund it internally, draining their cash flow without seeing returns.”

Ronan wasn’t surprised. Netflix’s market value had soared, with revenues nearing ten billion dollars last year, but its streaming business was still operating at a significant loss. Building a streaming platform from scratch required burning money—lots of it. Netflix had spent billions to dominate the market, leaving little room for competitors. Even now, Netflix’s success hinged on its willingness to spend.

Ronan tapped the armrest. “The next year is critical for us.”

Iger agreed. “The situation favors us.”

Ronan then asked about Lucasfilm.

“George Lucas isn’t the issue—he’s willing to sell,” Iger replied. “We’ve also reached agreements with other shareholders. If things go smoothly, the deal could be finalized in a few months.”

Ronan knew that with Lucas on board, acquiring Lucasfilm would be easier than purchasing Artisan Entertainment. Lucas’s personal decision would determine the studio’s future.

“The most valuable asset is Star Wars,” Ronan said. “But too many rights are tied up with Fox.”

Iger understood the implication. If their plan succeeded, all Star Wars rights could eventually belong to Relativity.

Ronan then asked about Wall Street.

“It’s bad—very bad,” Iger said bluntly. “The entire financial sector is in trouble. Even Goldman Sachs isn’t immune. This crisis is spreading globally. Lehman Brothers, Fox’s partner, is on the brink.”

After a pause, he added, “Black Carbon reports that Lehman’s been lobbying Washington and other major banks, but the Treasury refuses to help. Wall Street wants Lehman to collapse.”

Ronan nodded. “How’s Black Carbon doing?”

“Very promising,” Iger said optimistically. “Given the current climate, he might become the next president.”

If Black Carbon won, Washington would be far less likely to obstruct Relativity’s plans. Government support was crucial for success.

After concluding the meeting with Iger, Connie reminded Ronan it was time to leave. He departed Relativity Tower and headed to the nearby Pacific Investment Foundation, where he met Lin Jian, who had returned to Los Angeles.

Chapter 1107: The New Successor

Century City, Pacific Investment Foundation.

“Hello, Mr. Lin.”

In the luxurious reception room, Ronan shook hands with the visiting Lin Jian. “Welcome to Los Angeles.”

Lin Jian’s square face was all smiles. “Mr. Anderson, it’s an honor to see you again.”

Over the past half year, the two companies had engaged in long-term negotiations, making significant progress and reaching an agreement on cooperation in the film and entertainment industry. Now, they could be described as business partners.

It was for this reason that Lin Jian had come to Los Angeles once again, to personally meet with Ronan and finalize the most important aspect of their cooperation.

Only Ronan and Lin Jian were present in the reception room. As the host, Ronan exchanged a few pleasantries before quickly getting to the point. “Mr. Lin, I wonder what your thoughts are on our proposal…”

Lin Jian’s square face gave off an air of honesty and reliability. He immediately responded, “The Qianlu Group appreciates Relativity Entertainment’s cooperation agreement. However, regarding the most crucial aspect of our cooperation, I have a few questions I need to ask Mr. Anderson personally.”

Ronan made a welcoming gesture. “Please, don’t hesitate to ask.”

Lin Jian knew that Westerners preferred directness, so he didn’t beat around the bush. “The Qianlu Group and Relativity Entertainment are jointly investing in a new company to execute the acquisition plan. Will future acquisitions be funded according to the company’s shareholding ratio?”

Ronan nodded slightly. “Of course. If your side has difficulties, Relativity Entertainment can increase its share from fifty-one percent by another ten percentage points.”

“No, no… that’s not what I meant.” Lin Jian said with a smile. “Funding is not a problem for us. In fact, the Qianlu Group has already begun raising funds.”

Ronan didn’t doubt the truth of this statement. Large conglomerates from the other side of the Pacific had complex relationships behind them, and during periods of smooth development, they could often unleash astonishing energy.

Lin Jian suddenly stopped smiling and said, “What I mean is, can the shareholding ratio of the new company jointly invested by the Qianlu Group and Relativity Entertainment be reversed?”

“You want to hold a larger investment share?” Ronan’s subtext was clear: the Qianlu Group wanted control.

Lin Jian spoke quite seriously, “The Qianlu Group simply wants to take on more responsibility in this cooperation!”

There was a certain level of trust between the two parties, but he still harbored considerable caution toward the Americans.

Fortunately, Ronan Anderson and Relativity Entertainment had a good reputation and credibility, both in North America and worldwide.

This was one of the reasons the Qianlu Group could reach a cooperation agreement with Relativity Entertainment.

Ronan didn’t respond to Lin Jian’s words but instead asked, “Mr. Lin, have you considered a certain issue?”

Lin Jian said, “Please, go ahead.”

Ronan spoke unhurriedly, “Political and social environment issues.”

Hearing this, Lin Jian pondered. There was no successful businessman in the world who was completely detached from politics.

Ronan continued, “Mr. Lin, if a company controlled by American capital were to acquire your China Film Group, would it be possible to succeed?”

Lin Jian understood Ronan’s meaning and frowned slightly. “This is just the film and entertainment industry.”

Ronan was familiar with the situation on the other side of the Pacific. Over there, this was merely an insignificant small industry. He organized his words slightly and said, “Last year alone, the Hollywood entertainment industry and its peripheral chains created a production value that accounted for nearly ten percent of the United States’ total economic output. And our target is a top-tier entertainment group with nearly a century of history.”

This wasn’t due to Lin Jian’s lack of consideration but rather the completely different national conditions on both sides. His business was, after all, primarily concentrated over there.

“If you want to reduce political resistance, Relativity Entertainment must take the lead.” Ronan was stating the facts. “Mr. Lin can look into it.”

Lin Jian smiled. “I understand. I will.”

Someone who had reached this level was certainly not a fool. Some issues might have been overlooked due to environmental factors, but once reminded, it wasn’t difficult to think them through.

“There’s another question.” Lin Jian continued, “As Mr. Anderson said, the acquisition target is not just any small company. There’s a possibility of failure. Can we make a backup plan?”

Ronan knew what he was worried about. It wasn’t easy for Relativity Entertainment to find a partner from the other side of the Pacific willing to foot the bill for those useless businesses, so of course, they had to reassure the other party.

“If the acquisition fails, we have a contract as a guarantee.” Ronan said very seriously, “Relativity Entertainment will assist the Qianlu Group in acquiring one of the medium-sized companies such as Legendary Pictures or Lionsgate Films.”

Lin Jian felt somewhat reassured and said, “I hope our cooperation goes smoothly.”

The atmosphere between the two became increasingly harmonious as they discussed the broader cooperation agreement, completely determining the direction of their cooperation.

The Qianlu Group wanted to develop the film industry and create an Eastern Hollywood. They needed a strong film business company, but building one from scratch to achieve world-class influence wasn’t something that could be done in a short time.

The best choice was to acquire a sufficiently strong film company.

Undeniably, the world’s strongest commercial films were basically concentrated in Hollywood.

Hollywood’s exclusivity towards outsiders, especially Eastern companies, determined the difficulty for the Qianlu Group to acquire a medium to large Hollywood company.

But after joining forces with Relativity Entertainment, the situation was completely different.

Relativity Entertainment was not only a local powerhouse but also a sufficiently strong local company, and it had designs on other Hollywood companies.

Lin Jian was gradually rising to the top of the business world in the East, and his ambitions were growing. Given the conditions, his first choice was naturally a top-tier Hollywood company!

Although Relativity Entertainment would take a lot after the acquisition, the remaining part was still beyond what companies like Lionsgate Films and Legendary Pictures could compare to.

If the integration went smoothly, it might even surpass DreamWorks.

In the evening, Ronan hosted a banquet at Future World Estate, specially entertaining Lin Jian and the Qianlu Group delegation.

This was also a formal business cocktail party. Jessica Felton, as the hostess, had specially returned from the UK.

During the banquet, Ronan and Jessica Felton chatted and laughed with Lin Jian and his wife, as if they were old friends.

Lin Jian and his wife also extended a formal invitation to the couple, inviting them to visit the other side of the Pacific when they had time.

Ronan also expressed that, if the time was right, he would definitely visit the East.

To have a certain level of cooperation sincerity from the other party in business cooperation, one’s own side must also pay a certain level of sincerity.

This was the simplest logic.

As for visiting the East for business talks, it would also be included in Ronan’s future plans. Relativity Entertainment’s business volume there was growing almost exponentially every year.

Moreover, in the eyes of many local governments, Relativity Entertainment was their old friend.

In comparison, Netflix Streaming Media’s business development there was not going smoothly. Netflix’s DVD and peripheral product online rentals and sales, online video, Netflix sharing, and Netflix streaming media, as well as the newly launched online live broadcasting business, whether now or in the future, not to mention the difficulty of entering the market on the other side of the Pacific, the possibility was infinitely close to zero.

Under Netflix Streaming Media, only Android’s business had truly entered the market on the other side of the Pacific.

Due to Apple’s closed system and Nokia playing with Symbian, companies on the other side of the Pacific that intended to develop smartphone business and related software design naturally focused on the more open Android.

Currently, the Android system’s market share in phones had exceeded seventy percent.

Although most of Netflix’s business couldn’t enter the market on the other side of the Pacific, after years of continuous effort, the surrounding markets in South Korea, Japan, and Southeast Asia had long been fully captured by Netflix.

Netflix’s international business now provided nearly half of Netflix’s paying members.

In early August, House of Cards officially launched on Netflix Streaming Media, quickly causing a sensation. While receiving extremely high praise, its playback and click rates continued to soar.

The excellence of the series was one aspect; the social environment was another aspect that couldn’t be ignored.

This year was an election year!

The donkey and elephant contest was in full swing. House of Cards was like using this fire to ignite its own firewood, and the firewood had been pre-soaked with gasoline.

Over there, they were vying for votes; here, they were talking about the darkness of Washington, D.C. politics, which also had its own appeal.

Of course, entertainment was just entertainment. No one took it seriously, and neither side participating in the election criticized House of Cards.

Ordinary audiences were like spectators at a presidential election, watching this series.

As for the truth of the political ecology reflected in House of Cards, it wasn’t important.

Film and television dramas were bound to have some embellishment.

With the help of the election, House of Cards created the highest weekly viewership record for a single series since Netflix’s streaming media business went online, surpassing last year’s A Game of Thrones by a large margin.

In some ways, Congressman Underwood and Tywin Lannister had certain similarities.

Both were skilled at behind-the-scenes operations rather than direct confrontation.

For example, the latter was defeated on the battlefield by the young wolf of the North but used ravens and paper to turn the entire situation around.

Politics was a profound chessboard. The difference between a master and an ordinary player was whether they could see through the fog and understand the complex situation, knowing how to make the next move.

As for the former, the media evaluated House of Cards as follows: The TV series House of Cards, with Kevin Spacey playing the politician Francis Underwood, was a living political textbook, skilled in the operation of power.

However, the series also had some less than ideal aspects, which were related to David Finch’s style and the audience’s needs.

David Finch was originally a dark-style director. What the audience wanted to see most was the dark political ecology of Washington, D.C. The corruption within was undoubtedly a point that attracted the audience, and the audience enjoyed seeing these explosive contents.

Kevin Spacey’s acting skills needed no further mention. He was the politician whose every pore exuded the word “conspiracy,” brilliant beyond reproach.

But in terms of character setting, even the most rational politician should have a human side.

Chapter 1108: The Budget Version

This month, Black Carbon’s team once again arrived in California, hosting various promotional events, even including live television broadcasts. It was so lively that it could rival the Oscars.

Those who didn’t know might have thought this was a celebrity promotion.

Perhaps that wasn’t entirely wrong. Wasn’t the leader in the White House the ultimate superstar?

Just like stars wanting to become famous, those aiming to become the leader had to spend money on promotions or they wouldn’t stand a chance.

According to media reports, this election would cost over one billion dollars.

As early as mid-last year, Black Carbon’s team had raised over one hundred million dollars in funds.

Each candidate had to raise one hundred million dollars in campaign funds by the end of 2007, which the media called the “one hundred million dollar entry fee.”

This was a standard money-driven country. Without money, nothing could be done.

In fact, this principle applied almost universally.

Perhaps this saying was vulgar and would be despised by many, but the magic of money was something no one could ignore.

Besides promotional activities, Black Carbon’s team also held cocktail parties. Ronan accepted an invitation and made an appearance at a party in Los Angeles.

In America, the collusion between politics and business was legal and mutually beneficial.

That was the true win-win.

Of course, no one could say for sure whether the leaders who were assassinated had any connections with financial groups.

After all, even the recent assassination of John F. Kennedy remained unsolved. It was said that Ronald Reagan’s assassination attempt was merely triggered by Jodie Foster.

This society was rife with conspiracy theories, and the world was full of hidden forces.

Who knew? One day, the White House might raise the flag of the Hydra or Cobra, becoming a branch.

No, it should be the flag of the Rothschild family…

At the party, Ronan encountered the current governor of California, Arnold Schwarzenegger.

As a member of the opposing party, his presence at Black Carbon’s party didn’t surprise anyone. The two parties were intertwined, and switching sides was a common occurrence.

For example, Mr. Chuan and the bodybuilding governor used to be from different factions.

After drinking with Schwarzenegger, Ronan asked, “Arnold, I heard you appeared in 20th Century Fox’s Terminator 4?”

Schwarzenegger’s rugged face broke into an enthusiastic smile. “It’s not really an appearance, just a cameo with very few scenes.”

Ronan curiously asked, “Still the T-800?”

“I’m not entirely sure about the specific model and settings,” Schwarzenegger admitted. “I just showed my face in front of the camera, and they’ll cover it with special effects later.”

Ronan understood. This muscular man had to learn something, but why did he have to learn how to edit images?

“Arnold,” Ronan changed the subject. “I remember your term as governor is almost up. Aren’t you seeking re-election?”

Schwarzenegger’s smile turned slightly bitter. “I’ve had enough of this position. Maybe I’ll resign a little earlier.”

Ronan understood. “California’s mess is hard to clean up.”

It was said that California’s budget deficit was suffocating the governor’s office.

That was still manageable, but California’s liberals were a real headache. They had been planning independence for years.

Although the chances of success were slim, they were a persistent nuisance.

Speaking of California, this land originally wasn’t part of America. It seemed to be Mexican territory, and not just California…

This showed how important neighbors were. Having such a bad neighbor could be deadly.

As for Schwarzenegger running for leader, that was just a Hollywood movie gimmick.

This Austrian-born action star didn’t meet the hard requirements for candidacy.

Oh, Ronan remembered something. The former Star-Lord became famous, got divorced, and ended up as Schwarzenegger’s son-in-law.

Too bad, even though they were both action stars, Schwarzenegger couldn’t compare to Stallone.

Stallone was the true winner in life. What was that saying? The nation’s father-in-law.

At the party, Ronan was somewhat surprised to see Uwe Boll. He didn’t know how this German director ended up here.

“The chance to make history is fifty percent!”

In response to Ronan’s inquiry, Uwe Boll seriously said, “If Black Carbon is elected leader, it will definitely make history. This is a big event! I think it can be incorporated into the movie universe.”

Ronan said, “You have some ideas.”

Uwe Boll chuckled. “Don’t you think Black Carbon is a natural protagonist?”

Ronan thought about it and indeed, it seemed so. He said, “You should be careful not to cause trouble.”

Uwe Boll said, “I understand. I just want to see Black Carbon and then apply his persona to a character from the founding era.”

Ronan could only sigh secretly. Brother Bao was indeed an idealistic and professional director!

So, Uwe Boll was now focused on making biographical films about historical figures to correct the errors in history textbooks, so that all American citizens could know their true faces.

The day after attending the party, Ronan went to visit Uwe Boll’s crew. Witch Hunter Washington had completed all filming and production, waiting to be released next year as Relativity Entertainment’s opening blockbuster. Uwe Boll was currently preparing for Thunder Mage Franklin.

This series followed the typical Marvel Avengers movie universe model. America’s founding fathers first fought monsters independently and then united to defeat a powerful ancient ruler.

Perhaps it could be called the budget version of the Avengers?

Each film’s production budget was compressed to under ten million dollars, ensuring that even if it failed, the losses wouldn’t be too significant.

Ronan didn’t know how long Brother Bao’s viral director status could last. After all, netizens were fickle.

Should he find a suitable opportunity to let Brother Bao create another big event? Like punching Roger Ebert and kicking Kenneth Turan.

Uwe Boll’s crew was still stationed at a farm on the outskirts of Los Angeles for filming. Ronan also took the opportunity to visit James Wen’s horror movie universe crew.

Produced by James Wen, Annabelle was in production. Although The Conjuring wouldn’t be released until next month, James Wen, who had just finished filming Insidious 2, had already started preparing for The Conjuring 2.

Horror films were Relativity Entertainment’s founding genre and a typical example of small investments yielding big returns. With The Purge paused to avoid market fatigue, Deadly Curve increasingly resembling B-movies, and Final Destination and Saw completely formulaic, the horror movie universe continued to carry Relativity Entertainment’s horror banner.

There was also It, which was also in production and would be released next year.

Zombie films could also be classified under the horror genre. After Dawn of the Dead 2 achieved box office success comparable to the first film, the third installment was naturally on the way. Shai Entertainment had already started preparations, and as early as next autumn, an actress named Kate Dillings would once again portray what it meant to “run with a ball” in the apocalypse.

This choice was finalized by Ronan. In last year’s Thor, Kate Dillings played a supporting female role and received universal acclaim. Fortunately, Jessica Alba’s looks and figure were stunning enough to prevent the supporting actress from stealing the spotlight from the female lead.

The former female lead was like an airplane factory meeting the Himalayas, completely overshadowed by the supporting actress.

This case fully proved one thing: commercial film roles were also very selective. Even an Oscar-winning actress could struggle with simple commercial roles.

Speaking of which, fans and media would soon realize that the female lead in the Thor series was never Jane Foster.

No matter if Loki stabbed with a knife or a stick, Thor’s love for him was genuine.

Thor said it well: I love my brother a thousand times, even if I can only fight with bayonets.

Another zombie film, Land of the Dead, had its second installment delayed until next year due to scheduling conflicts with director Edgar Wright.

After several years of successful zombie films, the zombie genre had become a relatively popular category in Hollywood. Relativity Entertainment still held the film adaptation rights to Zombie World War, but it hadn’t been scheduled for Shai Entertainment yet.

Shai Entertainment’s The Walking Dead, filmed for Netflix Streaming Media, had reached its third season.

This show could rank at the tail end of Netflix’s top-tier series. Compared to shows like Breaking Bad, the gap was still obvious.

Additionally, The Walking Dead had drawn the ire of some traditional zombie film fans because the content was mostly about other things under the guise of the zombie genre.

It had completely reached the point where the guest overshadowed the host.

However, there were still many audiences who enjoyed this content of humans killing each other.

In mid-August, Shai Entertainment Animation Studio’s animated feature was released. Minions arrived at its second installment, Minions 2: The Rise of Gru, which stirred up considerable market excitement.

The first Minions movie had a global box office exceeding one billion dollars.

This sequel was still unstoppable, selling one hundred thirty-five million six hundred thousand dollars in its first week. Despite the media ratings and Rotten Tomatoes freshness being so low that it was painful to look at, it couldn’t stop the audience’s love for these cute and silly little creatures.

The movie was clearly selling cuteness and silliness, specifically targeting human nature’s weaknesses in filming and production. Things like plot and character development were secondary.

For fans of the Minions, as long as they caused a ruckus on the screen and made people laugh heartily, that was enough.

In the international market, due to the wide simultaneous release, Minions 2 had an overseas box office of nearly two hundred thirty million dollars in its first week.

It wasn’t a problem for this sequel to exceed one billion dollars in global box office again.

Throughout the summer, Relativity Entertainment had a super bumper harvest. The box office share alone brought in considerable profits, maintaining extremely vigorous vitality in the increasingly severe economic winter in North America.

Not only Relativity Entertainment, but most Hollywood companies had a good year. Perhaps the economic crisis was indeed a feast for entertainment.

Chapter 1109: Leap of Faith

Perhaps it was true that movies were a spiritual refuge from reality.

The economic crisis in America was worsening. The Golden Gate Bridge and Brooklyn Bridge had already seen a rain of human dumplings, yet the North American film market had welcomed an unusually successful summer season.

It wasn’t just Relativity Entertainment—other companies’ blockbusters were also performing well.

20th Century Fox, of course, was not among them.

Compared to other industries, the film industry had also taken a hit, but Hollywood was still faring better. At least, not many people were jumping off buildings.

“Look! Look over there!” someone shouted in the restaurant. “Someone’s jumping from the building across the street!”

This was the first-floor restaurant of Relativity Tower. Many people rushed outside to watch the spectacle, including Ronan and Jessica Felton, who were seated by the window.

Across from Relativity Tower, someone stood on the ledge of a high-rise, a tie fluttering in the wind like a blessing from the Grim Reaper.

Jessica Felton set down her silverware and muttered, “Can’t think straight.”

Ronan wiped his hands with a napkin and said, “Alive, you face mountains of debt, losing your house, your car, even your wife. Dead, and it’s all over.”

Jessica Felton, having grown up in this country, felt little sympathy. Those driven to jump were ambitious speculators who had failed.

Unfortunately, failure in speculation often ended tragically.

Ronan sighed softly. “How many this month?”

“I’ve lost count,” Jessica Felton shook her head. “I heard that building is full of stock traders and bond speculators.”

Ronan nodded. “No wonder they’re the first to crack under the crisis.”

Jessica Felton suddenly thought of something and turned to Ronan. “You…”

Though she didn’t finish, Ronan understood. “Don’t worry. Cherish life, stay away from financial poison.”

“You…” Jessica Felton didn’t know what to say. Seeing police cars with flashing lights pull up, she muttered, “The police are here.”

Ronan glanced at the police and shook his head slightly.

American police had no obligation to rescue. The more common practice was to prevent suicides by shooting the jumper.

The tie fell to the ground, and then came the leap of faith…

Ronan pulled Jessica Felton back, turning her away. “Let’s go. Back to work.”

Jessica Felton didn’t want to see the gruesome aftermath either. She followed Ronan through the restaurant’s side door back into the lobby of Relativity Tower.

Perhaps because suicides had become so common, there was little commotion outside. Maybe people had grown numb to it.

For the onlookers, in this deadly economic crisis, any one of them could be the next to take a “leap of faith.”

This wasn’t the first time Ronan had witnessed a “suicide wave.” He had seen it before during the dot-com bubble burst.

It was safe to say that Americans, or American families, had relatively low resilience to risk.

The economic crisis, triggered by the real estate and financial sectors, had finally exploded like a powder keg.

Though the Washington administration had intervened to stabilize the market, ordinary people saw little benefit. The real winners were still the Wall Street elite.

But Wall Street had also taken a heavy hit. Most major firms were struggling.

In this climate, no one on Wall Street was untouched.

Some companies managed to survive the toughest phase, and after licking their wounds, they began raking in profits again, emerging as relative winners.

And where there were winners, there were losers.

Some companies had reached the end of their road.

Lehman Brothers filed for bankruptcy after the Federal Reserve refused financial aid. On the same day, Merrill Lynch announced its acquisition by Bank of America.

AIG, the world’s largest insurer, was also on the brink. The U.S. government took it over to stabilize the market but offered no help to other financial institutions.

This was just the beginning of the crisis. The financial turmoil soon spilled into the stock market.

By mid-September, the last two investment banks on Wall Street, Goldman Sachs Group and Morgan Stanley, were forced to apply to the Federal Reserve to become bank holding companies to mitigate risks.

With Goldman Sachs and Morgan Stanley transitioning into commercial banks, the traditional “Wall Street investment bank” became a historical term.

The federal government and the Federal Reserve introduced a series of bailout plans, sparking public outrage.

Ordinary Americans vehemently opposed the government’s rescue measures. They believed the big banks had first advocated for laissez-faire capitalist expansion, and now, in crisis, they demanded socialist-style bailouts from the national treasury—while the people faced unemployment, credit collapse, and foreclosures.

This laid the early groundwork for the future Occupy movement.

But this was a nation of capital. Movements like Occupy Wall Street had little real impact.

You couldn’t expect Wall Street capitalists to have a change of heart. That would be like expecting Ronan to save the world.

In Hollywood, despite the strong summer box office, the economic crisis dragged down the stock prices of major listed companies. Their market values plummeted like waterfalls, with no end in sight. The Big Six studios saw massive losses, and the decline continued.

Relativity Entertainment, not being publicly listed, was less affected and even had good news.

For instance, after nearly four months of screenings, Avatar had grossed $731.2 million in North America and over $2.5 billion globally. Surpassing previous records was no longer a question.

The box office share had already recouped the entire investment, with nearly $300 million in profit.

Since screenings were still ongoing, a $500 million profit wasn’t out of the question.

But with Avatar’s massive success came the inevitable backlash that plagued every Hollywood hit.

Brian Moore, a sci-fi writer from Maryland, sued Disney and James Cameron in a Maryland court, alleging that Avatar had plagiarized two of his scripts. He accused Cameron and Shai Entertainment of breach of contract and fraud, demanding $300 million in compensation.

It was absurd. Every blockbuster seemed to attract a swarm of “plagiarism victims.”

Not that all claims were false—cases like The Matrix and Inception, which borrowed from other works, were common in Hollywood.

And then there was The Hunger Games.

Relativity Entertainment responded as usual. James Cameron, deeply invested, even gave a video interview from a research vessel in the Pacific: “Since Terminator 2, I’ve seen too many of these cases. I’ve said before—Avatar is my most precious creation, a project I nurtured myself. From the initial idea to a full concept and then a film, it took me decades.”

Whether true or not didn’t matter. Relativity would treat it as fact.

Cameron wasn’t just talking. He released 1990s drafts, including a sketch from the Titanic era. The tree in the drawing bore a striking resemblance to the Tree of Life on Pandora.

In truth, by now, any Hollywood film, if scrutinized, could be linked to another in some way.

In the third weekend of September, Relativity Entertainment’s second film universe, the “Horror Universe,” released its second installment.

Directed by James Wen, The Conjuring premiered in 3,560 theaters across North America.

Thanks to its connection to Insidious, the film had a stronger fanbase. After Insidious, the Warrens had become celebrities.

This had its pros and cons. The “based on a true story” angle helped promotion, but skeptics abounded.

Many called the Warrens frauds. Few of their cases held up under scrutiny. Many subjects later sued them, claiming fabricated stories for profit. Those who didn’t sue often had histories of drug use, making their testimonies unreliable.

Even the house featured in The Conjuring’s promotion was still occupied, with no issues.

“Based on a true story” was only 20% true—the rest was pure fabrication.

Marketing, of course, played up the truth.

Compared to The Blair Witch Project, The Conjuring’s promotion was far more ethical.

The Conjuring was a classic haunted house horror film. Haunted houses and exorcisms were the twin pillars of horror, timeless sources of terror. A haunted house could naturally lead to possessions, making it more appealing.

To create the effect of a “true story,” and to tie into Insidious’s Easter eggs while setting up the third film in the Horror Universe, The Conjuring spent several minutes introducing “Annabelle,” a supposedly real doll.

The rest of the film was a different story entirely. Those few minutes of “truth” about Annabelle were just a setup to make the rest of the “untrue” story seem more real.

The Conjuring embodied director James Wen’s fusion of Eastern and Western horror cultures. The film was steeped in retro aesthetics—no blood, no twists, no cheap scares. Even the ghostly faces were blurred, relying on darkness, confined spaces, and sound design to create terror. It was pure 1970s style.

The film also laid the groundwork for the Horror Universe’s future, with multiple close-ups of the “Annabelle” doll and the eerie music box.

Chapter 1110: The Dark Movie Universe

Real stories, real people, real events—these were the selling points, and in a country where belief in gods and spirits was widespread, they carried significant weight. Though most people worshipped money, the influence of the supernatural remained immense, especially with a major company like Relativity Entertainment backing it.

After honing his skills with The Conjuring, James Wan had infused more documentary-style elements into the film, heightening its sense of realism. He was beginning to shine as a master of horror, a title well-deserved.

As The Hollywood Reporter put it: “As a director, James Wan has taken the well-worn haunted house trope and, through his solid direction and masterful control of pacing, effortlessly manipulates the audience’s emotions. His use of restraint and subtle rendering creates an eerie atmosphere far more unsettling than mere visual shocks. By the time the climax arrives, this horror film, based on true events, leaves viewers truly chilled to the bone.”

Some media outlets even argued that The Conjuring should be rated NC-17 for its sheer terror, claiming it could scare people out of their wits.

Relativity Entertainment continued to fuel the hype. They released videos on Netflix featuring interviews with fans:

Question: “Is watching horror movies scary?”

Answer: “Only when it’s a ghost movie based on real events.”

Question: “Do you believe in ghosts?”

Answer: “After watching The Conjuring, my faith is shaken.”

They even stoked supernatural rumors through the media: “What The Conjuring truly is may never be known. In this age of science, many paranormal events are dismissed as superstition, but there are mysteries in this world that science cannot explain. When it comes to ghosts, all we can do is approach them with reverence.”

After its premiere, The Conjuring received universal acclaim from both audiences and critics, earning a stellar reputation in the horror genre.

One fan remarked: “The greatest strength of The Conjuring is that it doesn’t rely on excessive gore or violence. Instead, it strikes at the heart and soul, questioning one’s beliefs and perceptions, elevating horror to a new level. Even the most steadfast atheist will waver after watching this film.”

With such strong word of mouth and compelling hooks, the film’s market performance was predictable. On its opening weekend in North America, The Conjuring raked in forty-eight million nine hundred sixty thousand dollars, setting a new record for James Wan’s career.

After years of hard work, the Chinese-American horror maestro had finally reached his breakthrough moment.

The horror movie universe was thriving, and upcoming films like The Conjuring 2, Annabelle, and The Conjuring 2 would only gain more attention.

James Wan also had new plans for The Conjuring 2. The first film had heavily featured the haunted doll Annabelle to set up its spin-off. The sequel would introduce a terrifying nun, paving the way for The Nun.

Rumors suggested that The Conjuring’s female lead, Vera Farmiga, had a sister named Taissa Farmiga, who would star in The Conjuring 2 and Annabelle.

This was James Wan’s decision, and Ronan had given him full creative control. The horror movie universe was entirely in his hands, and as long as no major issues arose, Ronan would not interfere.

Within just ten days, The Conjuring surpassed one hundred million dollars at the North American box office. Though horror films typically had short theatrical runs, it was clear that the film would easily exceed one hundred fifty million dollars.

The concept of a movie universe was nothing new, but Hollywood could no longer ignore it—Relativity Entertainment had already achieved massive success with three separate universes.

Marvel’s Avengers universe needed no introduction; everyone in the industry knew that when The Avengers hit theaters next year, it would be a box office juggernaut.

The horror movie universe wasn’t a novel idea either. Studios had previously combined classic horror icons in single films, like Freddy vs. Jason. But no company had ever executed such a meticulously planned universe, leveraging two real-life (or possibly fraudulent) demonologists to create a series of blockbuster horror films—and the success showed no signs of slowing down.

Then there was the American Historical Figures universe, a dubious brainchild of Uwe Boll. Despite his questionable directing skills, Boll had somehow managed to achieve his best-ever results with a satirical film about a historical leader. This left many in the industry frustrated—if even a hack like him could succeed, why couldn’t they?

Capitalizing on the trend, Universal Pictures swiftly launched their “Universal Monsters Universe” plan. To avoid repeating Warner Bros.’ disastrous Green Lantern missteps, they decided to kick things off with their most familiar and reliable monster: The Mummy.

Warner Bros.’ failure with Green Lantern had become a cautionary tale in Hollywood, which was why Deadpool had famously broken the fourth wall to “kill” the Canadian actor before he could ruin another franchise.

Universal was determined to avoid such a fate. They extended a special invitation to Tom Cruise, but with the Mission: Impossible series, an Oscar for Best Actor, and the upcoming Inception, Cruise no longer felt the same urgency to expand his horizons.

Back when Cruise was struggling, he had only Mission: Impossible to rely on and desperately needed a new hit—which was why he had signed on for the new Mummy film. The rest, as they say, was history—not just for The Mummy, but for Universal’s entire monster universe.

After receiving Universal’s offer, Cruise came to Ronan for advice.

“Universal is being very generous,” Ronan remarked after hearing Cruise’s description. “Twenty million dollars plus ten percent of the North American box office.”

Cruise waved it off. “Money isn’t everything. I’m not trying to become the richest man in the world.”

Ronan pressed further. “So, Universal wants you to play the Mummy?”

“Not exactly,” Cruise clarified. “I’d be a historian.”

Ronan understood immediately. “Tom, this is a Mummy movie. The audience’s focus will be on the Mummy. Universal wants to build a monster universe, so the focus will always be on the monsters. That means your character will be sidelined, disconnected from the main appeal—the Universal Monsters.”

Cruise nodded slowly, realizing the flaw in the role.

Ronan then asked, “Would you consider playing a monster?”

“Impossible,” Cruise replied firmly. “I can’t play the Mummy. It doesn’t fit my image.”

Ronan spread his hands. “Then the answer is clear.”

Cruise sighed. “I’ll turn them down.”

Universal was ambitious, pouring significant resources into their monster universe. They had already secured stars like Russell Crowe, Halle Berry, Angelina Jolie, and Johnny Depp—no shortage of talent.

With so many big names involved, Cruise didn’t think his absence would be missed. He decided to step aside and let others take the opportunity.

A week later, Universal held a press conference to announce their “Dark Universe” plan, clearly inspired by Marvel’s Avengers Initiative. The first phase would feature six iconic monsters: The Mummy, Dr. Jekyll and Mr. Hyde, Frankenstein, The Invisible Man, The Wolf Man, and Dracula.

These were legendary figures in Hollywood horror, all previously successful under Universal’s banner. In many ways, this was a high-stakes reboot.

Universal’s ambitions were sky-high. If each film could match the success of Stephen Sommers’ Mummy movies, they would have a franchise rivaling the Avengers universe.

The merchandise alone would be a goldmine.

But whether it would succeed remained to be seen.

Ronan vaguely recalled that Universal’s Dark Universe had ultimately become an “within our lifetime series,” indefinitely postponed.

By late September, Relativity Entertainment had capitalized on the financial crisis, making significant strides on Wall Street. They had laid the groundwork for their plans regarding 20th Century Fox.

Meanwhile, after prolonged negotiations, the Qianlu Group from across the Pacific had reached a cooperation agreement with Relativity Entertainment. The two companies jointly registered a new entity in the Cayman Islands to facilitate future acquisitions.

Once established, both groups would inject funds in phases. If all went according to plan, the operation would involve billions of dollars.

The Qianlu Group had deep connections in the Pacific region and had already secured substantial funding. Their leader, Lin Jian, understood that this was a rare opportunity to take over a top-tier Hollywood studio—an opportunity that might never come again.

Eager to make their mark in the entertainment industry, the Qianlu Group proceeded with caution but full commitment.

Around the same time, Ronan received word that Christopher Nolan, who was preparing The Dark Knight Rises for Warner Bros., was facing major issues. Warner Bros. had interfered with the production, leading to conflicts.

Nolan had even sought Ronan’s help, given his role as producer on the first two films.

Chapter 1111: A Movie Only Smart People Can Understand

“Recently, I spoke with Director Martin Campbell. He said that Warner Bros. bears some responsibility for the failure of Green Lantern,” Christopher Nolan said, setting down his coffee cup in the reception room of Relativity Entertainment. He turned to Ronan and continued, “Martin Campbell kept emphasizing that Warner Bros.’ management likes to meddle in film production, even when they hold no official positions on set.”

He sighed. “At first, I thought he was just shifting blame, but now I realize he was telling the truth.”

Ronan, who knew a thing or two about Warner Bros.’ questionable decisions, asked, “Nolan, did Warner Bros.’ management interfere with The Dark Knight Rises?”

Christopher Nolan didn’t bother hiding his frustration in front of Ronan. “Yes, four different people came to the set to give unsolicited advice, none of whom had any official role in the production. That was manageable, but Charles Roven and Diego Harris also demanded changes to The Dark Knight Rises.”

“Why?” Ronan asked, genuinely curious.

Typically, sticking to established formulas was the safest approach for Hollywood sequels. Studios were wary of making drastic changes in sequels, as it often introduced uncontrollable risks.

“Warner Bros. and DC Comics want The Dark Knight Rises to align with their Justice League plans,” Christopher Nolan explained. “They want to adjust Bruce Wayne’s persona in the third film, enhancing his abilities, particularly in combat and armored research.”

Ronan immediately understood. “Warner Bros. is overthinking this.”

Christopher Nolan continued, “Warner Bros. and DC Comics are planning Batman v Superman and want The Dark Knight Rises to connect with that film.”

“Humanity’s strongest challenging a god among men?” Ronan shook his head slightly. “They’re rushing things.”

Christopher Nolan said, “But that fundamentally contradicts my vision! Even if he’s still the strongest human, it pushes beyond the limits of reality.”

He sighed. “This is something I can never accept.”

Ronan said, “Warner Bros.’ management… well, let’s just say they sometimes make impulsive decisions. They’re eager to capitalize on the momentum of the new Batman trilogy to catch up with Marvel’s Avengers movie universe.”

Christopher Nolan wasn’t naive; he naturally understood this. “They’ve broken their promises to us,” he said, looking at Ronan. “With Relativity Entertainment out of the picture, Warner Bros. and DC Comics have become reckless.”

Ronan thought for a moment and said, “Nolan, threaten to resign from Warner Bros.”

Christopher Nolan looked at Ronan in surprise, confusion on his face. “Resign? We had an agreement with Warner Bros. that the new Batman trilogy would remain independent…”

Ronan raised a hand to interrupt Christopher Nolan. “I’m not saying you should actually resign. Warner Bros.’ management is so obsessed with catching up to Marvel that they need a strong wake-up call. Nolan, you are the core of the new Batman trilogy. Show them a firm stance, and Warner Bros. and DC Comics will see the situation clearly.”

Perhaps because of his smooth collaborations with Ronan in the past, Christopher Nolan had a softer side. Ronan wasn’t surprised; the director’s talents were mostly focused on filmmaking, leaving other areas somewhat lacking.

Christopher Nolan considered for a moment before nodding. “I understand.” He smiled. “Thank you, Ronan.”

“You’re welcome,” Ronan said, shaking his hand. He reminded him, “By the way, the premiere of Inception is coming up soon. Give Warner Bros. a heads-up. Don’t compromise on the film’s production, but try not to strain your relationship with the studio too much.”

Christopher Nolan agreed. “Got it.”

He didn’t stay long at Relativity Tower and soon took his leave.

Ronan, piecing together various sources of information, realized one thing: Warner Bros. was truly desperate to succeed with their Justice League movie universe. They were so eager for success that they were willing to disrupt the established setting of the new Batman trilogy.

Ronan also understood that this might be a chain reaction caused by the early emergence of the Avengers movie universe. Warner Bros. had always been reckless with their DC films, so it wasn’t surprising that they were now meddling with Batman.

However, Warner Bros. wasn’t the kind of company that would stubbornly stick to one path. They always found another, even more reckless approach when one failed. So, as long as Christopher Nolan firmly threatened to resign, Warner Bros. and DC Comics would definitely change their minds.

After all, everyone knew that the core of the new Batman trilogy wasn’t the Joker, nor was it Bruce Wayne—it was Christopher Nolan. Warner Bros. had spent a fortune to regain all rights from Relativity Entertainment; they couldn’t afford to lose Christopher Nolan.

Moreover, Christopher Nolan wasn’t without options. He had recently mentioned a space-themed film to Ronan, planning to collaborate with Relativity Entertainment again after the success of Inception and the completion of The Dark Knight Rises.

Inception was scheduled for release in October, and its marketing efforts were expanding continuously, aiming to attract more attention. As the marketing and distribution partner, Embassy Pictures once again employed a combination of conventional marketing and viral marketing strategies.

Earlier in the year, Embassy Pictures had organized several promotional events for Inception. At these events, fans could receive a special T-shirt from the promoters. The front of the T-shirt featured a strange machine, while the back had a QR code.

Simultaneously, some media reporters and film industry professionals received a mysterious gift—a small, exquisite tin box containing a spinning top and a USB drive. The lucky recipients were, of course, delighted.

These souvenirs and small gifts were just one part of Relativity Entertainment’s extensive viral marketing campaign for Inception.

When the official Inception website launched, most people were baffled by the spinning top on the site—what was this movie about? What did the spinning top have to do with the plot? What did the title Inception mean?

Embassy Pictures’ marketing team didn’t reveal their hand early, as other films might. Instead, they continuously released clues, allowing the public to learn about the film while raising even more questions. This strategy piqued the curiosity of fans, encouraging word-of-mouth and sustained interest in the film.

The T-shirt featured the film’s core prop—a “dream machine” that allowed users to enter others’ dreams—on the front, while the QR code on the back led to a viral website for Inception.

Viral marketing required a delicate balance—neither too secretive nor too revealing. The goal was to familiarize the audience with the film while preserving a sense of novelty during the actual viewing.

This was easier said than done. Many films failed to strike this balance, resulting in audiences knowing too much before watching, losing the excitement of discovery.

Thus, Embassy Pictures’ marketing team avoided focusing on the plot. Instead, they highlighted key creative elements like “dream machine technology” and “consciousness crime,” emphasizing slogans such as “Your brain is the crime scene” and “Dreams are real.”

This way, audiences had a basic understanding of the film’s key concepts before watching, making the viewing experience smoother.

Films that audiences couldn’t understand were doomed to fail—this was one of the most fundamental rules of the film market.

A crucial aspect of viral marketing was generating interest. Without interest, even the most elaborate strategies were wasted.

On another front, Tom Cruise and Christopher Nolan’s Netflix sharing account joined the promotional efforts. From the start of filming, the website’s homepage featured a spinning top, signaling to fans that this was their new project. Layer by layer, more content was added until, on the final day, the top fell.

Viral marketing was a means, not an end. When done well, it could have a disproportionately significant impact, but a film’s commercial success wasn’t solely dependent on viral marketing.

This was an interesting promotional approach, but if the film itself was subpar, who would care about online gimmicks?

If the film’s quality wasn’t solid and failed to resonate with most audiences, the viral marketing would backfire after release. Negative word-of-mouth would spread like wildfire across the internet.

For a relatively complex film like Inception, achieving the same level of success as Transformers was no easy feat. Extra effort in promotion was essential.

Given the film’s quality and Christopher Nolan’s strong reputation among fans, media, and critics—built on the success of The Dark Knight—Embassy Pictures held two fan and media screenings in Los Angeles, New York, San Francisco, and Boston before October. They were confident in the film’s quality and aimed to use early word-of-mouth to boost box office performance upon release.

At one point, the film even adopted the slogan, “A movie only smart people can understand.”

In this world, few people would admit to being foolish.

Both professional media and ordinary audiences showered the film with praise, giving it unanimous acclaim. Many media outlets believed Inception had the potential to replicate The Dark Knight’s powerful surge to the top, creating another box office miracle.

Words like “incredible,” “masterpiece,” “perfect,” “miracle,” “subconscious,” “Freud,” “Jungian theory,” “thrilling action,” and “emotional impact” frequently appeared in reviews from media and fans who attended the screenings.

Chapter 1112: Inside and Outside the Circle

Despite the ongoing economic crisis, Inception still attracted widespread attention. Embassy Pictures held its premiere at the Nokia Theatre in Los Angeles just before the first weekend of October.

The combination of Christopher Nolan and Tom Cruise alone was enough to draw the attention of fans and the media.

The premiere was a lavish affair, with fans lining both sides of the red carpet, their screams never-ending.

Tom Cruise, the male lead, proved why older men were the real catch—handsome, wealthy, fit, experienced, and skilled, everything women desired.

Blake Lively, the female lead of Green Lantern, had already proven that Leonardo DiCaprio, who could run a hundred meters in eleven seconds, was not the best choice.

Then there was Christopher Nolan. The Dark Knight had elevated the British director to godlike status. Across America and the world, countless fans worshipped him—fans who, in the eyes of The Shawshank Redemption and The Godfather enthusiasts, were nothing short of brain-dead devotees.

No director in Hollywood, not even James Cameron or Steven Spielberg, had ever achieved the kind of star power Nolan had as a director. Uwe Boll might have come close, but if Nolan was a superstar, Boll was, at best, a minor internet celebrity.

It was no exaggeration to say that after The Dark Knight, Christopher Nolan had a built-in audience of ten million fans willing to pay for tickets.

Gods were shaped by the faith of the masses. The same applied to Hollywood.

With such immense appeal from Nolan and Cruise, many celebrities and elites rushed to attend the Inception premiere.

Several acquaintances approached Nolan after entering the theater.

“Rumor has it Warner Bros is continuing with Batman?” Nolan casually asked Christian Bale. “Have they invited you?”

Bale quickly shook his head. “No. Nolan is ending the trilogy, and I don’t plan to play Bruce Wayne again.”

He lowered his voice slightly. “Warner Bros and DC Comics want to integrate the new Batman series directly into the DC Justice League movie universe. I saw Green Lantern—that decision is terrible for me.”

In Bale’s eyes, it was a disastrous film with a ridiculous actor. The only way that actor could become popular was if he were even more absurd.

The plot was even worse—a spoiled rich kid losing in love, defeated by a poor but handsome young man in the battle for a wealthy beauty…

After confirming that Batman would be recast, Nolan changed the subject. “I heard you rapped on the set of Terminator 4.”

Bale laughed. “It was a hot day. I was irritable and couldn’t hold back.”

Soon, Angelina Jolie and Brad Pitt, now officially signed with Shai Entertainment, came over to exchange pleasantries with Nolan.

After the hype around The Twilight Saga: New Moon faded, this couple had reclaimed the title of Hollywood’s most talked-about pair.

Of course, regaining that title wasn’t easy—it was filled with twists and publicity stunts.

Though Angelina Jolie and Brad Pitt’s relationship had begun under questionable circumstances, both of them and their teams were masters of manipulation. Using the aftermath of their past love triangle, they turned gossip and scandals into a phenomenon where one plus one equaled far more than three.

Their journey from a love triangle to marriage and eventual breakup could serve as a textbook case in celebrity management.

They had turned gossip into a national conversation, a feat that set them apart.

Take this year, for example. Rumors swirled that they were about to marry, and tabloids went wild with stories of Jolie catching Pitt cheating with their nanny. Yet, all she did was fire the nanny.

Then, opposing rumors spread—Pitt had hired a private investigator to dig into Jolie’s past, uncovering her less-than-innocent private life…

Though it seemed like their relationship was in trouble, both benefited greatly from the publicity.

A fierce wave of hype later, Pitt and Jolie effortlessly overshadowed Robert Pattinson and Kristen Stewart, reclaiming their throne as Hollywood’s top couple.

A closer look revealed that these so-called relationship crises were carefully orchestrated.

As for who was behind it, no need to look for evidence—just follow the money.

In Hollywood’s professional terminology for promoting celebrity couples, this stage of publicity was known as the “turbulent phase.”

Next year, the strategy would shift.

That’s right—prolonged hype around the same type of news for a couple inevitably leads to audience fatigue, so it had to be staged.

The next phase would likely be the “stable phase,” where Pitt and Jolie would flaunt their affection.

Then, naturally, the “engagement phase,” where tabloids, fueled by financial incentives, would push for marriage more aggressively than nosy relatives from across the Pacific.

After two years of stable, sweet displays of love, as interest began to wane, breakup rumors would enter the publicity cycle.

Using connections with other celebrities—or any element that could be exploited for publicity—was something every Hollywood star, or aspiring star, did.

In Hollywood, flaunting love or breakups was a standard promotional tactic.

Love was never meant to be flaunted. Love that was put on display withered and died quickly—this was almost a law of Hollywood.

Before entering the theater, Nolan ran into Kevin Tsujihara of Warner Bros, and the two chatted privately for a while.

“I heard 20th Century Fox sued Warner Bros again?” Nolan asked, feigning curiosity.

Tsujihara nodded. “James Murdoch is a bastard who doesn’t even follow the most basic industry rules.”

Everyone had their reasons when speaking from their own perspective.

Murdoch was no exception, nor was Tsujihara, and neither was Nolan.

Nolan shook his head slightly. “A Hollywood that had been running smoothly suddenly has an outsider who doesn’t play by the rules. It’s a headache.”

Tsujihara remained composed. “I heard you’re still negotiating with 20th Century Fox over the rights to those two comics?”

“No progress,” Nolan waved his hand. “20th Century Fox is clearly stalling, trying to drag things out.”

Tsujihara immediately chimed in. “They’re completely unprofessional.”

Nolan agreed, though he knew full well that 20th Century Fox’s lawsuit against Warner Bros was because Warner Bros had signed a revenue-sharing agreement for Watchmen but was delaying the box office payouts.

But compared to James Murdoch, both Nolan and Tsujihara saw themselves as insiders.

They continued chatting as they entered the theater, sitting next to each other until Inception began, only then stopping their conversation.

This wasn’t a typical sci-fi film. It might be better described as a “contemporary action sci-fi film set within the structure of consciousness.” The story didn’t take place in a future world but in the present reality, where a new biotechnology allowed people to enter others’ minds, thoughts, or dreams.

Inception bore some resemblance to The Matrix or Minority Report.

The film introduced a groundbreaking technology that enabled people to enter others’ dreams, spying on their secrets and stealing valuable information.

Unaware, dreams became the best pathway into the human subconscious. Tom Cruise played Cobb, a thief—not the kind who picked pockets, but one who specialized in infiltrating dreams.

His expertise lay in entering others’ dreams to steal valuable information and secrets from their subconscious. If necessary, he could even implant memories, altering them.

As a pioneer in dream theft, he naturally had a team. He and his crew were hired by a wealthy Japanese businessman to infiltrate the mind of another tycoon and implant a memory that would lead to the dismantling of his company—a task that seemed nearly impossible…

The story itself wasn’t complex, but the film employed a relatively intricate narrative style.

Fans of sci-fi might notice that most sci-fi films had straightforward plots—either aliens invading Earth, with humans finding a way to escape and defeat them; or sudden attacks by terrifying monsters; or adventures in strange future environments that changed lives…

These repetitive, imitable, mass-produced story cores were a hallmark of commercial films. When done well, they became widely popular; when done poorly, they left audiences feeling unoriginal, hollow, and impersonal, like fast food that quickly grew tiresome.

Christopher Nolan’s brilliant storytelling and meticulous details made the film captivating and profound. Most films about virtual reality and dreams still focused on real-life elements because they struggled to present a complete dream world. Inception vividly depicted how to enter dreams, the potential problems within them, and how to wake up, making the dream world fully realized with its own unique laws, rules, and logic.

Paired with some puzzle-solving and stunning visual effects, the entire film became extraordinarily captivating.

Chapter 1113: Space Epic

The spinning top kept rotating, its open-ended conclusion leaving ample suspense and plenty of room for audience discussion.

Christopher Nolan was a director with a strong commercial sensibility. Unlike Michael Bay, whom he admired, Nolan knew how to maintain high prestige while stirring the audience’s emotions.

In terms of both commercial success and artistic merit, Inception was a rare gem in recent years.

The premiere had ended, and the audience gradually filed out of the Nokia Theatre.

“What kind of movie is Inception?”

Many viewers left the North American premiere with incredulous expressions.

Some wore confusion, others pondered the plot, a few exchanged opinions, and some seemed as if their minds had just exploded, still buzzing with excitement and shock.

Some were thoroughly satisfied—not the kind of satisfaction that comes from CGI, IMAX, or 3D, but something deeper.

Soon, countless people, countless posts, and countless sleepless nights would be spent analyzing and discussing this film frame by frame.

With a well-executed marketing plan, strong distribution strategy, the star power of its director and cast, and the film’s high quality, Inception had all the makings of a blockbuster.

On its first day in North America, the sci-fi film grossed $26.78 million across 4,221 theaters, easily surpassing 20th Century Fox’s Max Payne to claim the daily box office crown.

Inception received widespread acclaim, with most agreeing it was one of the year’s must-see films.

Through Embassy Pictures’ word-of-mouth marketing, Inception quickly transformed into what some fans called a “masterpiece.”

Even if it truly was a masterpiece, it still needed promotion. Without it, who would know or care?

The film industry had seen many masterpieces, but even more had been hyped into existence by their supporters.

Inception’s open-ended conclusion left endless possibilities for interpretation.

At the film’s end, the “inception” succeeds, the dream team wakes up on the plane, Saito keeps his promise and calls to dismiss the charges against the protagonist, allowing him to return home to his children. When the protagonist spins the top to distinguish reality from dreams, the film cuts to black—leaving the audience wondering whether the top falls or keeps spinning.

The most debated question: Did Cobb return to reality, or was he still trapped in a dream?

To prove their theories, audiences returned to theaters, rewatching Inception to find evidence supporting their interpretations.

A film never fears controversy—it fears irrelevance. The more debate a film sparks, the more the market embraces it. Only controversy can generate enough attention.

Just three days after its release, the wave of interpretations surrounding Inception had become one of the most discussed topics in North American media and public discourse.

Thus, during its North American opening weekend, though it didn’t break the $100 million barrier for original non-sequel films, its $78.99 million haul was enough to secure the top spot on the box office chart.

This figure might not seem extraordinary, but for an original commercial film, it was remarkable.

In recent years, aside from Avatar, no other original live-action non-sequel film had achieved such a strong opening.

The controversy and stellar audience reception propelled Inception to become the hottest film in North America in October, with an unusually stable performance. Its second weekend saw only a 40% drop, earning $49.22 million.

Combined with the previous four weekdays, Inception had already surpassed $150 million in North America after just two weekends.

The film’s success in North America quickly spread to international markets, where it began screening in numerous countries and regions.

At the invitation of China Film Group and through the efforts of Relativity Entertainment’s Eastern branch, Christopher Nolan, along with Tom Cruise and the rest of the Inception team, crossed the vast Pacific in late October to hold a premiere in the East.

Though The Dark Knight had been blocked from Eastern markets due to its anarchist themes and failed to pass censorship, Nolan’s reputation had still spread through the internet and piracy. He had gained a massive following, especially on major film review sites, where he had countless devoted fans.

Tom Cruise’s influence in the East was equally staggering, having cultivated his fame there for over twenty years.

Relativity Entertainment had hosted many premieres in the East, and with their long-term contract with the local market nearing renewal, the new terms for Hollywood films nearly doubled the revenue share.

Twenty-five percent might not seem like much, but it was pure profit after deducting China Film Group’s marketing and distribution costs, taxes, and various mandatory fees.

In other overseas markets, after accounting for all expenses, Hollywood studios rarely took home more—sometimes even less.

What attracted companies like Relativity Entertainment was the East’s rapidly growing film market.

Since the release of Transformers, the Eastern film market had been expanding like a teenager in a growth spurt.

With Avatar shattering box office records in the East, theater construction had surged. In just the past two months, the number of new screens had exceeded the total from the previous year.

Avatar’s release, much like Titanic before it, marked a turning point for the Eastern film market, signaling the industry’s entry into a phase of rapid development.

Consequently, Hollywood blockbusters were earning more and more in the East.

Driven by this trend, Hollywood was investing more in the Eastern market, with increasing marketing demands. Old strategies—media press releases, localized trailers and posters, and bus stop ads—were no longer sufficient.

Thus, one Hollywood premiere after another began taking place in the East.

The Eastern film market was different from other single overseas markets—its potential was enormous.

No one understood this better than Ronan, which was why Relativity Entertainment ensured their major films entered the Eastern market, barring unforeseen censorship issues.

With strong marketing and overwhelming acclaim, Inception’s international box office figures began rolling in.

In the East, Inception earned nearly $12 million in its opening weekend—the best three-day performance since Avatar and Transformers.

Elsewhere, the film also performed exceptionally well: $14.52 million in the UK, over $12 million in France, nearly $15 million in Germany, and over $9 million in Australia.

In its first week overseas, Inception raked in nearly $155 million!

The trend was clear: After achieving legendary status with The Dark Knight, Christopher Nolan had created another “masterpiece” in the eyes of fans.

Beyond box office success, Inception’s merchandise was also a hit. The small prop Tom Cruise’s character used to distinguish reality from dreams—the spinning top—was selling like hotcakes.

Relativity Entertainment supplied theaters with commemorative tops priced at $12 each, which sold out on opening day.

Retail and online versions ranged from $80 to $130, with hundreds of thousands sold in just two weeks.

Relativity Entertainment had extensive experience in film merchandise, and the success of the “Inception Top” benefited from their robust industry-wide operations.

Christopher Nolan was at the peak of his career, with his works achieving new heights in both commercial and artistic terms.

Such a director was naturally a favorite among studios.

After returning from the Eastern premiere, Christopher Nolan submitted a new script and plan for his next project to Shai Entertainment. The company highly valued the British director and immediately forwarded it to Ronan.

This was a space sci-fi film, leaning toward hard sci-fi. Directed by Christopher Nolan and written by his brother Jonathan Nolan, it followed a team of explorers who, using their discovery of a wormhole, push the limits of human space travel and embark on an interstellar journey across the vast universe.

The title was familiar to Ronan—Interstellar.

The Nolan brothers’ initial inspiration came from Caltech physicist Kip Thorne. As Christopher Nolan put it: “Kip Thorne has done incredible research on the potential of theoretical wormholes and time travel.”

Nolan had mentioned this project to Ronan last year, but since the script was still in its early drafts, Ronan hadn’t rushed it.

In the meantime, Spielberg had tried to court the Nolan brothers, but they had already signed a long-term contract with Relativity Entertainment and declined DreamWorks’ offer.

Inception was shaping up to be a space epic, with a production budget of no less than $160 million.

Tom Cruise had already received word from Christopher Nolan and was willing to take on the male lead.

Beyond the Mission: Impossible series, Tom Cruise was expanding into other territories.

However, this project would have to wait, as Christopher Nolan was still filming The Dark Knight Rises.

Chapter 1114: Market Gap

Including Interstellar, submitted by Christopher Nolan, Relativity Entertainment now had three films leaning toward hard sci-fi. To avoid future audience fatigue, Ronan specifically instructed Embassy Pictures to ensure significant time gaps between the release schedules of these three films.

Fortunately, the preparation and filming timelines for the three films also differed.

The Martian, the fastest in production, was nearing completion. Matt Damon had already planted potatoes on Mars, and barring any surprises, the film could be released in the second half of next year.

Alfonso Cuarón’s Gravity had just begun preparations. The male and female leads had signed contracts—Sandra Bullock as the female lead and James Franco as the male lead.

Originally, George Clooney had shown great interest in the film, but he demanded a salary of fifteen million dollars, which Ronan rejected without hesitation.

This Hollywood star was a typical example of someone who relied on politics to boost his prestige, with his fame far outweighing his actual box office appeal.

Although the Ocean’s films had performed well at the box office, one had to consider how many stars were assembled in them. Moreover, surveys clearly showed that among all the Ocean’s actors, Matt Damon was the most popular.

Since the film had just begun preparations and the filming and production were complex, the earliest it could be released was 2011.

Interstellar only had a script and a plan. Christopher Nolan was currently preparing to film The Dark Knight Rises, so the earliest this film could be released was 2012 or 2013.

This way, the three realistic space sci-fi films would be released one year apart, effectively avoiding audience fatigue.

Relativity Entertainment could also make some achievements in original films in the future.

Like other Hollywood companies, original films had always been a weak point for Relativity Entertainment.

But good original projects were hard to find, and good scripts were even harder to come by. Even if a script was found, it required careful consideration.

So far this year, among the top ten films at the North American and global box offices, not a single original non-sequel film could be seen.

All hopes for original films in 2008 were pinned on Inception.

Fortunately, Christopher Nolan did not disappoint.

Although Inception did not have a massive opening weekend, its box office performance was very stable. Even though it was far from the mid-release period of Avatar, for a commercial blockbuster, this was quite remarkable.

Before November arrived, Inception’s box office drop in North America for each screening weekend was maintained below forty percent.

Before Halloween, Inception’s North American box office had accumulated two hundred and thirty-three million two hundred and fifty thousand dollars, and its global box office easily surpassed five hundred million dollars.

This film could be considered the only fig leaf for Hollywood’s original films in 2008.

Even though Relativity Entertainment primarily focused on adaptations and franchise films, with several successful original films over the past two years, the company had gradually earned the nickname “the only conscience in original films” within the industry.

Compared to other companies and producers in the industry, Ronan seemed more willing to give opportunities to original films and lesser-known new directors.

Before Halloween, Relativity Entertainment’s regular project over the past few years once again hit theaters.

Saw V arrived, and the soul guide of the United States, Jigsaw, once again appeared on the big screen on time, pointing out the future direction for hundreds of millions of Americans.

Although Ronan was more focused on the horror movie universe, the Saw series was entirely handed over to James Wen to manage. However, the series had four consecutive box office hits, creating a huge market momentum.

Moreover, without the constraints of Jigsaw’s so-called soul guide, the film’s content became smoother, and the new torture feast was purer.

The ultimate goal of the death game was no longer solely to awaken the world.

Jigsaw’s successor, Hoffman, who was worried about his identity being exposed, began to go mad and do everything possible to “protect himself.”

This also meant that he would make more people become souls under the deadly mechanisms.

The thrilling horror certainly did not stop there. The bloody killing game, the new round of nightmares, had just begun.

Although the reputation of the series had been declining with each sequel, the fans cultivated by Saw over the years still enjoyed the stimulation brought by the films.

Saw had reached its fifth installment in just a few years. Although it was always old wine in new bottles, most people knew that they were coming to see the film for the thrill.

Were they supposed to look for the meaning of life and philosophical truths in such a bloody horror film?

That would be insane.

Jigsaw and his disciples would continue to ravage the big screen, and Relativity Entertainment would allow them to perform their swan song.

This was proven by the box office of Saw V.

The North American opening weekend grossed thirty-three million three hundred and fifty thousand dollars, setting the best opening record for the series.

But the Saw series had now become a true fan-oriented film. The opening weekend mostly consumed the fans’ enthusiasm, and it would inevitably face a high opening but low follow-up situation. Embassy Pictures predicted that the second weekend’s box office drop could even reach over sixty-five percent.

To open up new prospects for the series, James Wen specifically sought out Ronan to prepare to shoot Saw VI in a new way.

“Before filming Saw V, there was an idea to make this series in 3D, but the timing wasn’t ripe then. There weren’t enough 3D theaters, and most importantly, I wasn’t sure if the audience would be willing to wear glasses to watch such a horror film.”

In the office, James Wen shared his thoughts with Ronan: “This year, the company’s Avatar and Alice in Wonderland have been consecutive hits, driving the development of 3D film technology, and the market’s desire for 3D is constantly increasing.”

This 3D trend was driven by Relativity Entertainment, so Ronan naturally understood this.

James Wen continued: “I carefully studied the 3D film projects already announced in Hollywood and discovered a characteristic. All these projects are big-budget films with investments of over one hundred million dollars or animated features. There isn’t a single horror film.”

Ronan nodded slightly and said, “Indeed, there isn’t any at the moment.”

James Wen added: “3D horror films will be a gap in the film market in the short term. If we seize this opportunity, I believe it can take the Saw series a big step forward commercially.”

Ronan thought for a moment and said, “Alright, James, you will be in charge of this project.”

“Okay.” James Wen replied.

After finalizing that Saw VI would be filmed in 3D, James Wen took his leave.

This Chinese-American director was currently very busy. Not only was he personally preparing to direct 21 Jump Street 2 and The Conjuring 2, but he was also serving as the director for Annabelle and the Saw series.

The Conjuring, as a horror film, had a quick rise and fall in popularity. After eight weeks of screenings, it was taken off North American theaters, with its final North American box office stopping at one hundred and fifty-six million six hundred and eighty thousand dollars.

For a film with a total investment of thirty million dollars, this result could be considered a super hit.

This also made Annabelle, scheduled for release next year, highly anticipated.

Meanwhile, Ronan was reviewing the scripts and projects submitted by Shai Entertainment and the group’s implemented “Blacklist Plan.”

Especially the latter, which had been providing Relativity Entertainment with two to three film or series projects of certain market value every year since its establishment several years ago.

The scripts on the blacklist included some whose copyrights had already been acquired by others, some that seemed full of artistic value but were ignored, and some that were well-written but would surely be money-losers if filmed.

Finding two or three commercially valuable film projects through this plan each year was already quite good.

Ronan carefully reviewed the latest projects fed back to him, and two of them caught his interest.

The first was a script directly submitted to Shai Entertainment. The author, Reid Carolin, had collaborated with Relativity Entertainment before, serving as the screenwriter for 21 Jump Street, a joint investment by Shai Entertainment and Sony Columbia Pictures.

Reid Carolin had met Channing Tatum, the male lead of the 2006 musical film Step Up, and after hearing about his past experiences as a male stripper, they co-adapted a script called Magic Mike.

Because of his previous collaboration with Shai Entertainment, Reid Carolin directly submitted the script to them.

Ronan remembered Channing Tatum, who had once played the Duke. His experiences were quite colorful—before becoming an actor, he had been a male stripper.

So, Ronan gave the green light to this project, allowing Shai Entertainment to negotiate with them, but the investment should not be too high, preferably under ten million dollars.

The other project came from the “Blacklist Plan,” recommended by a high-ranking executive at Relativity Entertainment. It was not a script or a film project but a piece of documentary literature.

This book was now on Ronan’s desk, titled Argo. According to the book’s explanation, this was the name of a spaceship.

Ronan had browsed through the content introduction and specifically read some parts of the book.

Since the book was documentary literature, it was based on real events.

The book told the story of a special period—the late 1970s and early 1980s—when Iran erupted in anti-Western movements. The United States, seen as the world’s hidden puppet master, was spat upon, and Iranians, driven by their faith, surrounded the U.S. Embassy in Iran.

This was the famous Iran hostage crisis.

During this time, a CIA operative named Tony Mendez, skilled in disguise, devised a rescue plan. Pretending to be a Canadian film crew scouting locations, he successfully smuggled six American diplomats out of Iran from the Canadian Embassy.

Argo was the name of the sci-fi film this crew claimed they were going to make.

Ronan remembered very clearly that this film was made by Ben Affleck. After crossing the Pacific, it was translated as Escape from Tehran. Due to its obvious political overtones, it even won the Oscar for Best Picture.

Chapter 1115: The Croods

Both projects received the green light from Ronan, and the rights were secured at the fastest possible speed.

Reid Carolin had collaborated with them before, so negotiations were straightforward.

The author of Argo wasn’t particularly well-known, and none of their previous works had been adapted into films. Faced with Relativity Entertainment’s offer of two million dollars for the rights, they surrendered within just two days.

Compared to the first project, Ronan placed greater importance on the second. After acquiring the adaptation rights for Argo, he specifically gathered the screenwriters responsible for the adaptation to offer some suggestions.

For this film to succeed, it needed to be cleverly executed, especially in maintaining the so-called “American political correctness” in its themes and content.

The complex relationship between America and Iran was well-known to anyone familiar with international affairs.

As a Hollywood film company with its primary market in the West, the stance taken in the adapted screenplay was predictable.

The film would adopt a seemingly neutral perspective to depict the events, portraying Iranians as brain-dead fans of Hollywood.

The airport escape scene in the original film fully exposed the “true faces” of Iranian soldiers…

Ronan understood that for this film to be profitable, it needed to make a splash during awards season and at the Oscars. Political correctness was an indispensable factor.

Thus, the standard Hollywood political thriller structure was perfectly suited for this adaptation.

A tense, last-minute rescue, a morally clear-cut American narrative, and a streamlined plot would make the story as simple and direct as possible.

Combined with necessary background context and the incorporation of real news footage, the film’s themes would carry more weight. Elements like the CIA, the Hollywood film industry, and the moral high ground of political issues would add to the film’s appeal and watchability.

As for how Iranians might feel about it—that was beyond the scope of the adaptation’s concerns.

From another perspective, this was a classic example of American self-righteous heroism.

Reflecting real history? Don’t be ridiculous. Not just Hollywood, but film adaptations of real events worldwide—how many are even partially reliable? Most are pure fabrication.

This project was added to Shai Entertainment’s future plans, with preparations not expected to begin until next year at the earliest.

Relativity Entertainment had no awards contenders this year; next year’s awards season would be led by Ang Lee’s Life of Pi, currently in production.

After a brief absence from awards season, Relativity Entertainment would soon make a strong comeback.

At the Oscars, Relativity Entertainment had already achieved four consecutive Best Picture wins. A fifth was possible, though the odds were lower, and the cost might be prohibitively high.

This year, Relativity Entertainment’s primary focus was on commercial films. As of now, the top three spots on the North American box office charts were all occupied by Relativity Entertainment’s films: Avatar, Alice in Wonderland, and Iron Man 2.

Later, Relativity Entertainment would release Shai Entertainment’s animated feature The Croods, along with live-action films The Hunger Games, Beauty and the Beast, and Captain America.

This year, Relativity Entertainment was expected to secure six or seven spots in the North American box office top ten.

After years of operation and rights accumulation, Relativity Entertainment’s dominance in the film industry had reached a boiling point.

On the first Monday of November, Embassy Pictures released its third animated feature of the year, The Croods, produced by Shai Entertainment Animation Studio.

As an animated feature released in the same year as Avatar, and without particularly intense or shaky camera work, The Croods featured many segments in 3D.

The rest of the film was also converted to 3D in post-production.

In short, it was an animated film with stunning 3D sequences.

Due to the use of 3D technology, The Croods set a new investment record for Shai Entertainment Animation Studio, with production costs reaching ninety million dollars.

In character design, Shai Entertainment Animation Studio accurately captured societal trends, placing female characters in more prominent roles and breaking the patriarchal dominance of the family structure.

The character designs were particularly unique.

The film’s characters were highly engaging—neither as exaggerated as typical cartoons nor entirely realistic.

The prehistoric cave people were depicted as incredibly strong, almost like walking walls.

Moreover, the female designs—such as the female lead, Eep—featured strong thighs and sturdy calves, a stark contrast to the deliberately slender legs of female characters in many cartoons.

The animal characters, drawing on the success of the Minions, were designed with one key trait in mind—cuteness.

These quirky creatures had to differ from real animals but not be so exaggerated as to seem entirely fantastical.

Cute characters were the key to driving merchandise sales.

This animated feature was packed with highlights. The opening scene—a prehistoric football hunting game—was enough to captivate audiences and keep them glued to their seats.

Additionally, the film’s values were universally appealing, even if clichéd. Family, family, and more family!

No one could deny the importance of family. The familiar dynamics of family life were humorously exaggerated against the backdrop of prehistoric times.

The reactions of the primitive characters to new things were another standout aspect of the film.

This was a movie the whole family could enjoy. Children would see their rebellious, curiosity-driven selves in the characters, parents would resonate with the primitive figures who struggled to communicate with their children but loved them deeply, and the elderly would find warmth in the family bonds depicted.

In the real world, every family had its struggles, with problems of all kinds. But most people still loved their families deeply.

Of course, as a work from Shai Entertainment Animation Studio, which had established its own style, The Croods was, above all, a comedy.

The animation studios under Relativity Entertainment had distinct styles.

Pixar leaned one way, Shai Animation the other.

The Croods stayed true to Shai Animation’s signature style—characters that weren’t conventionally attractive, even somewhat ugly, but undeniably lovable. The film was filled with absurd humor, allowing audiences to shed the weight of work and life, leaving them feeling light and carefree.

As for depth? Forget about it. If you wanted depth, you’d be better off watching a European art film.

The quintessential deep animated film, WALL-E, had been in theaters since June. By the time it left North American theaters, its global box office and commercial revenue had hit Pixar’s lowest point since the turn of the century.

Yes, the film was a classic, even one of the greatest animated features ever made.

But for a film company, the results were far from ideal.

Over two hundred million dollars invested, and the returns didn’t even match Shai Entertainment’s six or seven million dollar investment in the Minions. Investors were far from satisfied.

Another issue was that this masterpiece had no room or necessity for a sequel.

In today’s Hollywood business model, that was a failure.

Riding the 3D wave sparked by Avatar and Alice in Wonderland, Shai Entertainment Animation Studio had also made a name for itself with the Minions series and Kung Fu Panda. As the first true 3D animated feature of the year, The Croods received an enthusiastic response upon release, with excellent audience reception.

In its opening weekend in North America, The Croods played in 4,230 theaters, grossing sixty-two million and twenty-one thousand dollars—a strong start for Relativity Entertainment’s holiday season.

Animated features typically had long theatrical runs with stable performance. Although The Croods faced competition from DreamWorks Animation’s Madagascar 2 in its second weekend, ten days after release, its North American box office had already surpassed one hundred million dollars, reaching one hundred and twelve million, six hundred and eighty thousand.

DreamWorks had been doing well in recent years, and in the animated film sector, they had another box office hit. Building on the success of the first film, Madagascar 2 had a massive opening, earning sixty-three million and ten thousand dollars in its first weekend.

Thanks to strong audience reception and Relativity Entertainment’s powerful marketing and distribution, The Croods easily surpassed two hundred million dollars at the North American box office.

With Shai Entertainment Animation Studio’s relatively low investment, even including marketing and distribution costs, The Croods had a total budget of only one hundred and fifty million dollars. Its global box office ensured high profits.

Additionally, many of the film’s characters were well-suited for merchandise sales.

In this world, animated features relied more on cuteness and visual appeal for their merchandise.

The former was even more important than the latter.

With Thanksgiving approaching, more commercial films were crowding into theaters, making screenings more competitive. Films that had been playing for too long and were losing audience interest had to make way for new releases.

Avatar had been in theaters for half a year, and audiences were dwindling. Few were still buying tickets.

In fact, the standard 2D version of Avatar had already been pulled from theaters across America two months earlier. Only the 3D and IMAX 3D versions remained.

But in this fast-paced era, Avatar couldn’t hope to match Titanic’s nearly year-long North American theatrical run.

Theater chains wouldn’t allow it—they needed profits too.

Avatar was fully withdrawn from North American theaters, ending its run with a record-breaking seven hundred and eighty-eight million, five hundred and sixty thousand dollars.

Internationally, similar to Titanic a decade earlier, overseas box office was nearly three times that of North America, with a current global total of two billion, seven hundred and fifty-six million, six hundred and eighty thousand dollars.

The film’s overseas journey was far from over. Some international markets had only just begun screenings, and the global box office was certain to exceed two billion, eight hundred million dollars.

Chapter 1116: The Key

“Starting with Aliens, James Cameron established a collaborative relationship with 20th Century Fox.”

In the office of the Fox Building, James Murdoch, who had fully shifted his work focus from London to Los Angeles, asked the chairman of the film company, Tom Rothman, “Later, we collaborated on Terminator 2, True Lies, and Titanic, all of which were successful.”

His gaze was unusually sharp. “With such a foundation, why did James Cameron switch to Relativity Entertainment for Avatar?”

A few beads of sweat rolled down Tom Rothman’s forehead as he said, “James Cameron refused to work with us again.” Knowing he couldn’t take the blame for this, he quickly shifted it to someone else. “Five or six years ago, Ronan Anderson had already made contact with James Cameron and even sponsored his documentary filming. At that time, no one in Hollywood knew about Avatar. By the time we got the news and reached out to James Cameron, both the man and the project had already been poached by Ronan Anderson and Relativity Entertainment.”

The entire statement adhered to one principle: 20th Century Fox’s failure to continue collaborating with James Cameron was not the film company’s fault—it was all due to Ronan’s underhanded poaching.

In reality, this wasn’t entirely wrong. Ronan’s ability to collaborate with James Cameron was largely due to his efforts to tarnish 20th Century Fox’s reputation.

Of course, “tarnish” might be an exaggeration. The main goal was to remind James Cameron of the various unpleasant experiences he had with 20th Century Fox while filming Titanic.

How could James Murdoch not understand this? After a moment of thought, he said, “We missed out on a project with a global box office of nearly three billion dollars, with short-term profits possibly reaching two billion dollars!”

Tom Rothman and Jim Prather on the other side didn’t respond. For a moment, they couldn’t fathom James Murdoch’s thoughts and didn’t want to speak carelessly.

But in their eyes, this couldn’t be blamed on 20th Century Fox. Film collaborations were a mutual selection process. Ronan Anderson had acted earlier and faster. Since James Cameron was willing to work with Relativity Entertainment, there was nothing 20th Century Fox could do.

They couldn’t possibly do what Harvey Weinstein did—confine a director in a hotel room if they didn’t get their way.

That was a tactic used against foreign directors or producers. Hollywood directors usually had the backing of the Guild. Who would dare to do such a thing?

James Murdoch wasn’t dwelling on the past. He emphasized, “Discussing Avatar now isn’t about assigning blame. It’s a reminder that some projects and profits slip away if we don’t work more meticulously and proactively.”

“I bear an unshirkable responsibility,” Tom Rothman said, not foolishly. “I didn’t do my job well enough.”

Jim Prather added, “I share the responsibility.”

James Murdoch waved his hand. “It’s not your fault. Directors of James Cameron’s caliber hold the initiative in collaborations.” He still felt a pang of regret. “What a shame about Avatar…”

A single film from Relativity Entertainment had higher profits than 20th Century Fox’s entire annual effort in the film business!

To say they weren’t envious or regretful would be a lie, especially since the film’s director had been a long-term collaborator with 20th Century Fox.

Since last year, 20th Century Fox’s film business performance had been poor, especially with major productions—almost every release had been a failure.

This made James Murdoch even more regretful about missing out on Avatar.

“Alright, let’s not dwell on Avatar. It’s already someone else’s project,” James Murdoch said, pushing down his regret and displeasure, turning to today’s main topic. “Recently, there have been rumors that George Lucas is preparing to retire and sell Lucasfilm.”

Tom Rothman responded, “George Lucas’s retirement has been confirmed. Last week, I personally asked Spielberg and got a definitive answer.”

James Murdoch asked, “What about Lucasfilm?”

“It’s basically confirmed that George Lucas wants to sell Lucasfilm,” Jim Prather said, his expression somewhat serious. “According to the latest news, a team from Relativity Entertainment has been secretly in contact with representatives from Lucasfilm for some time.”

Tom Rothman frowned. Whether it was subconscious or intentional, he immediately blurted out, “Relativity Entertainment again?”

James Murdoch wasn’t distracted and grasped the key issue. “Have they reached an agreement?”

Jim Prather replied, “George Lucas has a certain inclination, but Lucasfilm has multiple shareholders who haven’t reached a consensus yet.”

James Murdoch nodded slightly. “This is a transaction involving billions of dollars. Personal relationships have some influence but are no longer the key. The shareholders of Lucasfilm, including George Lucas himself, will inevitably seek to maximize their interests.”

Tom Rothman said, “20th Century Fox has always been the distributor of the Star Wars series and has significant interests in it. Relativity Entertainment doesn’t have a good relationship with us. If Lucasfilm falls into their hands, 20th Century Fox could face many new troubles.”

Jim Prather, thinking of the ongoing disputes over the X-Men and Fantastic Four series, said, “It’s not a possibility—it’s a certainty.”

Hearing this, James Murdoch suddenly had an idea. “The Star Wars series is of immense value. If we could restart the Star Wars films…”

Tom Rothman unconsciously widened his eyes. “Although George Lucas’s prequel trilogy and the recent comics and novels have greatly displeased Star Wars fans, if new films were released, I think there would still be a large audience willing to pay. The revenue might not match Revenge of the Sith, but it wouldn’t be much lower.”

Jim Prather slowly nodded. “Yes, the potential is significant.”

James Murdoch pondered for a moment and said, “Jim, you have close ties with Lucasfilm. Continue to gather information on how far the negotiations between Lucasfilm and Relativity Entertainment have progressed. Also…”

He slowly added, “20th Century Fox will extend an acquisition invitation to Lucasfilm!”

“Understood!” Jim Prather first agreed, then asked, “But our resources, along with News Corporation, are tied up with Time Warner.”

James Murdoch shook his head. “The Time Warner deal is ending. The acquisition won’t succeed.”

As he said this, he thought of his stubborn father and felt a moment of depression. News Corporation and 20th Century Fox had invested too many resources in Time Warner. Now, they held a batch of Time Warner shares, but the acquisition couldn’t proceed. The economic crisis had caused Warner’s stock price to drop, and a large amount of funds from both companies were temporarily stuck in Warner—a complete waste of resources.

Especially for 20th Century Fox, first, funds were diverted to buy Warner shares, then major film projects failed one after another, followed by investment institutions withdrawing funds and banks recalling loans. Coupled with the economic crisis, the situation was truly grim.

Perhaps Lucasfilm was the key to breaking this deadlock.

In mid-November, News Corporation and 20th Century Fox jointly held a press conference, announcing the withdrawal of their acquisition offer for Time Warner.

Subsequently, Rupert Murdoch gave a television interview, stating, “The management and board of directors of Time Warner have consistently refused to negotiate with us regarding our highly attractive acquisition offer. Additionally, since our acquisition proposal was made public, 20th Century Fox’s stock price has continued to decline, indicating that this deal holds no appeal for 20th Century Fox’s shareholders.”

This meant that the Murdoch family’s expansion plans had suffered a major setback.

Ronan received more detailed information. The faction within Time Warner opposing the acquisition had always held a dominant position. Despite the aggressive stance of News Corporation and 20th Century Fox, their stock market attacks, and the significant funds invested in acquiring shares from shareholders, Time Warner preferred to prepare a poison pill plan rather than compromise.

Another point was that the U.S. entertainment media industry did not want News Corporation and 20th Century Fox to succeed in acquiring Time Warner. This would mean the birth of a super giant, as both were not merely film and entertainment companies like Relativity but also leading players in the media industry.

Thus, with several companies quietly exerting influence and Time Warner’s vigorous lobbying, the Washington authorities intervened in the acquisition. Both the Department of Justice and the Federal Trade Commission expressed their opposition to News Corporation and 20th Century Fox through their respective channels.

Although publicly and in the media, the Washington authorities were called a bunch of pigs, they weren’t actually pigs. No company could ignore political factors; otherwise, there wouldn’t be so much capital and groups speculating in politics.

Rupert Murdoch’s attempt ultimately ended in failure. For the large and established News Corporation and 20th Century Fox, it seemed to have little impact.

But one aspect couldn’t be ignored: a large amount of funds from both companies couldn’t be withdrawn in time.

As a close observer, Ronan had been collecting relevant information from all sides to stay updated on the latest developments.

Apart from 20th Century Fox and News Corporation, there was also Lucasfilm. Relativity Entertainment had been in contact with Lucasfilm for nearly three months, and the progress had been smooth. However, as expected, a disruptor appeared.

Although the contact had been kept extremely secret, Lucasfilm wasn’t a small company. Related news couldn’t be kept confidential for long.

Chapter 1117: Development Leads to Maturity

San Francisco’s Presidio district, the newly built Letterman Digital Arts Center in 2005, housed the headquarters of Lucasfilm.

Founded by George Lucas in 1971, the company was best known for the Star Wars series, though it also produced other major works like the Indiana Jones series and American Graffiti.

Lucasfilm was a leader in the film industry for visual effects, sound effects, and computer animation.

But now, Lucasfilm faced a turning point. The company’s founder and actual controller, George Lucas, had decided to retire and sell his shares in Lucasfilm.

Lucasfilm’s executives had been hesitant for the past few months, George Lucas included. After all, deciding to sell the company was one thing, but securing a good price was another matter entirely.

“Let’s hear it,” George Lucas said slowly in the conference room. “We’ve been discussing this for a while. What are your thoughts?”

Michael Zhou, the Chief Operating Officer, spoke up: “Regarding our contact with Relativity Entertainment, they are very sincere. They are willing to take over Lucasfilm entirely and guarantee its stability.”

The person beside him agreed: “Ronan Anderson is currently Hollywood’s most outstanding film operator. He has the ability to continue leading Lucasfilm forward.”

This aligned with George Lucas’s intentions.

Another person added: “Relativity Entertainment’s initial offer of three point six billion dollars is also above our bottom line. And this is just the first offer; there’s still room for negotiation.”

George Lucas nodded slowly. Ronan’s offer was reasonable. Both parties would still need to engage in formal negotiations, and three point six billion dollars was not the final price.

President Jones Kent, who had been silent until now, suddenly spoke: “I’ve received an acquisition offer. 20th Century Fox has expressed strong interest.”

Everyone turned to Jones Kent. He took a file and had an assistant distribute it to every executive in the room, saying, “Jim Prather of 20th Century Fox called me personally and sent a formal letter.”

George Lucas picked up the document and briefly scanned it, not saying anything for the moment.

“20th Century Fox?” Michael Zhou was doubtful. “Aren’t they trying to acquire Time Warner? Why are they suddenly interested in Lucasfilm?”

Jones Kent smiled and said, “It’s not strange. Lucasfilm and 20th Century Fox have had many collaborations. The entire Star Wars series was distributed by 20th Century Fox. The two companies already have common interests and a good cooperative foundation. Becoming one family would maximize these advantages.”

This remark prompted much thought among those present, given the nearly thirty years of collaboration between Lucasfilm and 20th Century Fox.

“But 20th Century Fox is not doing well,” Michael Zhou said, sharing what he knew. “The failed acquisition of Time Warner came at a significant cost. Does 20th Century Fox still have enough funds to acquire Lucasfilm? The shareholders want cash, not future contracts.”

Jones Kent glanced at George Lucas, who was still reading the document, and added, “Bringing in 20th Century Fox, even if their strength is insufficient, gives Relativity Entertainment another competitor, which can help Lucasfilm secure more favorable terms.”

Regardless of anything else, they would first bring 20th Century Fox into the picture. James Murdoch had promised that 20th Century Fox had a way to make Relativity Entertainment back down.

Jones Kent continued, “I suggest establishing a communication channel with 20th Century Fox regarding this matter. At the right time, we can make it public and put pressure on Relativity Entertainment.”

This aligned with everyone’s interests in the room, and no one objected.

After some discussion, George Lucas said, “You are responsible for the specific operations. I only emphasize one point: if the offers are similar, our first choice remains Relativity Entertainment.”

If the price was too high, he would have to consider the entire Lucasfilm.

The meeting at Lucasfilm soon adjourned, and the relevant news quickly reached Relativity Entertainment.

Ronan and Robert Iger gathered their team for a meeting but did not take any immediate action. Patience was essential in such a massive acquisition case; haste often led to failure.

Moreover, the covert investigations in the UK and the United States had never stopped. Relativity Entertainment was waiting for a better opportunity, and from the feedback from various sources, that opportunity would come soon.

But regarding Lucasfilm, Relativity Entertainment had a significant advantage, especially in terms of funding.

Relativity Entertainment’s team was also appropriately increasing their stakes. At the end of the day, this acquisition was about money.

Thanksgiving was approaching, a time when the North American film market saw a cluster of releases. Walt Disney’s family-friendly Bolt, 20th Century Fox’s epic Australia, and Lionsgate Films’ Transporter 3 were all set to open this weekend before Thanksgiving.

Bolt was Disney Animation Studio’s first computer-animated feature after announcing the dissolution of its hand-drawn animation department, determining the future development of Disney animation.

Australia was not a gift from Ronan to 20th Century Fox. They seemed to have great faith in Nicole Kidman’s fame and appeal. Under the promotion of CAA’s Pat Kingsley, with Nicole Kidman and Hugh Jackman as the male and female leads, they invested one hundred and thirty million dollars to create this Australian version of Gone with the Wind.

Transporter 3 needed no introduction. A French import, it was the representative work of the exceptionally handsome Guo Da Statham.

At the same time, Relativity Entertainment also had a film opening this weekend: The Hunger Games, starring Gal Gadot.

This weekend, apart from Transporter 3, which was relatively weak, the other three films seemed to have some competitive edge.

Among them, Relativity Entertainment’s investment was the lowest, with The Hunger Games having a production budget of only sixty million dollars.

But riding on the momentum of Twilight and the already established fame of Lindsay Bill, along with the massive fanbase attracted by the original novel, this dystopian youth idol film had garnered the most attention.

Compared to the previous film, under Ronan’s suggestion, producer Lindsay Bill had strengthened the action scenes. Director Patty Jenkins was also not weak in shooting action scenes.

Additionally, the female lead’s role was enhanced and became the absolute protagonist.

The 360-degree flawless appearance, combined with the super long legs and the scene of bending the bow to shoot arrows, was full of highlights.

As fans put it, it was indeed good looks, good legs, and a good role. Katniss was absolutely the biggest surprise of the film!

Gal Gadot had also signed a long-term contract with Relativity Entertainment. In the future, she would have a long time to collaborate with Relativity Entertainment.

Compared to the average Hollywood actress, Gal Gadot’s looks and appearance had a longer shelf life, and playing the teenage Katniss was not a problem.

The biggest problem with the previous cousin was that she was too mature. After all, Katniss was a sixteen-year-old girl. The cousin might have been deeply developed by many people, and her portrayal of Katniss could be believed to be twenty-five years old.

Actresses like the cousin, who were white and around twenty years old, were already very mature. Saying they were fifteen or sixteen years old was a bit forced.

This was a very helpless matter. Fifteen or sixteen-year-old actors were often the most awkward group in Hollywood. Like many female stars who had been playing female leads until they were around forty and were unwilling to step down to supporting roles, the roles and films they could take on were very few.

Actors in this age group, especially actresses, faced very complex situations. Playing roles younger than their actual age, Hollywood had too many adorable child stars who were more competitive than them. Playing roles older than their age was basically impossible. Even playing roles that matched their age, they had to compete with eighteen or nineteen-year-old or even twenty-year-old actresses. Moreover, the latter had advantages in both acting and mindset.

The film’s content was also easily accepted by American audiences. It was simple and clear, with a youth idol nature.

In the future of North America, the nation of Panem was built on a wasteland, with its center, the Capitol, located in the middle of twelve districts.

Every year, each of the twelve districts was forced to send one boy and one girl between the ages of twelve and eighteen to the Capitol as “tributes” to participate in the “Hunger Games.”

This was a cruel and terrifying competition of life and death. All tributes had to fight to the death, and the last survivor was the winner.

Survival was sixteen-year-old Katniss’s instinct. She relied on hunting and gathering wild fruits outside the fence of District Twelve to barely feed her mother, sister, and herself. When Katniss replaced her sister, who had drawn the “death lottery,” to participate in the Hunger Games, she understood that this meant death for her. If she wanted to survive, she had to make choices between humanity and survival, death and love.

Whether in the novel or the film, it was very similar to Japan’s Battle Royale. After the film was widely released in the international market, the Japanese media would inevitably have discussions and criticisms.

But just like the previous Lionsgate Films, Relativity Entertainment didn’t care. The other party couldn’t win an international lawsuit.

Hollywood companies, and even companies in North America or the Western world, were very particular about copyright. But outside this scope, their style was somewhat domineering.

For example, in the country where Battle Royale originated, how many Hollywood films had been discussed for plagiarizing their anime or other literary works? But people there rarely initiated copyright lawsuits. Even if someone did, it was difficult to win.

It could be said that countries and regions outside the circle defined by Hollywood did not consider Hollywood’s game rules at all.

A circle that highly valued copyright and contracts did not value the copyright contracts of other countries and regions. This was not new in Hollywood.

Chapter 1118: A Timely Arrival

When Twilight achieved massive box office success last year, the industry already had certain expectations for The Hunger Games—not just because the novels came from the same author, but also because both had dominated The New York Times bestseller list for an extended period.

A new era demands films and characters that reflect the spirit of the times.

The female roles of this era must also align with the trajectory of societal progress.

Katniss is precisely such a character, born at the right time.

For far too long, women have been forced to choose between success and likability. Even in a society like North America, which prides itself on freedom and fairness, the media and the public have never been fond of women who boast about their achievements.

This has begun to change in recent years. Hollywood has started producing films centered on female empowerment, where the female leads are no longer just cheerful, dim-witted figures or mere decorative presences.

In The Hunger Games, Gal Gadot is crafted into a strong, independent character who doesn’t rely on men. She possesses a courageous heart unlike traditional female roles and the agility honed from years of hunting. Not only does she take her sister’s place in the brutal games, but she also escapes with nothing but a bow and her exceptional skills.

Just as Ronan once saw in Lindsay Bill’s interview questions, this character from Lindsay’s pen doesn’t need a man to save her—instead, she saves men and even the world.

In the film’s plot, though male characters offer assistance, Katniss herself is the key. With her unyielding will and indomitable spirit, she not only dismantles the traps set by her enemies but also rescues a string of male supporting characters, showcasing the overwhelming power of feminism.

More importantly, she becomes the symbol of class resistance, embodying the spirit of rebellion and freedom.

Katniss doesn’t just fight and struggle to survive; she displays her independent and resilient nature, and at a critical moment, her raised-hand salute ignites the collective desire for freedom.

The new era demands new characters, and the flourishing feminist movement needs a new spokesperson.

Standing beneath the banner of freedom, Katniss shines with an extraordinary light.

Even though monkeys in the wild enjoy more freedom than Americans living under the shadow of “Prism,” it doesn’t stop them from appreciating and loving the freedom depicted in films.

Like Twilight, The Hunger Games has a massive teenage audience. But unlike pure Mary Sue narratives, this blend of sci-fi and action centered on a strong female lead actually appeals to a much broader demographic.

Despite facing stiff competition from Bolt, Australia, and Taken 3—the first two being tentpole productions with budgets exceeding one hundred million dollars—The Hunger Games left the entire industry stunned on its North American opening day.

This youth idol-meets-strong female lead in a dystopian sci-fi action film raked in sixty-seven million two hundred sixty thousand dollars in a single Friday across four thousand one hundred twenty-two theaters.

The explosive momentum of The Hunger Games surpassed even Relativity Entertainment’s most optimistic projections.

Ronan knew this film had achieved tremendous success and become cousin’s commercial magnum opus, but he never expected it to be such a colossal box office bomb.

Due to his unique experiences, Ronan didn’t find The Hunger Games as thrilling as Battle Royale, yet it struck a chord with North American audiences.

Even without the premium pricing of 3D screenings—only the 2D version was available—nothing could halt the film’s staggering success.

This also set a new single-day box office record for November in North America. Not even the Harry Potter series had ever surpassed sixty million dollars in a single day during November.

Other films released in the same period unfortunately became mere backdrops to The Hunger Games’ triumph.

First was Taken 3. Though this action series had been relatively popular in international markets, its North American reception had always been lukewarm. The third installment’s opening day in North America brought in only three million three hundred twenty thousand dollars.

Then there was 20th Century Fox’s Australia, where Nicole Kidman once again revealed her box office poison tendencies.

Last year, her starring role in The Golden Compass, with a production budget of one hundred eighty million dollars, only managed seventy million dollars in North America.

The film’s failure also dashed New Line Cinema’s plans to create a new fantasy trilogy after Lord of the Rings. Warner Bros, which had acquired New Line, was furious over the massive losses and promptly ousted Robert Shaye. New Line lost its independence and became a wholly owned subsidiary under Warner Bros’ control.

Nicole Kidman’s commercial films after winning the Oscar for Best Actress had flopped one after another. No one knew what 20th Century Fox was thinking when they cast her as the female lead in such a massive production.

Perhaps an Australian version of Gone with the Wind needed an Australian actress.

But the truth was, Hollywood currently had no Australian actress capable of carrying a major commercial film. The other renowned actress, Cate Blanchett, had never headlined a big-budget commercial film.

Australia flopped even harder than The Golden Compass, earning only two million two hundred sixty thousand dollars on its first day in North America.

Though it was only the first day, this figure was enough to prove that Australia was beyond saving.

From Bewitched to The Golden Compass and now Australia, Nicole Kidman had nearly perfected the Oscar curse, achieving a commercial triple flop.

Normally, for any woman—even a top-tier actress—this would spell the end of her career, much like Halle Berry.

But Nicole Kidman was different. She would remain highly active, never lacking in exposure, always able to boost her visibility by relentlessly dredging up the past.

As long as Tom Cruise remained popular, Nicole Kidman would continue to be a prominent figure in Hollywood, never short of attention.

In comparison, Walt Disney’s Bolt was the best-performing among the three films competing with The Hunger Games, earning seven million thirty thousand dollars on its opening day and securing the second spot on the Friday box office chart.

The ranking wasn’t bad, but the numbers were far from ideal.

Walt Disney had poured one hundred fifty million dollars into Bolt, aiming to revive the glory of Disney Animation Studio and achieve a true transformation in computer animation.

But the first step of the plan had already fallen into a pit—one that would be very hard to climb out of.

Disney Animation Studio’s most capable and traditional animation team had, due to Disney’s internal strife and neglect, defected to Relativity Entertainment, establishing the brand-new Princess Animation Studio.

Now, for Disney Animation to rise again, the difficulty was tenfold, if not a hundredfold.

Relativity Entertainment was walking Disney’s path, while Disney wasn’t without options, but the alternative paths were fraught with hardship.

The Hunger Games’ box office triumph was accompanied by stellar word of mouth, surpassing even Twilight among teenage films.

The film naturally received rave reviews from its fan-dominated audience, earning an A rating on CinemaScore, with sixteen-year-old viewers giving it an A+. Among critics, Rotten Tomatoes awarded it an eighty-five percent fresh rating, and Metacritic’s media composite score of seventy-two indicated predominantly positive reviews.

The facts also proved that a film’s reception didn’t always correlate directly with its quality.

Many older industry professionals couldn’t fathom why a film with unremarkable plot, themes, structure, and even performances could achieve such staggering box office numbers.

Perhaps Embassy Pictures’ survey data could explain it: on The Hunger Games’ opening day in North America, nearly seventy percent of the audience was female.

Like the Twilight series, The Hunger Games had a clear target demographic in its script, production, and marketing, accurately capturing the mainstream tastes of its intended audience—a group that held a majority in the film market, ensuring a solid viewer base for The Hunger Games.

The Hunger Games had begun to exhibit the traits of a fan movie, inevitably carrying the flaws of such films.

By Saturday, the film’s daily box office started to decline, dropping by over twenty percent, with fifty million three hundred ninety thousand dollars in earnings.

Even so, The Hunger Games still set a new North American opening weekend record for November!

Over the three-day weekend, the film grossed one hundred fifty-two million five hundred forty thousand dollars across four thousand one hundred twenty-two theaters, crushing its way to the top of the North American box office chart!

Compared to its production costs, it was an absolute box office juggernaut.

Other films in the same period unfortunately became casualties.

Taken 3 performed relatively well among foreign films in North America, with an opening weekend of nine million thirty thousand dollars—not a low figure.

Bolt couldn’t support Walt Disney’s plan to revive Disney Animation, earning only twenty-five million one hundred twenty thousand dollars in its opening weekend.

Australia fared the worst, with only ten million nine hundred eighty thousand dollars in its opening weekend—a far cry from its one hundred thirty million dollar production budget, marking another massive flop for 20th Century Fox.

Nicole Kidman remained cursed by the Oscar jinx, and Hugh Jackman seemed destined to flop without Wolverine.

Behind The Hunger Games’ success lay the pain and sorrow of 20th Century Fox’s failures.

Including a few dragon balls, from last summer until now, 20th Century Fox had suffered five major flops in a row.

Even for a top-tier Hollywood studio, the losses were bleeding them dry.

The Hunger Games’ success had a massive impact.

Major entertainment media outlets were quick to describe the film as “unfathomable” and a “box office miracle.” Even without Relativity Entertainment’s efforts, they were eager to dedicate front-page, in-depth articles to this incredible youth film.

And the astute producers began to sense that the era of youth films was about to dawn.

Chapter 1119: The Most Crucial Link

Thanksgiving was approaching, and before the holiday began, Lindsay Bill, who had served as the producer for both Twilight and The Hunger Games, returned to Los Angeles from an on-location shoot to discuss a new youth film project with Ronan.

In the office, Ronan glanced at Lindsay Bill and asked, “I hear the Fifty Shades of Grey novel is selling like hotcakes?”

Lindsay Bill adjusted her glasses on her delicate face and replied, “Yes, it’s already in the top ten on The New York Times bestseller list.” She thought for a moment and added, “If we count e-book sales, this series has been the chart-topper for a while, but the bestseller list currently only tracks traditional print book sales.”

Ronan waved his hand dismissively. “That doesn’t matter.”

Lindsay Bill continued, “As it stands, Fifty Shades of Grey sells an e-book every two seconds online. According to Random House’s statistics and projections, by 2010, the series’ total sales could reach around one hundred million copies.”

“In that case, it’s worth adapting,” Ronan said slowly. “The readership alone could support the box office for a film adaptation.”

Lindsay Bill, a seasoned Hollywood veteran who had weathered many storms, spoke bluntly, “Beyond the fans, the abusive themes will attract a large number of Stockholm syndrome sufferers or potential sufferers. Medical data shows that this group is quite substantial.”

She paused, then added, “If we shoot it with a high degree of explicit content, it will also draw in a large number of regular viewers.”

Ronan understood perfectly. Even though such films couldn’t match the explicitness of San Fernando Valley’s art films, their appeal was entirely different. These legitimate commercial films shown in theaters had an inexplicable allure for fans.

And if the film featured Hollywood stars, the appeal would double.

Take, for example, certain Hollywood celebrities—like his cousin—whose leaked photos and videos, regardless of looks or figure, could compare to the top female artists of San Fernando Valley?

But those artists’ photos and videos, once viewed by the general public, were rarely watched again. Yet those grainy, not particularly explicit clips of Hollywood celebrities? Many people would watch them over and over, never tiring of them.

The psychological experience was entirely different.

Ronan asked Lindsay Bill, “You’re in charge of the books for Twilight, The Hunger Games, and Fifty Shades of Grey, and now the films as well. What are your plans moving forward?”

“Twilight is already in its final stages of filming,” Lindsay Bill explained. “According to our plan, we’ll shoot Eclipse and the two Breaking Dawn films together to avoid issues with the actors aging. At the latest, by mid-next year, I’ll have finished all production on the two Breaking Dawn films. Then, aside from continuing with The Hunger Games, I can also work on Fifty Shades of Grey.”

As a producer, Lindsay Bill was handling two major series simultaneously, which was within her capacity, and no one understood these three series better than she did.

Ronan considered for a moment and said, “Alright, you handle the specifics.” He reminded her, “Just make sure to control the explicit content appropriately.”

Lindsay Bill nodded. “I’ve carefully measured it. The film will be released at the maximum R rating. The success of this film hinges on that content. Also, I’ve thought carefully about the casting. It’s unlikely we’ll get top-tier stars, and ordinary actors lack appeal. The best choice would be well-known second-tier Hollywood actors.”

Ronan praised her, “Lindsay, you’ve grasped the most crucial aspect of this project.”

Lindsay Bill smiled and said, “I plan to cast actors with modeling backgrounds… how should I put it? They have an advantage in this type of film.”

This was a correct observation. Many Hollywood actresses relied on their clothing to project a certain aura, but without it, their figures were often unremarkable.

In contrast, models had a clear advantage.

Of course, not the traditional European models who were like walking sticks—no one wanted to see skeletal figures on screen.

Lindsay Bill said, “My first choice for the female lead is Candice Swaneepoel. I’ve already reached out to her once.”

Ronan had no intention of interfering. “Just handle it as you see fit.”

For this type of film, attractive actors with good figures were essential.

Lindsay Bill then added, “I spoke with George a few days ago. If the Fifty Shades of Grey adaptation goes smoothly and performs well at the box office, we plan to develop a related series. Netflix Streaming Media is also very interested.”

Ronan nodded. “That works.”

Why did it feel like Netflix Streaming Media was going all-in on explicit content?

Well, for web series, if the content isn’t explicit enough, no one watches.

Even poorly made “yellow” dramas always had a niche market.

Over time, the series on Netflix Streaming Media, inevitably influenced by the internet platform, were gradually becoming more explicit.

Of course, these changes were made while ensuring the basic quality of the series.

For example, in A Game of Thrones, the main female characters being naked was a common occurrence. The British actress playing Daenerys, like in the novels, continually used her feminine charms to rally her “lickspittles” to her cause.

In a way, Daenerys’ rise to power was like the story of “a goddess and her lickspittles.”

The entire series seemed ruthless, killing off characters without mercy, but the male and female leads were practically invincible.

That show, Daenerys’ rise, was like having cheat codes, though her death was too pitiful—even the Horse King would have cursed.

Spartacus had also landed on Netflix Streaming Media. This series was even more explicit, with little plot beyond killing and sex, but its subscription numbers were quite high. Many viewers, after watching the first season, were eagerly awaiting the second.

Additionally, Shai Entertainment was preparing another series for Netflix Streaming Media, with a level of explicitness comparable to HBO’s late-night shows, titled Pleasure and Pain. The female lead was Marlena Morgan, who had just debuted in The Attic this year, and the director was the renowned Zalman King.

This director had many famous works, such as the Red Shoes series.

The Wild Orchid was also considered a classic film.

Moreover, the market response to Sunshine Girl, written by Lindsay Bill and directed by David Finch, had been consistently positive. After entering the DVD market, it had long been in the top ten of DVD sales and rentals. According to firsthand survey data obtained by Embassy Pictures, Shai Entertainment was also planning to adapt this film into a series, focusing on the vast community of special professionals behind the female lead, Sasha.

In this day and age, whether genuinely or falsely upright, everyone knew about this special professional community, and the number of practitioners was growing. Many even had respectable daytime jobs.

The reasons behind this were complex. Some might truly have no choice, but in the end, it all boiled down to one thing: standing was not as profitable as lying down.

This phenomenon was contagious—one person could influence an entire circle. Around one person who had taken the plunge, there were often others dipping their toes in the water.

This wasn’t a good trend.

But the truly shameless ones weren’t them—it was those who pretended to be oblivious, acting like saints who knew nothing, yet carried recording devices and cameras, secretly conducting undercover interviews and filming. Then, when the other party made a move, they would feign shock, refuse, call the police, and later publish the footage in the media for a fee…

Such people were everywhere, like Batman lurking in the shadows of Gotham, striking down evil.

Ronan had read the script for Sunshine Girl, adapted by Shai Entertainment from the vast amount of material collected by Lindsay Bill and David Finch. It included similar plotlines. Compared to these hidden professionals, those men were even more greedy.

For the sake of authenticity, Netflix was also doing related work, soliciting real cases through advertisements and then obtaining authorization for adaptations.

Many people were willing to lie down to make money, so they naturally didn’t mind selling their experiences to make more.

Frankly, not to mention an entire state or county, or even all of Los Angeles, but even in a small satellite city, the number of these hidden professionals was quite substantial.

They might not be as high-end as Sarah in Sunshine Girl, but they had their own target clientele, achieving their dreams of high income.

Unfortunately, because the money came relatively easily, many of them spent recklessly. Many weren’t very bright and didn’t think to transition into becoming agents. When they grew old and lost their looks, their endings were often tragic.

Those who successfully transitioned into agents could earn even more, and their careers would last longer.

Some particularly clever ones even amassed vast fortunes.

For example, Heidi Fleiss and Michelle Braun, who were once prominent in Hollywood, climbed their way up, almost monopolizing the high-end market. It was said that even Leonardo DiCaprio and Cameron Diaz had enjoyed the “escort” services provided by the latter.

However, both Heidi Fleiss and Michelle Braun ended up in prison. The latter was caught in an FBI sting operation where agents posed as clients, while the former probably thought her illegal income didn’t need to be taxed. For several years, she concealed her actual income and taxes, and the IRS came knocking.

Those who caught the attention of the IRS could imagine the outcome.

Even illegal income had to be taxed—this was a lesson learned through blood and tears by American criminal organizations.

With a vast number of practitioners as support, Shai Entertainment’s adaptations didn’t lack material. The related series could debut on Netflix Streaming Media as early as next year, facing the audience directly.

Chapter 1120: Opportunity

Before Thanksgiving arrived, another major event related to Relativity Entertainment occurred in America. Ronan and the entire group’s years of political investment in Washington, D.C. had finally yielded a favorable result.

In the presidential election that concluded in November, the vote count showed that Black Carbon had won with 349 electoral votes against 163, becoming the 44th President of the United States. He would take office on Inauguration Day, January 20th of the following year, receiving Washington’s Falling Cherry Axe, and become the new generation of vampire hunter and terminator of the old gods.

This also meant that the political resistance to Relativity Entertainment’s ongoing plans would be significantly reduced.

With Black Carbon’s rise to power, the liberal left movement in America reached a new peak.

Americans yearning for freedom were about to welcome so-called freedom, but future events would prove that this unchecked growth of “freedom” would cause some people to lose even their basic sense, becoming true imbeciles.

Especially in Hollywood, a large number of brainless actors would emerge, fully embodying the idea of “for freedom, life can be discarded.”

Compared to the turbulent economic situation in America, the Hollywood entertainment industry, though facing many difficulties, was still faring relatively well. During economic crises, the entertainment industry often saw a resurgence.

Though this correlation had been gradually diminishing with the times, it had not completely disappeared.

Compared to Hollywood, industries like real estate, finance, and insurance were experiencing a relentless downpour of human dumplings.

Even in this world of comparative decay, America was still a mess. Black Carbon’s days after taking office next year would not be easy. The aid from the Washington authorities would mostly end up in the hands of large capital groups, with little benefit to ordinary people.

Relativity Entertainment had not been greatly affected. While many saw their wealth shrink, Ronan’s net worth continued to rise steadily.

Netflix’s total market value had exceeded one hundred and fifty billion dollars, and this was despite the drag of the economic crisis. Otherwise, it might have surpassed two hundred billion dollars this year.

Apple, Google, and Amazon had also been relatively less affected by the economic crisis.

Amazon’s business, less impacted by Relativity Entertainment, had been developing very smoothly and was currently the largest online shopping website in America.

Apple had launched the second generation of the iPhone this year, and the nickname “kidney phone” was gradually being established.

Google, though it had lost Android, had not seen its other businesses affected and remained the top internet search engine.

Ronan’s investments in these three companies years ago had yielded rich returns.

Even though human dumplings were raining down across America, it did not affect the happy lives of the capitalists.

This year’s Thanksgiving was different from last year’s. Jessica Felton, following the tradition of most American families, had arranged a Thanksgiving dinner centered around turkey.

“This is our second Thanksgiving together,” Jessica Felton said, eating a small piece of turkey cut by Ronan. She raised her glass to Ronan across the table, “Dear, I wish you success in your career.”

Ronan raised his glass and lightly clinked it with Jessica Felton’s, “I wish you happiness.”

The two looked at each other and slowly drank their wine.

Ronan continued to cut the turkey and served it to Jessica Felton, then scooped some special sauce for her, saying, “Try this. It’s the chef’s latest secret recipe, made with Himalayan rock salt.”

Jessica Felton picked up a small piece of turkey with her fork, dipped it in the sauce, and took a light bite. It had a salty and numbing taste.

She shook her head slightly, put down the remaining half piece of turkey, and said, “I’ll stick with cherry sauce.”

Ronan didn’t insist. Everyone had different tastes.

Jessica Felton took a sip of water and said, “I still can’t get used to Eastern secret sauces, especially the numbing…” She paused slightly and asked, “Is that the right way to say it?”

Ronan nodded, “Yes, it has Sichuan pepper oil in it.”

Jessica Felton directly said, “I think it would be better with butter.”

“Butter?” Ronan couldn’t imagine what the dip made of salt, cumin, and sesame paste would taste like with butter added.

It seemed too wonderful to imagine.

Jessica Felton said, “A few days ago, Lindsey and I went to Mr. Chow’s for Chinese food. They used a lot of butter in their dishes, like a dish called…”

Having spent a lot of time with Ronan, Jessica Felton could now say a few simple Chinese phrases, “Yes, it’s called Kung Pao Chicken. It uses butter as the main seasoning, and the taste is quite good. Lindsey and I were both impressed.”

Ronan smiled, “As long as you like it.”

The regional differences in cuisine were too great. What was considered authentic in one place might be rejected in another due to its strangeness, making some adaptation inevitable.

Just as Western food became localized when it came to the East.

There were only Jessica Felton and Ronan in the restaurant. Jessica Felton asked while eating, “How are things going over there?”

Ronan simply said, “We’ve collected more in the UK, and quite a bit in the US as well. The situation is the same as before, even more serious than we expected. Also, there’s been progress on the evidence concerning the two of us.”

Jessica Felton said, “Let’s finish this quickly. I’m always on edge.”

Ronan smiled, “Don’t worry. Everything is prepared. There won’t be any problems.”

“Is it true that 20th Century Fox is involved in the acquisition of Lucasfilm?” Jessica Felton asked curiously.

Ronan simply said, “It’s not just 20th Century Fox. Sony Columbia Pictures and Paramount have also expressed interest. This is just a business transaction. My relationship with George Lucas can make him lean towards promoting Relativity Entertainment when the conditions are similar. But when it comes to a deal worth tens of billions of dollars, personal relationships can’t be the deciding factor.”

From the very beginning, Ronan knew that acquiring Lucasfilm wouldn’t be straightforward. Lucasfilm, considering its own interests, wouldn’t easily sell itself to Relativity Entertainment.

For a company worth tens of billions of dollars, from initial contact to final acquisition, there would inevitably be setbacks and competition. It was normal to have competitors, especially since Lucasfilm held the rights to the Star Wars series.

But Relativity Entertainment was definitely at the forefront of all companies and had already started formal negotiations with Lucasfilm.

Frankly, due to the economic crisis, Relativity Entertainment’s financial advantage was very obvious.

Take the most likely competitor, 20th Century Fox, for example. Relativity Entertainment didn’t even need to make other moves. In the acquisition of Lucasfilm, its financial advantage alone could overwhelm 20th Century Fox.

20th Century Fox was indeed one of the top companies in Hollywood, but with News Corporation recalling funds to acquire Time Warner, a series of major projects failing, and investment institutions and banks withdrawing loans, if they didn’t want their solvency to break, they couldn’t come up with nearly four billion dollars in a short time.

Other major Hollywood companies were also facing a cash crunch due to the economic crisis, cutting or postponing many film and TV projects.

In comparison, due to Ronan’s influence, Relativity Entertainment had already prepared its funds and was not greatly affected by the economic crisis.

This economic crisis was also the best opportunity for Relativity Entertainment. Many American capital groups and large companies were too busy dealing with their own problems to focus much on Hollywood.

For example, many capital groups on Wall Street were either desperately trying to escape the financial crisis, busy transforming, or applying for bankruptcy protection.

Leverage of ten to twenty times was a common practice for many companies on Wall Street. The reckless speculative activities in the financial industry on Wall Street were also one of the biggest causes of this economic crisis.

To a certain extent, the unchecked expansion of Wall Street’s financial power had broken the symmetrical relationship of power and responsibility between knowledge and capital.

Someone once said that nowhere else in the world would history repeat itself as frequently and uniformly as it did on Wall Street.

Crashes, surges, circuit breakers, sell-offs, stampedes, market closures…

This was a financial tsunami, a financial crisis. Global stock markets had been pushed into an era of great volatility.

Financial poison was addictive, driving people mad.

After dinner, Ronan and Jessica Felton took a short walk in the garden before returning directly to their bedroom upstairs.

Jessica Felton had been busy with the filming of Fast & Furious 5 at the Pinewood Studios in London for the past period and had only returned to Los Angeles that morning. The two, having been apart for a long time, could only express their pent-up passion in the simplest and most direct way.

Both were full of energy, and the accumulated emotions and longing needed a suitable outlet.

While Jessica Felton was still showering, Ronan entered the bathroom.

Facing Ronan, Jessica Felton reminded him, “Dear, I’m not in my safe period right now.”

Ronan responded with action, “It’s fine.”

Jessica Felton reminded him again, “What if we hit the jackpot?”

Ronan casually said, “If we do, we’ll get married.”

Jessica Felton, of course, didn’t take a man’s words at such a time seriously, but she didn’t stop him either. What she said afterward turned into simple, repetitive phrases.

Jessica Felton didn’t stay long in Los Angeles. After her three-day break, she returned to London, not only for Fast & Furious 5 but also to start some preliminary work for the preparation of Weakness.

Another awards season in North America had begun. Apart from Pixar’s WALL-E, which had long been a shoo-in for Best Animated Feature, Relativity Entertainment didn’t have any other contending works. The hottest work of this awards season was Harvey Weinstein and Kate Winslet’s collaboration, The Reader.

In early December, on the second weekend after the North American release of The Hunger Games, another new film from Relativity Entertainment was released.

This was also one of the fruits of Relativity Entertainment’s Disney plan, a live-action fairy tale film adapted from Disney’s classic animated feature, Beauty and the Beast.

Chapter 1121: Madness

Strictly speaking, Beauty and the Beast was the second installment in Relativity Entertainment’s live-action fairy tale film series. The first, Alice in Wonderland, premiered during the summer season, riding the wave of 3D popularity sparked by Avatar, and achieved tremendous success.

To this day, Alice in Wonderland has grossed three hundred sixty-eight million nine hundred forty thousand dollars in North America alone. With its overseas screenings still ongoing, its global box office is certain to surpass one billion one hundred million dollars.

The explosive success of this live-action fairy tale also boosted anticipation for Beauty and the Beast. Moreover, the production and promotion of Beauty and the Beast were entirely based on the classic animated feature.

Relativity Entertainment had long secured the necessary rights from Walt Disney, eliminating any concerns about copyright disputes.

In Hollywood’s past, live-action adaptations of classic fairy tales were a major trend. Whether these films took a darker tone, catered to adult audiences, or reimagined the stories entirely, it was clear that Hollywood had a knack for commercially rewriting a “source story.”

Beauty and the Beast did not aim to retell the fairy tale but to recreate the classic animated feature.

From the moment the trailer was released, this live-action fairy tale sparked waves of excitement online. The trailer broke records on Netflix Video and Netflix sharing, amassing sixty-two million views in just twenty-four hours.

Fans were delighted to discover that the scenes and settings in the trailer were almost perfectly faithful to the 1991 animated film.

Comparisons between the trailer and the animated version revealed stunning similarities. Many iconic scenes were meticulously recreated—the Beast tearing the portrait, Belle entering the castle, Gaston’s boasting, the bickering between the candlestick and the clock, and the most romantic dance sequence. None were left out.

This was precisely why the trailer garnered so much attention.

Nearly twenty years had passed since the original, and Beauty and the Beast had been broadcast through various channels, amassing a vast fanbase.

As one of Disney Pictures’ most treasured works, Beauty and the Beast was born during the second golden age of animated films, alongside other classics like The Little Mermaid, The Lion King, and Aladdin.

The animated film caused a sensation upon its release, hailed as a masterpiece of its generation. It won two Oscars for Best Original Music and Best Song, three Golden Globes, four Grammys, and numerous other accolades.

Relativity Entertainment had conducted market research, and the results suggested that a live-action film faithfully recreating the animated feature would likely resonate deeply with audiences once again.

From a commercial standpoint, the original animation was already perfect. Attempting a completely new story structure would be too risky. Adhering to the original was the safest approach.

This would be a film with almost no innovation, yet it carried minimal commercial risk as a major tentpole production.

Beyond the film itself, merchandise had already flooded the market, especially Belle’s signature dresses, which were prominently displayed in boutique stores across America.

Sales data confirmed the power of faithful recreation. Even before the film’s official release, Belle’s dresses had already sold millions of dollars’ worth, driven solely by posters and trailers.

Under Relativity Entertainment’s promotion, Belle had also become a symbol of the new era of women—traits like her love for literature, independent thinking, and refusal to back down were all attributed to her character.

With all these factors combined, Beauty and the Beast set a North American presale record of forty-one million two hundred fifty thousand dollars before its release.

While the high ticket prices for 3D and IMAX 3D screenings played a significant role, it undeniably proved the film’s immense pre-release hype.

After all, Relativity Entertainment’s internal projection for the opening weekend box office was only one hundred million dollars.

In the first weekend of December, Embassy Pictures held the global premiere of Beauty and the Beast at the Sheikh Theater in Hollywood.

In addition to the main creative team, numerous Hollywood stars and influential figures who claimed to be fans of Beauty and the Beast graced the red carpet.

As the male and female leads, Amanda Seyfried and James Franco were more than capable of carrying the visual appeal of the creative team.

Both were talented in singing and dancing, especially Amanda Seyfried, who had collaborated with Relativity Entertainment since childhood. She was a skilled singer and had previously starred in several musical films.

“Welcome, Ryan.”

In the foyer of the Sheikh Theater, Ronan greeted the two with a handshake. “Welcome, David.”

David Ellison then introduced the young woman beside him, who appeared to be around twenty years old. “Ronan, this is my sister, Megan. She’s also interested in developing a career in Hollywood.”

Ronan shook hands with Megan Ellison and exchanged a few pleasantries.

He remembered this woman born in Rome—a true winner in life. She was once a renowned female investor in Hollywood, specializing in funding independent art films.

After the success of The Hurt Locker and The Social Network, industry insiders in Hollywood, considering financial factors, bestowed upon her the title of “the last conscience of cinematic art.”

Megan Ellison remained committed to investing in independent art films. She had even funded the Sunglasses King’s The Grandmaster. Unlike other independent investors who were meticulous with their budgets, this heiress often spent lavishly on independent art films.

The outcome was predictable. Independent art films could not bear such massive investments and could never generate sufficient commercial returns. Megan Ellison’s film company accumulated enormous debts, forcing Larry Ellison to personally intervene and resolve the financial crisis his daughter had created.

In some ways, Megan Ellison had been swindled by Hollywood’s old hands.

Why had projects from so many renowned directors like Thomas Anderson been left untouched in Hollywood for years without any investment?

Art films required more than just funding and artistic vision to succeed.

She was fortunate to have been born with financial resources. An ordinary person would have gone bankrupt long ago.

“Word is you’ve stabilized Disney’s situation?” Ronan specifically asked Ryan Kavanaugh and David Ellison. “How’s it going?”

Ryan Kavanaugh spoke first. “We were on the verge of gaining controlling shares in Walt Disney, but the economic crisis hit, and Maple Leaf Entertainment encountered some financial issues.”

Ronan understood. Maple Leaf Entertainment’s primary source of funding came from dozens of investment institutions on Wall Street.

David Ellison continued, “It’s not a major issue. We’ve already united several major shareholders. At next month’s Disney shareholders’ meeting, Michael Eisner will definitely be out, and Roy Disney won’t be able to stop Maple Leaf Entertainment from taking control of Walt Disney.”

Ronan smiled. “Then I’ll congratulate you both in advance.”

“No need for that. If Maple Leaf Entertainment gains control of Walt Disney, we have you to thank first,” Ryan Kavanaugh said. “Without Relativity Entertainment, we wouldn’t have had a way into Disney.”

Although Walt Disney had been left in disarray by Relativity Entertainment, for an outsider like Maple Leaf Entertainment, if things weren’t chaotic, they wouldn’t have had a chance.

It would take a few years to gain control of Disney and then some more time to get it back on track. Even if they fell behind the top-tier companies, it would still be far better than starting from scratch.

David Ellison glanced at the poster for Beauty and the Beast and said, “It’s a shame that you’ve taken all the rights to the live-action adaptations of Disney Animation Studio’s classic animated features.”

Ronan smiled. “Disney has many resources. This is just a small part.”

Even if Ryan Kavanaugh and David Ellison had some thoughts, they were well aware that Walt Disney’s internal turmoil was far from over. In the short term, they were in no position to compete with Relativity Entertainment.

They had also heard that Relativity Entertainment had a series of live-action fairy tale films lined up, including Cinderella, Sleeping Beauty, Aladdin, The Lion King, The Jungle Book, and The Little Mermaid.

Given the box office success of Alice in Wonderland and the presales for Beauty and the Beast, these live-action fairy tales were likely to succeed, giving Relativity Entertainment another highly profitable film series.

The live-action Beauty and the Beast officially debuted in a manner that aligned perfectly with the social climate.

In Relativity Entertainment’s promotional campaign, Belle was portrayed as a symbol of feminism and the new woman. After all, the film’s story seemed to support this narrative: women are stronger than men, so women must take on the responsibility of saving men.

This was, of course, tailored for the audience, especially since the primary demographic for Beauty and the Beast was women.

As for the homosexual character that Disney had previously imposed, this version of Beauty and the Beast did not include it. The former Walt Disney had gone all-in on the path of left-wing political correctness, even making the Little Mermaid black…

Beauty and the Beast achieved a high degree of fidelity to the animated version in terms of narrative pacing, scene settings, dialogue, music, costumes, and art design. Coupled with stunning special effects, the overall effect was dreamy and beautiful.

The special effects, in particular, were breathtaking, rivaling those of Alice in Wonderland. The true 3D effects were also impressive.

In some of the musical sequences, the film not only recreated the classics from the animated feature but even surpassed them.

This live-action fairy tale was dazzling yet lacked any originality.

As for depth, did fairy tale films really need that?

What kind of depth or substance did fairy tale films require? Audiences just wanted to see a beautiful woman in a dreamy princess gown and a tall, handsome man falling in love in a castle adorned with crystal chandeliers.

Then there was Emma’s frequent costume changes—from the blue dress to the white dress, the red cloak, and finally the show-stopping yellow evening gown—each one captivating the hearts of young girls.

To sell dresses, Relativity Entertainment could be described as utterly shameless.

This also reflected reality. Don’t casually emphasize your inner beauty to others, because inner beauty is far harder to attain than outer beauty. Looking presentable, on the other hand, is something that can be achieved with a little effort.

If you dress shabbily, even the Beast wouldn’t give you a second glance.

Chapter 1122: Record-Breaking Blockbuster

Before Relativity Entertainment greenlit Beauty and the Beast, they conducted extensive market research and audience surveys. The overwhelming majority of fans held extremely fond memories of the animated feature from the early nineties.

Disney’s animated films back then were truly successful, and the animated Beauty and the Beast had already become a cherished part of countless people’s childhoods.

Given this reality, Relativity Entertainment made a decisive choice: further adaptation was inferior to faithful replication!

Since fans were dissatisfied with changes, why not restore their childhood memories of the original animation as closely as possible?

Wasn’t this to satisfy the fans’ nostalgia?

Well, all of that was nonsense—everything ultimately came down to commercial gain.

But the influence of the original animated feature was enormous. It was Hollywood’s first animated film to receive an Oscar nomination for Best Picture and the first animated film to exceed one hundred million dollars at the North American box office.

With such a natural and massive advantage, Relativity Entertainment couldn’t afford to ignore it.

Beauty and the Beast’s presale performance was formidable, and its North American midnight screenings raked in an impressive sixteen million three hundred thousand dollars.

This placed it among the top five highest-grossing midnight screenings in North America!

Thus, it was only natural that it topped the North American box office charts on its opening day, Friday.

On its first day of wide release in North America, the film grossed sixty-three million seven hundred eighty thousand dollars across four thousand two hundred twenty theaters!

The first-day box office was an explosive success!

This achievement proved that Relativity Entertainment’s commercial operation of Beauty and the Beast had been a tremendous success.

In business, innovation isn’t necessarily good, and conservatism isn’t necessarily bad.

In Hollywood’s money-driven film industry, Beauty and the Beast had already secured its place among successful films.

Relativity Entertainment invested a total of two hundred fifty million dollars in this project, covering production costs and marketing and distribution expenses. Of course, this wasn’t for innovation or cinematic art.

Faced with such a massive investment, innovation and cinematic art had to take a backseat—they were practically irrelevant.

Thus, a record-breaking blockbuster emerged.

Beauty and the Beast dominated the North American box office with a staggering opening, grossing one hundred seventy-two million five hundred forty thousand dollars across four thousand two hundred twenty theaters!

This surpassed last year’s The Dark Knight’s opening weekend, setting a new North American weekend box office record!

Meanwhile, Beauty and the Beast premiered simultaneously in most major overseas markets, grossing one hundred eighty-two million three thousand dollars in its first weekend.

After just three days of global release, the total box office for this live-action fairy tale film exceeded three hundred fifty million dollars!

Not only was the box office impressive, but the audience reception was generally positive as well.

According to CinemaScore surveys, audiences who purchased tickets on the first day gave Beauty and the Beast an average rating of “A.” As Relativity Entertainment had predicted, female audiences made up the absolute majority during the opening weekend, accounting for nearly seventy percent.

Another major fan rating, IMDb, gave the film a score of 7.9 after the first week, indicating above-average audience reception.

With high audience reception, large-scale marketing and distribution, and its family-friendly theme, tripling the North American box office in the first week wasn’t a problem. Various predictions indicated that the final box office would undoubtedly exceed five hundred million dollars.

Relativity Entertainment’s most conservative estimate suggested that the North American box office alone would recover the entire investment in Beauty and the Beast.

Alongside the box office success, the film’s merchandise was equally popular. In just one weekend, Belle’s dresses and red cape generated nearly thirty million dollars in global revenue for Relativity Entertainment.

In particular, Belle’s iconic yellow ball gown became a hot-selling item worldwide.

The movie’s box office was explosive, but the dresses sold even better…

Relativity Entertainment’s series of outrageous actions also drew considerable criticism.

“This movie is really mediocre. The acting is stiff, the visual effects lack impact, the costume design is too traditional, and the entire film is identical to the animated version—even the dialogue hasn’t changed. You might as well watch the animated version.”

To some extent, this wasn’t entirely wrong. Beauty and the Beast, a completely unoriginal and mediocre work, had ignited the global box office.

Relativity Entertainment had won this investment of hundreds of millions of dollars with the smallest and safest approach.

At the same time, the trailer for Cinderella, which was attached to Beauty and the Beast, also garnered immense attention. Cinderella’s luxurious blue dress and dazzling pumpkin carriage captivated countless audiences.

Similar to Beauty and the Beast, the filming of Cinderella stayed as close as possible to the widely circulated fairy tale version.

Cinderella wouldn’t be a scheming vixen throwing shoes.

All the characters surrounding Cinderella—the evil stepmother and two wicked stepsisters, the fairy godmother, and the handsome prince—would appear. Classic fairy tale elements, including the pumpkin carriage, magnificent ball gown, glass slipper, the iconic transformation moment, and the grand royal ball, would all be featured in the film.

Lily Collins, a famous Hollywood star child, played Cinderella in Relativity Entertainment’s Cinderella.

“Live-action fairy tale films will be released at a rate of one or two per year.”

In Relativity Entertainment’s office, George Clint discussed this series of related matters with Ronan: “For Maleficent, adapted from Sleeping Beauty, Angelina Jolie has officially signed with the company. The actress for Sleeping Beauty has also been chosen. CAA recommended Emma Roberts, Julia Roberts’ niece, to Shai Entertainment. The director and I both think she’s the right choice for Princess Aurora.”

Ronan nodded slightly: “I remember Emma Roberts. You can make the decision. The film’s release isn’t until 2010, right?”

George Clint replied: “Yes, next year’s live-action fairy tale film is Cinderella, and 2010 is Maleficent.” He thought for a moment and continued: “Aladdin is also preparing to start, and Guy Ritchie has been confirmed as the director. Additionally, Jon Favreau has agreed to direct The Jungle Book, but he has to finish Iron Man 3 first.”

Ronan reminded him: “The Little Mermaid and The Lion King can also be prepared in advance.”

George Clint said: “The script adaptations have already begun.”

These projects could continue until 2015. If things went smoothly, other films like Tangled, Pocahontas, and Tarzan could also be adapted into live-action versions.

Of course, Tarzan needed to be handled with caution. Rosa and Rocco Siffredi had already made a very classic version.

Then there was The Little Mermaid. Relativity Entertainment would never “blackwash” it.

This was simply a joke. Who could imagine that the female lead in a work by a nineteenth-century Northern European writer would be Black?

What were Black uncles and aunts doing back then? Either playing with mud in Africa or being slaves elsewhere.

Blackwashing The Little Mermaid—Andersen’s coffin lid wouldn’t stay down even if the moon were pulled to Earth!

Probably, Disney’s mermaid was a janitor turned into a spirit.

Think about when Disney confirmed the Black female lead and scared away the male lead…

If this was supposed to represent fairness and justice, why not let a white person play Black Panther?

As for Pocahontas, Relativity Entertainment wouldn’t have trouble finding a young actress with Native American heritage in Hollywood.

Mulan was still not in Ronan’s plans. Such a film made by Hollywood might not be a good thing and could very well damage the brand image the company had built over the years on the other side of the Pacific.

To be precise, if it was too Eastern, the North American market prospects were worrying; if it was too Western, it was better not to mention it.

Just as Ronan wouldn’t let Marvel Entertainment adapt any works about Shang-Chi, the character was created decades ago, and the original comics themselves had issues. No matter how they were adapted, controversy was inevitable. It was better to pretend the character didn’t exist.

Once the Marvel Method dominated, creating a new Eastern superhero in the comics wasn’t difficult. For example, an Eastern superhero league with members like the Calabash Brothers, Sun Wukong, Nezha, and Erlang Shen.

The team’s commander could be Black Cat Sheriff.

Frankly, many Eastern heroes had a much greater and more widespread influence than Marvel’s comic superheroes. If they were carefully planned and filmed, they naturally had a massive potential audience. As long as the movie was well-made, there was no need to worry about a lack of consumers.

Many people in North America didn’t recognize Marvel Comics’ superheroes, but how many ordinary people in the East didn’t know those widely circulated heroic figures?

Speaking of Journey to the West, how many film and television companies and crews had it supported?

There were also some quality films, like The Monkey King and Nezha.

The audience there was actually very tolerant of domestic films. As long as they were genuinely well-made, even if they weren’t particularly outstanding, they would have many supporters.

This favorable environment was much more relaxed than Hollywood’s.

Thus, whenever a quality domestic film appeared, the audience there would strongly support it and even turn into free promoters.

This was a great fortune for Eastern films.

Of course, bad films should be criticized.

How many good themes and characters ended up being poorly adapted, like The Legend of the Condor Heroes with its golden glow.

It could be said that the vast and profound cultural heritage of the East provided more themes and characters to work with than Hollywood, and there was no lack of enthusiastic audience consumers.

Moreover, this was a market destined to become the largest in the world.

Under Ronan’s influence, Relativity Entertainment had always attached great importance to that market. Therefore, Relativity Entertainment wouldn’t touch the sensitive points of the audience or market there.

There were so many countries in the world and so many actors in Hollywood—there were plenty of people who could play villains in films.

Apart from projects like Nezha vs. Transformers, which Relativity Entertainment collaborated on with the National Television Network, they wouldn’t easily touch Eastern film themes or create awkward East-West co-productions. Numerous past cases had proven that these were troublesome and unrewarding endeavors.

Chapter 1123: Symbol of Spirit

December was a crucial period in awards season. Any film vying for an Oscar nomination had to be released by the end of this month.

Compared to other months, December saw more award-contending films hitting theaters. However, regardless of genre or scale, these films posed no real threat to Beauty and the Beast.

That said, in the second weekend of Beauty and the Beast’s North American release, a major wide-release film debuted—The Curious Case of Benjamin Button, a joint production by Warner Bros and Paramount with a budget of one hundred and fifty million dollars.

Starring Hollywood heavyweights Brad Pitt and Cate Blanchett, the film had initially sought David Finch as director. However, Finch was already committed to House of Cards for Relativity Entertainment, making his schedule incompatible. Warner Bros ultimately enlisted Alejandro González Iñárritu, one of the famed “Three Amigos” of Mexican cinema.

While The Curious Case of Benjamin Button received positive reviews, it also highlighted Brad Pitt’s limited box office draw—far weaker than Angelina Jolie’s. In its opening weekend, despite its large-scale release, the film only grossed twenty-five million dollars in North America. Even with potential Oscar recognition, the steep one hundred and fifty million dollar production budget made recouping costs an uphill battle.

Brad Pitt’s leading role in a major production underperforming at the box office underscored his struggle to carry a mainstream commercial film. The lackluster opening of The Curious Case of Benjamin Button was partly attributed to the lingering impact of Beauty and the Beast.

The live-action fairy tale effortlessly secured its second consecutive weekend at the top of the North American box office, with a modest forty-eight percent drop in earnings, bringing in eighty-eight million and three hundred thirty thousand dollars. Internationally, Beauty and the Beast expanded its reach, adding one hundred and twenty-one million and two hundred thousand dollars to its haul.

Ten days into its global release, the film had amassed three hundred and nineteen million and three thousand dollars in North America alone, steadily approaching seven hundred million worldwide. Breaking the one billion dollar mark was now within sight!

Nostalgia truly was a powerful force in the global film market.

However, on the other side of the Pacific, the response was lukewarm. Ten days after its release, the film had barely grossed one hundred and fifty million yuan.

While the tale of Beauty and the Beast had some recognition, it paled in comparison to classics like Cinderella, Little Red Riding Hood, and Snow White. The original animated feature had never been released in theaters there, and its television airings were infrequent, leaving little room for nostalgia to take hold.

More critically, one of the film’s major selling points—its musical numbers—held little appeal in the Eastern film market, where musicals had always struggled to find an audience. Most moviegoers were drawn in by the 3D experience rather than the songs.

Relativity Entertainment’s Eastern branch had put considerable effort into marketing, deliberately avoiding any mention of the film’s musical nature in trailers to prevent spoiling the iconic musical sequences. Instead, they emphasized the film’s lavish cast, dazzling special effects, and opulent sets, positioning it as a grand, magical romance.

Even so, combined with the 3D craze sparked by Avatar and Alice in Wonderland, Beauty and the Beast still underperformed in the Eastern market by at least half.

For musicals to succeed in the Eastern box office, they needed to leverage attributes beyond their musical nature. Even a decade later, musicals would remain a niche genre in the Eastern film market.

In most cases, a commercial film’s merchandise sales correlated directly with its box office performance. Relativity Entertainment had begun rolling out products globally a month before the film’s release. The meticulous preparation paid off—once the film became a hit, the girlish merchandise flew off the shelves.

Within ten days, millions of Belle’s dresses were sold, including numerous limited-edition versions adorned with gold leaf and Swarovski crystals, closely resembling the film’s original designs. Dress sales alone generated nearly one hundred and fifty million dollars for Relativity Entertainment worldwide, with the number continuing to climb.

Additionally, the film’s soundtrack topped the Billboard charts, becoming a bestseller.

Based on current market feedback, Relativity Entertainment projected that Beauty and the Beast would yield a net profit of four to five hundred million dollars from global box office shares, home entertainment DVD and videotape sales, and television broadcasting rights.

In Hollywood, a film’s pure profit was traditionally calculated from these three revenue streams. Merchandise and other licensing income were usually excluded from these figures—a tactic often used to counter demands for backend profits from directors or stars. Many films generated substantial, long-term revenue from merchandise and licensing, far exceeding their box office earnings.

For instance, no matter how many of Belle’s dresses were sold, the profits would not be factored into the film’s net earnings but accounted for separately.

As Christmas drew nearer, North America’s traditional holiday movie season was reaching its peak. In the weekend leading up to Christmas, several major wide-release films hit theaters simultaneously—20th Century Fox’s Dragonball Evolution, Walt Disney’s Bedtime Stories, Warner Bros’ Yes Man, and Relativity Entertainment’s Captain America.

These four films stood out in terms of both investment and release scale, dwarfing other Christmas-season offerings. Notably, Dragonball Evolution and Captain America each had production budgets exceeding one hundred million dollars, while Bedtime Stories and Yes Man cost eighty million and seventy million dollars, respectively.

The pre-Christmas period, much like the Independence Day holiday, was one of the most lucrative times for the North American film market, often seeing a surge in commercial releases.

Influenced by the consecutive successes of Iron Man, The Incredible Hulk, Thor, and Iron Man 2, Captain America benefited from the Marvel Cinematic Universe’s momentum, making it the most anticipated film of the season.

The film’s full title was Captain America: The First Avenger! The inclusion of “America” in the title lent it extraordinary significance.

Relativity Entertainment capitalized on this in their promotional campaigns. Not every superhero bore the name “America.” Captain America was born in a unique historical period, and in the vast landscape of American superhero comics, he stood as the most emblematic figure of American spirit—from his blue uniform and red-and-blue shield adorned with a five-pointed star to his distinctly patriotic moniker. Captain America embodied the quintessence of American heroism.

Though America’s global reputation had long been tarnished, synonymous with shadowy manipulation and warmongering, Captain America’s traits remained widely resonant and acceptable.

What made Captain America so compelling was his strength, his convictions, his sense of justice, his perseverance, his loyalty, and the trials he endured. And, of course, his Bucky…

This character had once guided Americans through war and the most challenging post-war era. Now, America was again facing difficult times.

Captain America had returned!

“Though we’ve weathered the toughest of times, America now desperately needs a hero.”

“Our films shouldn’t exist solely for commerce. America is in a tough spot, and the people need spiritual encouragement. We need a hero on the big screen who embodies this era and the American spirit.”

“Born in a time of national crisis, Captain America is the perfect choice. Relativity Entertainment and Marvel have made a brilliant decision.”

“We have every reason to believe Captain America will rekindle the greatest American spirit of that era and help us overcome our current challenges…”

Under Relativity Entertainment’s initiative, media outlets and the internet were flooded with promotional articles tying the film to contemporary societal issues.

Steve Rogers, much like in the comics, was “thawed” from the ice and reintroduced to American society. Embassy Pictures, in particular, collaborated with Shai Entertainment to produce documentary-style black-and-white segments for media distribution.

For instance, one clip depicted Steve Rogers clutching a Chicago typewriter, leading Allied forces in a fierce charge against the Germans, crafted to resemble authentic wartime footage. It almost seemed as if Captain America had truly existed in history, leading the Allies to victory after victory, leaving Adolf Hitler bruised and battered.

To American society, Steve Rogers was more than just a superhero—he symbolized an era and a set of ideals. As the most “mainstream” superhero in American comics, he also garnered strong support from theater chains. The market appeal of the Marvel Cinematic Universe had already been proven by previous superhero films, and whether this one would resonate with audiences was a judgment call for the business-savvy theater owners.

Online reactions were intense, with fan-made content even depicting Captain America in hand-to-hand combat with the Winter Soldier.

Relativity Entertainment meticulously planned the film’s premiere, choosing Brooklyn, New York—the comic book birthplace of Steve Rogers. In the comics, Steve and his Bucky had fought countless battles in those very alleys, with some skirmishes lasting an entire day.

Chapter 1124: The Hydra Captain

Los Angeles, Hollywood Walk of Fame. A movie premiere was underway at the Hollywood Eastern Grand Theater.

The venue was packed with crowds, and several high-ranking executives from 20th Century Fox were in attendance. Director and producer James Wong was the focus of much media attention.

This was the premiere of Dragonball Evolution!

After the routine interviews, James Wong spotted Wen Ziren and made a point to chat with him for a few moments.

“Word is there’s a premiere happening in New York as well?” James Wong asked.

Wen Ziren replied softly, “Yes, the premiere of Captain America, held in Steve Rogers’ hometown of Brooklyn.”

James Wong glanced back at the massive Dragonball Evolution poster and said, “Never thought I’d see the day when I’d go head-to-head with a Relativity Entertainment film.”

Wen Ziren couldn’t help but laugh. “Old Wong, don’t overthink it. Relativity has never considered you a rival.”

James Wong fell silent for a moment before saying, “You’re right. With the momentum of Marvel’s superhero films, the real competition is probably only DC’s comic book adaptations.”

As one of the stars of tonight’s premiere, James Wong had many matters to attend to and soon took his leave.

Among the Chinese-American directors who came to show support, there was not only Wen Ziren but also Justin Lin, director of the Fast & Furious series.

The latter approached Wen Ziren and said, “You didn’t go to New York?”

Wen Ziren shook his head. “They don’t need us there. There are plenty of guests. We’re both Chinese-American, so of course we came to support Old Wong.”

“I heard some news,” Justin Lin said in a low voice. “The test screenings for Dragonball Evolution weren’t particularly well-received. Old Wong might be in trouble.”

Wen Ziren furrowed his brow. “I’ve heard that too. It seems Old Wong hasn’t had much luck since leaving Relativity.”

Justin Lin slowly nodded. “Yeah, Old Wong was really brought up by Ronan. Without Ronan overseeing things, it feels like he’s lost his soul.”

Wen Ziren hadn’t seen the movie, but speaking from his true feelings, he said, “I hope Dragonball Evolution isn’t bad.”

Justin Lin sighed softly. “Let’s hope so.”

The two entered the theater lobby one after the other and saw James Murdoch, who came over to exchange pleasantries. Wen Ziren and Justin Lin only responded with a few words and didn’t engage in any talk of future collaborations.

They weren’t fools. 20th Century Fox and Relativity Entertainment had a strained relationship, and they had recently clashed over the acquisition of Lucasfilm.

Justin Lin was in a better position, having only signed a long-term directing contract with Relativity.

Wen Ziren himself was a high-ranking executive at Shai Entertainment under Relativity, making him part of the Relativity family.

From a self-interest perspective, Wen Ziren had a thought—if Dragonball Evolution failed, it might actually benefit Relativity…

New York, Brooklyn.

Captain America, one of the most anticipated films of the holiday season, held its premiere at the Rosato Theater in Brooklyn.

Outside the theater, adorned with granite, hung a massive poster of Steve Rogers. A bright red carpet was laid out, surrounded by reporters and fans, with thousands gathered at the scene.

Among the fans, many were dressed as Captain America, wearing A-shaped helmets and holding star-spangled shields.

However, the most eye-catching were the female Captain Americas. They wore matching star-spangled uniforms, carrying exquisitely crafted small shields. The tight-fitting designs showcased their sexy figures.

These specially arranged female Captain Americas instantly stole the spotlight the moment they appeared.

The red carpet event was still ongoing. Many actors and directors from the series appeared on the massive red carpet emblazoned with the word “Avengers.” Several members of the Howling Commandos, as a group, walked the red carpet. Though these actors weren’t particularly famous, they still enjoyed the screams and applause of the fans.

This was a premiere filled with patriotic fervor. All the vehicles transporting the actors were adorned with the American flag and the Captain’s shield emblem.

Captain America was a quintessential American patriotic film. Every plot point served this theme. Beyond showcasing Steve Rogers’ strong will, sharp mind, and the scenes of him selling war bonds as Captain America, everything felt distinctly American and mainstream.

To combat the Hydra organization, Captain America formed the Howling Commandos, a classic international brigade with soldiers of various ethnicities.

This was very Hollywood, very patriotic.

Perhaps one day, he would become the Hydra Captain, but not today!

Today, the film highlighted Captain America and the spirit he represented. Everything else served this central theme.

From the beginning to the middle and the eventual conclusion, Captain America was brave, kind, loyal, and selfless, embodying all the admirable traits one could imagine. He charged into battle on the World War II battlefield, fighting for the world’s beauty and freedom, striving for the beliefs he held dear.

He possessed a sincere and kind heart, unyielding perseverance. An ordinary man, constantly giving, constantly striving, while staying true to himself.

All of this was enough to move the audience.

In the end, a simple yet poignant moment—owing a dance, a date. Captain America piloted a plane loaded with a destructive bomb straight into the ice fields.

Everyone knew this was a date between a doomed man and woman that could never be fulfilled.

A simple love story, yet more memorable and moving than the melodramatic love triangles in some war films.

When they met again, one was already old and frail, while the other was eyeing his niece…

Then, time jumped to the 21st century. Steve Rogers awoke to discover a series of clumsy attempts to hide the truth from him. He rushed to Times Square, where armed personnel in black uniforms swarmed around him. The dark and burly Nick Fury stepped forward.

“We wanted you to adjust slowly,” he said, patting his arm forcefully. “Welcome back, Captain!”

What remained was the much-anticipated Avengers post-credits scene.

To grab attention, the scene featured Iron Man battling Thor, Captain America joining the fray, and the Avengers officially assembling in New York.

Amid the stirring background music, seeing the assembled team of six, countless fans were filled with excitement.

Uwe Boll, sitting in the guest seats, was particularly thrilled—team dungeon runs! Team dungeon runs! The main tank and commander are in place!

Rumor had it that after the Christmas holidays, Relativity Entertainment would hold an internal screening of The Avengers. Now that the main tank and powerful DPS were in place, which dungeon would they run? Maybe he should go check it out?

Brother Bao made up his mind—he would definitely go see the internal screening of The Avengers.

After the premiere, Captain America hit theaters across North America. High-density promotions, coupled with Steve Rogers’ long-accumulated popularity and the Avengers post-credits scene, drew large crowds into the theaters.

As a film depicting the birth of Captain America, even with the Russo brothers as directors, Captain America didn’t stand out much due to its World War II setting.

However, the film’s quality was undoubtedly above average.

For the already dominant Marvel Avengers series of superhero films, this was sufficient.

The greatest role of Captain America was to make people eagerly anticipate The Avengers, set to begin in May of the following year.

Relativity Entertainment also used media and the internet to hype up the importance of “Captain America” to the Avengers series.

“As the team leader and spiritual core, the Captain is indispensable. With extensive battlefield experience, the Captain knows how to command battles, allowing other heroes to fulfill their roles to maximize their abilities. He is the team’s core. In the post-credits scene where the Avengers gather, he is an excellent leader—resolute, composed, and meticulous.”

Steve Rogers never compromised with reality… well, except for Bucky.

If this were a standalone superhero film, it wouldn’t be a box office flop, but it wouldn’t be particularly outstanding either.

But the Marvel Method was gradually taking shape. Captain America had many buffs, much like many of Marvel’s previous films about superhero origins. It couldn’t be measured by the standards of a single film.

Especially since this was the last Marvel superhero film before the highly anticipated Avengers.

On its opening day in North America, Captain America stood out among the week’s new releases, earning $27.88 million in 4,122 theaters and claiming the Friday box office crown.

In contrast, Dragonball Evolution suffered a major setback for 20th Century Fox, earning only $4.15 million on its opening day in North America.

This big-budget film, with a production cost exceeding $100 million, not only flopped at the box office but did so spectacularly.

Warner Bros’ Yes Man also had a mediocre opening day, earning only $6.49 million.

Walt Disney’s Bedtime Stories fared better, earning $10.57 million in North America on its opening day, securing the second spot on the box office chart.

Undoubtedly, during this Christmas season, Relativity Entertainment emerged as the big winner once again. After Dragonball Evolution’s flop, 20th Century Fox faced another challenge in recouping funds, further straining their already tight liquidity.

The spectacular flop of Dragonball Evolution had a significant impact on the entire Hollywood industry.

Hollywood had long set its sights on Japanese manga adaptations. Previous failures had made many film companies hesitant, but in recent years, comic book adaptation films had been thriving in North America, with box office successes and booming merchandise sales.

However, North American comic themes had been mostly exhausted, making it difficult for newcomers to get a piece of the pie. Thus, many turned their attention to the Japanese manga market on the other side of the Pacific.

Dragonball Evolution served as a painful lesson for Hollywood, proving that American comic book adaptations and Japanese manga adaptations were entirely different beasts. Japanese manga adaptations faced far greater challenges in achieving success in the North American market.

Hollywood universally halted Japanese manga adaptation projects.

Chapter 1125: The Marvel Effect

It was an ordinary Monday. James Wong woke up early, quickly washed up, and skipped breakfast entirely before rushing into his study to turn on his computer. He eagerly opened Box Office Mojo, the box office statistics website now owned by IMDb, to check the latest weekend box office results.

Though the performance of Dragonball Evolution had already crushed his hopes, he still wanted to see just how far it was from the top spot this week.

James Wong had been in a heavy mood these past few days. The failure of Dragonball Evolution had hit him hard.

The box office statistics loaded, and the North American box office chart for the previous weekend was displayed prominently. The top five films were clear at a glance.

At the top was Relativity Entertainment’s superhero film Captain America, which had earned an impressive seventy-two million eight hundred and ten thousand dollars in its opening weekend.

While this figure wasn’t particularly high compared to the film’s one hundred and thirty million dollar production budget or the opening of Iron Man, another origin story, it was still a success.

Based on James Wong’s years of experience in the industry, he estimated that Captain America would recover all of Relativity Entertainment’s investment through global box office shares alone.

In second place was another Relativity Entertainment film, Beauty and the Beast, now in its third weekend of release. Despite facing a wave of new releases, it showed incredible staying power, earning another forty-five million four hundred and twenty thousand dollars.

The live-action fairy tale’s North American box office had already reached three hundred and ninety-three million three hundred and thirty thousand dollars, and breaking five hundred million was inevitable.

James Wong specifically checked the global box office for Beauty and the Beast. It had already surpassed eight hundred million dollars worldwide.

Without a doubt, it would cross the one billion dollar mark.

Relativity Entertainment dominated the top two spots on the North American box office chart. James Wong couldn’t help but regret—perhaps ending his collaboration with Shai Entertainment and leaving Relativity had been a mistake.

If he had stayed at Relativity and maintained his partnership with Ronan Anderson, would Dragonball Evolution have been such a disaster?

Shaking his head, James Wong dismissed the thought. It was too late for regrets now.

He continued scrolling through the box office chart. The films below Captain America were far behind.

Walt Disney’s Bedtime Stories took third place with an opening weekend of thirty million three hundred and sixty thousand dollars, less than half of Captain America’s earnings.

In fourth place was Warner Bros’ Yes Man, which earned eighteen million two hundred and sixty thousand dollars in its opening weekend.

Further down was his own collaboration with 20th Century Fox, Dragonball Evolution, which had only brought in nine million one hundred and forty thousand dollars in its first weekend.

This film would barely scrape past twenty million dollars in North America…

Even though he had mentally prepared himself, seeing the actual numbers still stung. James Wong felt as if his years of hard work in the film industry had been destroyed by this single film.

The failure was devastating—so bad that it might ruin a director’s career forever.

James Wong slammed his fist against his head. What had he been thinking? Why had he chosen to adapt a Japanese manga of all things? Those overly dramatic, even more chuunibyou than American comics, had such a narrow market and audience.

Looking back, James Wong realized that the market for Japanese manga was primarily in East Asia. In the international film market, dominated by Western audiences, it lacked a solid fanbase.

If he could do it all over again, he would never touch those cursed manga adaptations.

And his collaboration with 20th Century Fox was likely over.

After ten years as a director in Hollywood, James Wong reflected on his career. The failure of Dragonball Evolution made it painfully clear that his most successful and easiest period had been when he worked with Ronan Anderson and Relativity Entertainment.

Now, returning to Relativity was nearly impossible. Even the Final Destination series had found a new director under Shai Entertainment.

In the office at Relativity Tower, Ronan had also seen the latest box office report.

The failure of Dragonball Evolution was expected, though it seemed to have performed slightly better than its predecessor, likely due to higher investment and greater marketing efforts from 20th Century Fox. Still, the box office disaster was unavoidable.

Relativity Entertainment had quietly pushed things along, encouraging more creditors to demand repayment from 20th Century Fox.

Given 20th Century Fox’s current financial situation, without strong support from News Corporation, how could they compete with Relativity for ownership of Lucasfilm?

Since last year, 20th Century Fox had suffered six consecutive failures with big-budget films, each costing over one hundred million dollars: Pharaoh and the Gods, 10,000 BC, Robin Hood, Super Storm, Australia, and Dragonball Evolution.

Even though some of these projects had external investors, the impact on 20th Century Fox was still significant.

If it weren’t for 20th Century Fox’s deep resources and the backing of the Murdoch family and News Corporation, a mid-sized Hollywood studio would have filed for bankruptcy after just two or three such failures.

On the surface, 20th Century Fox appeared stable, with everything under James Murdoch’s control. But no one could deny the massive blow dealt by six consecutive high-profile failures.

This was most evident in the stock market.

As a publicly traded company, 20th Century Fox had already been affected by the economic crisis. Each failed big-budget film caused the stock price to drop. After Dragonball Evolution’s weak North American opening, the stock price plummeted by over five percent in just half a day on Monday.

From the release of Pharaoh and the Gods last year to now, the company’s market value had shrunk by billions of dollars.

According to the latest news Ronan received, 20th Century Fox was still under James Murdoch’s control. After all, these film projects hadn’t been his decisions. Rumor had it that Tom Rothman, the head of the film studio, was taking the fall and would soon leave 20th Century Fox.

Additionally, 20th Century Fox had been decisive in not investing further in Dragonball Evolution. The Japanese manga adaptation had little market in North America or the broader Western world, and any further investment would have been wasted.

Instead, 20th Century Fox had shifted its marketing resources to Terminator 4, a two-hundred-million-dollar blockbuster.

Unlike previous films in the series, this sequel was a high-stakes continuation of a proven franchise, with nearly all production costs covered by 20th Century Fox itself.

After internal screenings, the studio’s management was optimistic about the sci-fi blockbuster’s prospects, believing it could turn the tide for their film division.

Terminator 4 was scheduled for release in February of the following year. The timing alone suggested that 20th Century Fox hoped to recoup some funds quickly with this film.

The success of Captain America had drawn significant attention to Chris Evans and Hayley Atwell, the film’s leads. Their performances had sparked lively discussions, especially regarding Captain America’s unfulfilled promise to dance with Peggy Carter—a moment that left many fans, particularly male audiences, deeply engaged.

Before the film’s release, Kevin Feige had already been planning a television series and had submitted a project proposal to Ronan. The series, titled Agent Carter, would focus on Peggy Carter’s journey to redeem her humiliation.

More precisely, the series would center on Peggy Carter and Howard Stark as the main characters, with Peggy taking the absolute lead in the first season. It would explore her search for identity after losing Captain America and the end of World War II.

Later seasons would depict Peggy Carter and Howard Stark’s efforts to establish S.H.I.E.L.D., or rather, its precursor, the Strategic Scientific Reserve, which would also involve another founding member, the first Ant-Man.

Agent Carter could be seen as a prequel to Agents of S.H.I.E.L.D.

In the short term, Marvel Entertainment’s television projects would focus on these two series. The smaller-scale Hell’s Kitchen stories, involving street-level heroes and gangs, were not yet a priority, especially since the rights were still scattered.

Given the box office failures of Daredevil and Elektra, and the lukewarm reception to The Punisher produced by Lionsgate last year, Marvel Entertainment was proceeding cautiously with Hell’s Kitchen’s chaotic mix of gangs and street heroes.

Moreover, the rights to Daredevil and Elektra were held by 20th Century Fox, while The Punisher had been sold to Lionsgate, making rights consolidation difficult.

For now, Marvel Entertainment’s film and television adaptations would focus on projects directly tied to the Avengers, effectively leveraging the increasingly powerful Marvel Method.

Under the Marvel Method’s influence, Captain America maintained a steady box office performance. In its second weekend in North America, it earned another thirty-six million five hundred and fifty thousand dollars, retaining its position as the top film while pushing its North American total to one hundred and thirty-five million six hundred and eighty thousand dollars.

The superhero film was certain to surpass two hundred million dollars in North America.

Additionally, in international markets, particularly in Europe and Latin America where it had already been released, Captain America had earned nearly fifty million dollars.

With overseas markets heating up, this commercial film’s international box office would likely match or even exceed its North American earnings.

Comic book adaptation superhero films had become a major commercial force in the international film market, and their market share would only continue to grow.

As the fifth installment in the Marvel Cinematic Universe, Captain America was followed by The Avengers. Marvel’s strategy was clearly aimed at establishing Captain America as one of the core figures in the Avengers.

Chapter 1126: A New Version, A New Legend

In a standard entertainment lounge within Relativity Tower, Uwe Boll sat with headphones on, eyes locked on the LCD screen in front of him. A boss battle was reaching its final, critical moment.

“So reckless, so arrogant and frivolous…”

The blue dragon boss at the end of the level was clearly a chatterbox. From the moment the fight began, it hadn’t stopped talking, tormenting not only Brother Bao’s character but also Brother Bao’s ears.

Finally, with the last wave of attacks, the chattering blue dragon boss collapsed with a thunderous crash.

The lounge door was suddenly pushed open from the outside. A staff member came in to remind him, “Director Ball, the screening is about to start.”

Brother Bao quickly finished looting in the game, got the equipment he wanted, and was in a great mood. He immediately shut down the game and said, “I’m coming right now.”

Under the staff member’s guidance, Uwe Boll walked through the long corridor and arrived at the small internal theater in Relativity Tower. He first went to greet Ronan and Jessica Felton, then made his way to the last row of armchairs and sat alone.

Because of studying the Marvel Cinematic Universe and confirming the plan for the American historical figures movie, Uwe Boll was quite familiar with the upper echelon of Marvel. Looking at the back rows, he noticed that the directors of various Marvel superhero movies had all arrived. Kevin Feige, the first person in charge of the series, was sitting next to Ronan.

There were also some high-ranking officials from Relativity Entertainment, Shai Entertainment, Embassy Pictures, and Marvel Entertainment.

There were also Andrew, Lindsay Bill, and James Wen, who were in charge of production at Shai Entertainment.

Uwe Boll could easily see that the entire Relativity Media Group attached great importance to The Avengers.

Indeed, after planning and operating for so long, they were waiting for The Avengers to completely determine the series’ position in the commercial market.

Soon, staff members distributed questionnaires, and then The Avengers director Joss Whedon said a few words. The lights in the small theater gradually went out, and the private screening began.

Perhaps because he had just been highly focused, playing a dungeon in the entertainment lounge, Uwe Boll found it a bit difficult to concentrate after watching the film for a while. His thoughts kept drifting, especially as he watched the movie content, his mind kept wandering back to the game he had just played.

When Loki appeared and Nick Fury was about to assemble the Avengers, Brother Bao saw the movie, but in his mind, it was all about the video game he loved.

Not long after watching, he realized that The Avengers was essentially a game of teaming up to run dungeons!

In the guild called S.H.I.E.L.D., someone was speaking in the guild chat channel, preparing to form a team to run a dungeon.

Tony Stark: Running the New York Loki Hero difficulty dungeon, looking for a high-quality tank, a violent DPS, and a healer with D or above. Requires a strong party, bring gear, preferably with orange gear. Bring your profession and achievements. Limited spots, hurry up!

Steve Rogers quietly said to Tony Stark: Invite me! High-quality, with an orange shield. Haven’t logged in for a long time, don’t have many achievements. Don’t know if the achievements “Punch Hitler” and “Kick Red Skull” count!

Tony Stark sent the invitation, and Steve Rogers joined the team.

Seeing the teammate’s avatar in the team interface, Tony Stark was shocked and said in the team channel: Damn, the number one player on this server, awesome! Can you take on the role of team commander later?

Steve Rogers switched to the team channel: No problem, commanding is my specialty. Back in the day, I was the vice president and raid commander of the number one guild on this server, the Howling Commandos.

Tony Stark saw that the number one player on the server and the chief commander were in place, so he immediately switched to the guild channel: Running the New York Loki Hero difficulty dungeon, the orange shield is in place! Come DPS and healers, no weak ones!

Thor quietly said to Tony Stark: 1!

Tony Stark replied: Brother, report your stats or gear level first.

Thor quietly said to Tony Stark: Number one enhancement shaman on this server in terms of gear, talent-enhanced lightning chain, never lost a flag capture. Have an orange weapon, Mjolnir. Don’t need any equipment except weapons. Currently missing the achievement for hugging and killing a girl.

Thor joined the team.

Steve Rogers said in the team channel: This DPS is powerful!

Tony Stark also switched to the team channel: How about we capture a flag first!

Thor replied: Sure! Let’s spar first.

Iron Forge… no, the suburbs of New York. Tony Stark and Thor dueled for the flag. After watching, Steve Rogers couldn’t resist the itch and also joined the flag capture.

The teammates got to know each other better. Although no one was convinced, they all understood that the team was powerful.

Steve Rogers said in the team channel: Need to find a healer?

Thor suggested: This dungeon can be cleared with enough DPS. Healers don’t matter. It’s better to find a powerful DPS. It’s fast, and we can finish the dungeon in half an hour.

Tony Stark said: Let me see if there are any friends online.

He quietly said to Bruce Banner: Are you free? New York Loki H dungeon, need a powerful DPS!

Bruce Banner replied: Just right, I washed off the rage!

Bruce Banner joined the team and said in the team channel: Seems like we’re missing crowd control.

Tony Stark said: I can play as a mage, and we can find a hunter and a rogue.

Tony Stark continued to call for people in the guild.

Peter Parker quietly said to Tony Stark: Invite me!

Tony Stark asked: What’s your gear level? Do you have godly gear? Have you graduated from the three major dungeons?

Peter Parker replied: Tailor-made equipment!

Tony Stark said: Sorry, the team is full!

Peter Parker cursed: ****!

Tony Stark: Losers and noobs, get lost!

Tony Stark continued to speak in the guild: Loki H dungeon, need a hunter and a rogue!

Peter Parker cursed in the guild channel: #@#!

Natasha Romanoff quietly said to Tony Stark: I’m the vice president, invite me!

Natasha Romanoff joined the team.

Bruce Banner said in the team channel: The vice president is here, everyone give way for the equipment.

Thor: No need!

Steve Rogers: Hello, vice president. All the cloth, leather, mail, and plate are yours.

Tony Stark: I have no problem!

Natasha Romanoff said in the team channel: Alright, I’ll find another familiar hunter to prevent anyone from snatching the equipment.

Natasha Romanoff quietly said to Clint Barton: Come over, run a Loki H dungeon.

Clint Barton said: I’m in the middle of a national team battle here!

Natasha Romanoff said: Are you coming or not, one word!

Clint Barton: Coming.

Natasha Romanoff said: Private message Tony Stark with a 1.

Clint Barton quietly said 1 to Tony Stark, and Clint Barton joined the team.

Natasha Romanoff said in the team channel: This is my little brother, take care of him.

Steve Rogers said: No problem. After defeating Loki, I’ll take you to run the Hydra dungeon.

Thor said: If you want to run the Asgard dungeon, you can find me.

Tony Stark said: Everyone is here. Let’s go. I have a flying mount. Fly to New York first. Hurry up, meet at the dungeon entrance at Stark Tower!

Without a healer, the team was very powerful: protection warrior/paladin, enhancement shaman, combat rogue, marksman hunter, fury warrior, and tech mage.

The dungeon seemed simple, with only a few waves of small monsters and one boss, Loki, but it was not easy to defeat.

Loki could create clones, flash, open portals, summon minions, and his weapon had a charm skill!

Half an hour later, the dungeon was cleared.

Thor achieved: Hug and Throw!

The Hulk achieved: Blind Throw!

Tony Stark achieved: Nuke!

Steve Rogers achieved: Why Listen to Me!

Clint Barton achieved: I Am Legolas!

Natasha Romanoff obtained: Loki dropped an orange staff and a set of Asgard godly gear…

Tony Stark took all the gold coins dropped by Loki—engineers are poor for three generations!

The team disbanded and agreed to find a few more powerful players the next day to run the team dungeon: Age of Ultron!

Uwe Boll finally saw Thanos appear in the post-credits scene and immediately understood one thing: the final team boss of this version must be Thanos!

Probably need to form a forty-man team.

But is it powerful enough? Can the captain withstand it? Uwe Boll was initially worried, but then he realized: a new version, a new legend. The highest authority of the version is in Marvel’s hands. Just add skills to the captain.

The screening ended, and the lights in the small theater came back on. Uwe Boll quickly came back to his senses, picked up the survey questionnaire, and directly gave it a ninety-five!

And he gave a comment that best represented his feelings—highly entertaining! All kinds of fun! All kinds of awesome!

“Very outstanding.” A senior executive from the domestic distribution department of Embassy Pictures said at this time: “I think this movie can create another miracle.”

Thomas, the director of the domestic distribution department, said: “With Embassy Pictures operating, this movie is at least a ten billion dollar box office level globally.”

Uwe Boll didn’t say anything, but in his heart, he agreed with the two. The Avengers was a pinnacle of superhero movies, unparalleled in entertainment, feeling even better than playing his favorite game.

After watching this movie, it was like his mage character getting the Chicken Leg Staff in the 60s, and his hunter character obtaining the orange bow and phoenix in the 70s.

The summary of the screening was soon placed on Ronan’s desk. Compared to film critics and media reporters, these executives from Relativity Entertainment were true professionals, having been at the forefront of the film market for many years. Their impressions were undoubtedly more in line with the current film market.

In terms of market-driven scoring, The Avengers received an average score of ninety.

In the past, any movie that scored above eighty in Relativity Entertainment’s internal screenings was a box office hit without exception.

From very early on, except for a few films with special needs, Relativity Entertainment no longer held screenings for film critics. After all, in their eyes, commercial films basically never received good reviews.

For The Avengers, they would inevitably have comments like “idiotic” and “brainless.”

Embassy Pictures, riding on the still hot screening momentum of Captain America, was also continuously promoting the upcoming The Avengers, set to release in May next year.

On the list of the most anticipated movies of 2009 compiled by various media and websites, The Avengers topped all the charts!

Chapter 1127: Alliance

Before anyone realized it, 2008 had come to an end, and the sunlight of 2009 filled the world. America remained a tale of two worlds—one drowning in despair, the other basking in luxury.

But unlike previous years, the number of people crossing from the former to the latter had plummeted, while many from the latter had fallen into the former.

Unable to cope with the stark contrast, many chose to take a “leap of faith.”

Yet these matters had little to do with Relativity Entertainment. Throughout 2008, the company had thrived, achieving record highs in film, television, and related industries since its inception.

Among its successes was Avatar, which had already grossed a staggering twenty-eight billion dollars globally.

Though Avatar was still screening in international markets, it had already set a record that would be difficult for other films to break in the short term.

Additionally, Relativity Entertainment had two live-action films, Alice in Wonderland and Beauty and the Beast, each surpassing one billion dollars at the global box office.

The latter was still performing strongly in North America and international markets, with one billion dollars being far from its final tally.

As for films exceeding five hundred million dollars, there were too many to count.

Box office revenue now accounted for less than fifteen percent of Relativity Entertainment’s total income.

In television, aside from continuing collaborations with ABC Television on Intern Grey and Peppa Pig, all other series were exclusively streamed on the Netflix Streaming Media Platform.

Consequently, most of the money Netflix burned through ended up in the pockets of Shai Entertainment.

While continuing to produce established series, Shai Entertainment was also developing new ones.

Breaking Bad was a massive hit, and like House of Cards and A Game of Thrones, it was considered a top-tier series. Shai Entertainment planned to use this series as a foundation, focusing on its highly popular characters to develop spin-offs.

For example, the story of the slick lawyer before he met Walter White.

There were also entirely new projects.

Shai Entertainment had acquired the adaptation rights to a vampire novel, Southern Vampire, planning to turn it into a large-scale vampire series tentatively titled True Love Like Blood.

In competition with 20th Century Fox, they secured the investment opportunity for Modern Family, starring Sophia Vergara, thus obtaining the rights to the series.

Two of Shai Entertainment’s series producers had set their sights on documentaries, planning to film a ten-episode series depicting the real lives and work of female artists in the San Fernando Valley.

This was not a provocative series; while the content might be bold, the intent was pure, not at all salacious. It aimed to portray industry professionals through a relatively neutral and objective lens.

Beyond this, Shai Entertainment’s reputation for “valuing newcomers” had attracted several external projects, leading to a few confirmed collaborations.

For instance, a serious drama—Shai Entertainment was working with Michael Costa, the director of Long Island Affair, to produce a counter-terrorism series titled Homeland.

Shai Entertainment was also further developing the female market. Robert Kim, the screenwriter and producer of Vertical Limit, had submitted a project to the company—a series centered around a strong female lead called The Good Wife, which had received Ronan’s approval.

Preparations for this series were already underway, and it was set to premiere on the Netflix Streaming Media Platform in the fall.

Shai Entertainment had also declined several projects, such as an invitation to collaborate with DreamWorks.

Given the immense success of Band of Brothers, Steven Spielberg and Tom Hanks planned to collaborate again on a war-themed miniseries set against the backdrop of World War II, but this time, the battlefield would shift from Europe to the islands of the Pacific.

The production budget for Band of Brothers had been one hundred and twenty-five million dollars, but the budget for this new series, tentatively titled The Pacific, was even more staggering—around two hundred and thirty million dollars.

Hollywood was facing a cash crunch due to the economic crisis, and DreamWorks and Tom Hanks’ company were unable to bear such a high investment. Spielberg immediately turned to Shai Entertainment and Netflix Streaming Media, hoping the two companies would generously fund most of The Pacific’s investment.

Funding was not out of the question, but DreamWorks refused to relinquish the rights. Ronan, of course, would not be such a sucker and politely declined Spielberg and Tom Hanks’ invitation to collaborate.

Wanting Shai Entertainment and Netflix Streaming Media to foot the bill while holding onto the rights? No such luck.

Inspired by Ronan and Relativity Entertainment, DreamWorks was also intensifying its overseas activities, striving to secure funding abroad.

The names Spielberg and Tom Hanks were still highly attractive to investors.

Amid a series of positive developments, Relativity Entertainment continued to operate according to plan.

Ronan kept a close eye on the latest news from Hollywood and 20th Century Fox.

In mid-January, a British tabloid not affiliated with News Corporation caught wind of something and reported in its recent weekend edition that someone within the British royal family might have sold news about William’s recent injury or that the royal family was being surveilled.

Though there was no clear evidence, Ronan knew that even if Relativity Entertainment remained quietly hidden behind News Corporation, helping them suppress the matter for a time, certain events were about to erupt.

These events would inevitably explode in the coming months, and many would become sacrifices.

Since that was the case, there was no need to suppress them further.

Ronan made a grand departure from Los Angeles, heading to London to visit Jessica Felton, who was overseeing the Fast & Furious 5 crew at Pinewood Studios.

Pinewood Studios was the largest film studio in the UK, boasting forty-one various filming stages, including ten digital television studios, outdoor filming parks and woodlands, and the world’s only underwater filming facilities.

Since the main plot of Fast & Furious 5 was set in London, Pinewood Studios was chosen as the crew’s base.

The crew’s work for the day was not yet finished, but Jessica Felton left the filming set, returned to her hotel, changed into a formal dress, and met Ronan, who had just returned from a visit to Downing Street, in the lobby. Together, they headed to Kensington Palace in the Chelsea district.

Before arriving in London, Ronan had requested a visit, and William and his girlfriend, Kate, had specially arranged a banquet in their residential area of Kensington Palace to host Ronan and Jessica Felton.

A Bentley sedan pulled away from the hotel entrance, with David at the wheel and Finch continuing to sit in the passenger seat.

“There are paparazzi,” Finch said.

Ronan waved his hand. “Ignore them. William and I have been in contact for years; visiting him is normal.”

Jessica Felton couldn’t help but say, “They’re really crazy!”

Ronan replied, “If they weren’t crazy, how would we have such good opportunities?”

Jessica Felton was momentarily speechless and could only ask, “Are we starting?”

Ronan slightly nodded. “It’s about to explode. This is the best opportunity.”

It wasn’t just because of these events but also years of secret planning and waiting.

First, the economic crisis had erupted normally, bringing a series of shocks. Then, the dragon balls he had sent out—20th Century Fox had already received five, and with Australia, it could be said they had six.

A series of big-budget failures, even 20th Century Fox couldn’t bear the weight. Their stock prices kept falling, and their market value continued to shrink.

Next month, Terminator 4 would be released, and 20th Century Fox might gather all seven dragon balls, naturally summoning the dragon.

Arriving at William’s area in Kensington Palace, William and Kate were waiting at the door. As Ronan and Jessica Felton got out of the car, they stepped forward to greet them, shaking hands and exchanging pleasantries.

Then, Ronan and William walked side by side in front, with Kate accompanying Jessica Felton behind them, entering Kensington Palace together.

They went directly to the second-floor living room, which was filled with family photos, books, magazines, and many household items like candles and greenery, maintaining a comfortable family atmosphere.

After all, this was a private banquet.

Ronan had briefly communicated with William over the phone before, and the two didn’t pay attention to the lively conversation between Kate and Jessica Felton, entering the study together.

“Rest assured,” William said, believing Ronan would understand. “This place has just been checked; there won’t be any problems.”

Ronan nodded. “I saw the news in the paper a couple of days ago. I can’t believe their hands would dare reach so far.”

William’s expression wasn’t pleasant. “They’ve broken the rules of the game.”

Although the newspapers hadn’t exposed anything yet, and he hadn’t obtained any evidence, he had his suspicions.

Ronan said gravely, “Some people are too reckless.”

William didn’t respond to Ronan’s words but instead asked, “Are you very concerned about this?”

“To be honest, I encountered a similar situation recently,” Ronan said calmly, seemingly suppressing anger. “Some private calls between Jesse and me, and a few calls with company executives, were all wiretapped.”

William was a bit surprised but, upon reflection, not really. “Their audacity is too great…”

“I was very shocked at the time,” Ronan briefly explained. “So, I had someone investigate, and the results… were horrifying. My people followed the trail from Los Angeles to New York, then from New York to Washington, and finally to London. Although what they found was shocking, I didn’t expect them to dare target the royal family…”

Listening to Ronan, William’s expression grew increasingly serious. As someone of his background, he naturally understood that a super-rich individual with a net worth of hundreds of billions, if truly determined to investigate, would uncover a lot.

“Do you have evidence?” William asked.

Ronan slightly nodded. “Some of it.”

William directly said, “Ronan, let’s collaborate.”

The banquet started late because Ronan and William had spent too much time in the study.

Ronan stayed in London for nearly a week, during which he visited many political and business figures, then returned to North America at the end of January to attend an event hosted by the George Lucas Film Foundation.

Chapter 1128: Deep Roots

Unlike most Hollywood film funds, which were commercial investment vehicles, George Lucas’s film foundation carried a more charitable nature. It rarely invested in commercial films, instead actively supporting film education and providing funding for experimental film projects to explore the future possibilities of the film industry.

Many of the foundation’s beneficiaries were graduates of the USC School of Cinematic Arts.

The event was held in Los Angeles, in the grand banquet hall of a hotel near the University of Southern California.

Ronan returned to Los Angeles that day and arrived at the event on time. In fact, his personal foundation also funded numerous projects, such as the latest practical training base at the USC School of Cinematic Arts.

Last year, Ronan’s personal foundation donated forty-two million dollars to the USC School of Cinematic Arts, leading to the establishment of the Anderson Film and Television Production Center, named by the university.

Ronan wasn’t the only one. Spielberg, also an alumnus of the USC School of Cinematic Arts, had donated nearly forty million dollars. Currently, a new building named the Spielberg Building was under construction at the film school.

Ronan also knew that George Lucas planned to donate over one hundred million dollars to the USC School of Cinematic Arts in one go to enhance the school’s teaching conditions, both in terms of software and hardware.

This donation would only be possible after George Lucas sold Lucasfilm.

George Lucas was currently the focus of Hollywood. He had officially announced his retirement this year, in 2009, and was preparing to sell Lucasfilm. Many companies were eyeing Lucasfilm.

After all, more than just Relativity Entertainment and 20th Century Fox recognized the value of Lucasfilm.

However, the severe economic situation, Wall Street’s temporary withdrawal of funds, and the inevitable cash crunch in Hollywood for a period made most companies eager but powerless.

Even Warner Bros, the leading company in Hollywood over the past decade, had to think twice before facing Lucasfilm’s asking price of over three billion dollars, with the requirement of cash payment and no exchange offers.

At this critical time, if any link in the funding chain had a problem, it could lead to a complete breakdown of the entire chain.

Nevertheless, the top executives of Hollywood’s Big Six were all present in the banquet hall. What if Lucasfilm could accept installment payments over three or five years? Wouldn’t that be their chance?

Ronan exchanged a few words with Kevin Tsujihara of Warner Bros and saw James Murdoch entering the banquet hall. After a moment’s thought, he directly approached George Lucas.

“Hi, George,” Ronan said, shaking hands with George Lucas.

George Lucas smiled and said, “I heard you went to the UK. I thought you wouldn’t come.”

Ronan shrugged slightly and said, “I just got back today.” He glanced at the less crowded lounge area in the banquet hall and said, “Let’s chat privately.”

Having known each other for many years, George Lucas didn’t refuse. He agreed and went to the lounge area with Ronan.

Ronan didn’t beat around the bush and asked directly, “George, haven’t you made a decision yet?”

The acquisition negotiations had been going on for several months, but they had been unable to reach a real agreement.

When dealing with large transactions, George Lucas was a qualified businessman. Along with the senior executives and shareholders of Lucasfilm, they had been using the attention of major companies to increase Lucasfilm’s bargaining power.

Someone had been watching Ronan and George Lucas and quickly approached, interjecting, “George, why don’t you seriously consider 20th Century Fox?”

Ronan had already seen James Murdoch. James Murdoch smiled and nodded slightly at him before saying, “20th Century Fox has always been Lucasfilm’s closest partner. From 1977 to now, we have over thirty years of cooperative history. No other company understands Lucasfilm better than 20th Century Fox.”

He emphasized, “And no other company is more suitable for Lucasfilm than 20th Century Fox!”

This was indeed 20th Century Fox’s advantage.

George Lucas didn’t respond, seemingly lost in thought.

James Murdoch glanced at Ronan and said, “Ronan, as far as I know, Relativity Entertainment has only cooperated with Lucasfilm in special effects production, and that cooperation has only lasted a few years.”

Ronan smiled and said, “Indeed, Relativity Entertainment can’t compare to 20th Century Fox’s deep roots.”

James Murdoch pulled out a chair and sat across from Ronan. He then said to George Lucas, “The greatest treasure you’ve left for Hollywood and the entire world film industry is the Star Wars series. 20th Century Fox still holds partial rights to this series. George, you’re retiring. You can’t let the Star Wars series be completely split, can you?”

George Lucas turned to look at James Murdoch and said, “Your style is just like your father’s.”

He didn’t say the rest, but James Murdoch, being Rupert Murdoch’s favorite son, had a similarly overbearing manner.

James Murdoch understood the implied meaning in George Lucas’s words, but 20th Century Fox was in a poor state. George Lucas personally leaned towards Relativity Entertainment. If 20th Century Fox wanted to secure the opportunity to acquire Lucasfilm, they had to come up with some ideas.

He smiled and said, “Don’t misunderstand, George. I’m just stating an objective fact.”

George Lucas remained composed and said, “I understand.”

Ronan then said, “James, does 20th Century Fox really have the sincerity to purchase Lucasfilm?”

James Murdoch first smiled at Ronan and then looked at George Lucas, saying, “That’s not wrong. As long as Lucasfilm is willing to sell, 20th Century Fox will buy.”

Ronan slowly asked, “Buy? Acquire? What method does 20th Century Fox plan to use? Equity exchange? Installment payments?”

20th Century Fox was tight on funds. Due to consecutive failures of major projects, the news of bank loan recalls and investor debt pressures had long been circulating in Hollywood.

Ronan and George Lucas had a fairly good personal relationship. In transactions involving billions of dollars, this relationship might, at best, make George Lucas, as a businessman, prioritize Relativity Entertainment when conditions were similar.

But this personal relationship and closer interactions allowed Ronan to accurately grasp George Lucas’s mindset in selling Lucasfilm.

George Lucas and a group of shareholders who held an absolute advantage in Lucasfilm were not interested in equity exchanges or installment payments. They wanted cash transactions.

Especially George Lucas himself, Ronan had once revealed that he wanted to use Netflix’s equity as an exchange condition.

But George Lucas, who only cared about the film industry and related technological industries, flatly refused.

George Lucas had comprehensive considerations for Hollywood’s film industry, experimental films, charitable causes, his alma mater USC School of Cinematic Arts, and his future with his new girlfriend. In his plans, these required large amounts of cash.

As the second-richest man in Hollywood, one of George Lucas’s purposes in selling Lucasfilm was to cash out.

Everyone had their own ideas, and Ronan had long understood George Lucas’s thoughts.

So, Ronan didn’t need James Murdoch to answer. He directly said, “James, even if Relativity Entertainment and I take a step back, does 20th Century Fox plan to pay in installments? Three years or five years? Or, like the copyright revenue sharing dispute between Relativity Entertainment and others, drag it on indefinitely?”

James Murdoch retorted, “20th Century Fox has deep roots…”

Ronan smiled and said, “I wonder which part of the industry 20th Century Fox plans to sell off? And who will take over?” He no longer paid attention to James Murdoch and said, “George, let’s talk somewhere else.”

George Lucas stood up first and said, “Follow me.”

Ronan went with him out of the banquet hall.

James Murdoch watched the two leave. George Lucas’s attitude had already revealed a lot.

Did he really plan to sell off some assets to continue competing for Lucasfilm?

To be honest, James Murdoch hadn’t made up his mind. Consecutive major project failures had already led to questions from shareholders and Rupert Murdoch.

If Lucasfilm could accept equity exchanges or installment payments…

James Murdoch frowned slightly, recalling George Lucas’s attitude, and gradually understood some things.

He then thought of a backup plan. Even if 20th Century Fox was out of the game, it wouldn’t be a complete failure. The rights to the Star Wars series were something no company acquiring Lucasfilm could bypass.

Even if Relativity Entertainment successfully acquired Lucasfilm, to recover their investment, they would inevitably have to focus on the Star Wars series. At that time, whether it was filming sequels or other operational aspects, it could evolve into prolonged copyright disputes.

Unless 20th Century Fox could get a larger share of the pie in this series.

In a hotel lounge, George Lucas asked, “Ronan, although I don’t lean towards 20th Century Fox, James Murdoch’s words aren’t entirely unreasonable. 20th Century Fox has always been the distributor of the Star Wars series. The copyright to the first film, A New Hope, is still in their hands. In other aspects…”

“I’ve already considered this issue,” Ronan said after careful consideration. At this stage of the plan’s development, some things wouldn’t matter even if they were exposed. He said, “Regarding this, Relativity Entertainment has a comprehensive plan. If everything goes smoothly, Relativity Entertainment can integrate all the copyrights and related revenues of the Star Wars series.”

George Lucas asked, “Can you elaborate?”

Ronan directly said, “Relativity Entertainment is preparing to acquire 20th Century Fox!”

Chapter 1129: The Triangular Structure

This month, America welcomed another leadership transition. The first Black leader in history stepped into the White House, ready to face the stormy challenges ahead.

His predecessor had left behind little fortune and no thriving economy—instead, a mess of chaos. The economic crisis raged on, the situation in America was grim; the quagmire of war in the Middle East showed no signs of ending; tensions with the Russian bear grew increasingly apparent, and the new Peter the Great, always flexing his muscles, left the leader looking weak.

Even the minions seemed less obedient by the day.

Black Carbon had his work cut out for him if he wanted to clean up America’s mess.

In a way, Black Carbon’s rise to power also marked a victory for Hollywood’s liberals.

Compared to the later Mr. Chuan, Hollywood stars criticized Black Carbon far less frequently.

Bashing Mr. Chuan had once been Hollywood’s political correctness.

At any large gathering or awards ceremony, Mr. Chuan was always a topic of conversation—though always as the villain.

As one of the first major conglomerates to invest in Black Carbon, Relativity Entertainment would face fewer political obstacles in the short term.

Some plans might have been halted by Washington or the Federal Trade Commission, which would have been unfortunate.

Collusion between politics and business was perfectly legal in America.

In the news hall of Relativity Tower, hundreds of reporters gathered, their cameras and lenses trained on the stage ahead.

Two men stood there: Ronan Anderson, Hollywood’s—and the world’s—richest man, and George Lucas, Hollywood’s second-richest.

Ronan and George Lucas each signed a contract before exchanging them and shaking hands firmly.

The room erupted in applause.

George Lucas gripped Ronan’s hand tightly and smiled. “Lucasfilm is yours now.”

Ronan returned the smile. “George, you’ll see Lucasfilm reach new heights.”

If it had been anyone else, George Lucas would have dismissed it as empty flattery. But Ronan had created too many miracles. He couldn’t help but say, “I believe in you and Relativity.”

Next, several executives from Relativity and Lucasfilm took the stage, posing for a historic photo together.

After months of evaluation and negotiations, Relativity and Lucasfilm officially reached an agreement this Monday, signing a share transfer contract with all shareholders.

Relativity had completed its acquisition of Lucasfilm, making it a wholly owned subsidiary.

This was a massive deal, the largest acquisition in Relativity’s history.

According to the agreement, within ten days of the official signing, Relativity would pay a total of three billion eight hundred eighty-five million dollars to Lucasfilm’s former shareholders in two installments.

This was slightly less than Ronan’s expected four billion, but it reflected Lucasfilm’s true value.

The addition of Lucasfilm also filled a gap for Relativity, giving them the world’s strongest special effects company—Industrial Light & Magic.

Ronan vaguely remembered that Walt Disney had acquired Lucasfilm for around four billion dollars.

Given Relativity’s outstanding performance in recent years and the staggering investment returns, thanks to Ronan’s preparations, the acquisition of Lucasfilm wouldn’t put too much strain on the company.

After the signing ceremony and press conference, George Lucas and the shareholders’ representatives left. The remaining Lucasfilm executives attended a brief meeting.

Ronan’s priority was stability. Since Lucasfilm was already running smoothly, no major changes were needed in the short term.

George Lucas had discussed this with Ronan, and after several face-to-face meetings, Ronan accepted his recommendation. Michael Zhou, Lucasfilm’s former distribution executive, would temporarily serve as Chief Executive Officer to ensure a smooth transition.

Robert Iger presided over the meeting, which didn’t last long. Its main purpose was to steady the team.

Afterward, Ronan and Robert Iger held a private meeting to discuss the next steps, including adjustments to Lucasfilm.

Though Lucasfilm was a comprehensive entertainment company with businesses in special effects, animation, and sound production, it had never ventured into distribution and lacked that capability.

Strictly speaking, it could be classified as a production company.

Embassy Pictures would naturally become Lucasfilm’s full-channel distributor.

Even so, there was some overlap between Lucasfilm and Relativity in other areas, and many departments or subsidiaries would need restructuring.

Most of Lucasfilm’s assets, like Industrial Light & Magic and Skywalker Sound, were high-quality, but there were also underperforming divisions like Lucas Animation and Lucas Games. According to Robert Iger’s plan, Lucasfilm would maintain some independence while undergoing industrial optimization.

Lucas Animation and Lucas Games would be merged into Shai Entertainment Animation Studio.

Other departments with high functional overlap and no need for integration would be spun off, sold, or dissolved.

Once the integration was complete, the next step would be to put a new Star Wars movie into production.

Over the next decade, Relativity would develop a new Star Wars trilogy, continuing the story of the Jedi after the original saga.

Sentiment and nostalgia were valuable, especially for Star Wars, the biggest film IP in the world.

Beyond movies, related animations and novels would continue to be created and published.

The most crucial merchandise would follow the Star Wars series’ tradition of excellence, continuing global sales.

However, Relativity would completely abandon American manufacturers for some merchandise, instead seeking new partners in international markets like the other side of the Pacific to further reduce costs.

Merchandise would remain the primary source of profit for the Star Wars series.

Additionally, based on his memories, Ronan planned to have someone direct a prequel film about Princess Leia’s rebel story before the events of A New Hope, without any Jedi appearances.

Of course, as the series’ most popular character, Darth Vader would make a cameo.

Then there were the TV series. With Netflix, the world’s largest streaming media platform, the Star Wars universe could expand further. A series focusing on the Mandalorians, for example, would easily attract a massive audience as long as the quality was decent.

Ronan would only initiate general plans and oversee them to some extent, but he wouldn’t personally involve himself in the creative process. He was well aware that, whether in the past or present, he wasn’t part of the Star Wars fanbase and couldn’t grasp its worldview.

Like most fans on the other side of the Pacific, Ronan found the Jedi’s lightsaber fights cringe-worthy.

In fact, George Lucas’s definition of the Jedi Order made them seem more like a cult.

No marriage, no personal property, no integration into society…

This was downright anti-human, so it was no surprise that someone like Anakin Skywalker had psychological issues.

The light side of the Force was always so prone to falling, and once they did, they became supervillains.

Dark side powers were stronger, but light side redemption was weaker.

It was precisely because he couldn’t appreciate Star Wars culture that Ronan knew better than to interfere. If he did, the series would be ruined.

Though George Lucas had retconned settings more aggressively than Blizzard, at least he wouldn’t turn Star Wars into a cult of light tubes.

Bringing George Lucas back wasn’t necessary either. Ronan feared he’d retcon the original trilogy’s lore and then do the same to the prequels.

What was that old saying? The greatest creator of Star Wars culture was also its worst director.

That might be an exaggeration, but it wasn’t entirely wrong.

After completing the acquisition, Ronan planned to assemble a team of writers to create a tightly connected trilogy script. The previous trilogy wasn’t outstanding, but it had its merits—like a female protagonist, an adorable robot, and other merchandise.

Selling merchandise was more important than making movies.

So, Darth Vader would appear in flashback-like scenes.

As for the male supporting character, a Black actor would work—it would at least appeal to the growing Black audience in North America.

But the previous image of an unattractive, dim-witted character was out of the question. At the very least, he needed to be visually appealing.

If that didn’t work, they could just cast a Latino actor.

For the vast future market on the other side of the Pacific, the third protagonist should be of Chinese descent, preferably a well-known male actor from there.

Someone like Andy Lau would be perfect.

In the past, Star Wars was one of the better-treated major Hollywood imports on the other side of the Pacific, though it still didn’t compare to Pixar’s animated features.

The original trilogy’s protagonists formed a triangular structure with Luke, Han Solo, and Princess Leia, while the prequel trilogy had Obi-Wan, Anakin, and Queen Amidala.

For the new trilogy, the protagonists should also follow a triangular structure.

A white woman, an African or Latino man, and an Asian/Chinese man.

After stabilizing Lucasfilm, Ronan made time to meet with high-ranking figures from Wall Street.

Led by Goldman Sachs’ Chief Executive Officer, Lloyd Blankfein, they had come to Los Angeles at Ronan’s invitation.

Chapter 1130: No One Can Stay Out of It

The Beverly Hills club had suspended its film business today to specially receive Ronan and his guests.

The reception room near the southern slope of the mountain, through the massive floor-to-ceiling windows, offered a view of half of Los Angeles, making one feel as if the entire City of Angels was within their grasp, as if they were the master of Los Angeles.

Lloyd Blankfein stood by the window, his eyes seemingly gazing at the City of Angels, but his mind carefully recalling the materials he had seen earlier.

Even from his perspective, it was somewhat shocking.

Not because of the content, but rather the audacity and madness of the methods used against ordinary people—though such things were commonplace on Wall Street.

How many people across America had gone bankrupt because of Wall Street? Too many to count.

But using these methods directly on major figures in both political and business circles, and on such a large scale, was truly reckless.

The consequences could be severe—even imprisonment.

One could imagine the situation they would face if this were exposed.

In fact, some of it even involved Wall Street groups, including Goldman Sachs.

Upon reflection, it wasn’t surprising. The Wall Street Journal in their hands always managed to quickly grasp industry dynamics…

Now, it seemed there was a reason for that.

Ronan did not rush to speak. Sitting in the armchair, he patiently waited.

The plan had progressed to this point. Though everything was still hidden beneath the surface, the overall situation was set.

Given Lloyd Blankfein’s character and the circumstances Goldman Sachs faced, he would not let such a good opportunity slip away.

Though Goldman Sachs was in a far better position than Lehman Brothers and Merrill Lynch, it had still been hit by the economic crisis. In this financial storm sweeping across multiple industries and global markets, no company on Wall Street could stay out of it.

Having such a good opportunity during an industry and market downturn was extremely rare.

Lloyd Blankfein did not deliberate for long. Soon, he walked back from the floor-to-ceiling window and sat down in his previous armchair, saying, “Ronan, is all of this true?”

Ronan set down his teacup. “Would I joke about such a thing?”

“This isn’t everything, is it?” Lloyd Blankfein asked. “There’s more, isn’t there?”

Ronan did not answer directly. Instead, he said, “Isn’t this enough?”

Lloyd Blankfein nodded slightly, then suddenly smiled. “Goldman Sachs and Relativity Entertainment have always been on good terms. Since you’ve personally asked, I’ll help with this.”

Ronan also smiled. “This isn’t Relativity Entertainment asking Goldman Sachs for help—it’s Relativity Entertainment helping Goldman Sachs.” He spoke leisurely. “Once this explosive news breaks, the situation 20th Century Fox and News Corporation will face is imaginable. With Goldman Sachs’ capabilities in the capital market, there’s plenty of room for maneuvering, isn’t there?”

Lloyd Blankfein was not embarrassed. Smiling, he said, “This is mutual benefit.”

Ronan spread his hands. “Cooperating with Relativity Entertainment always brings gains.”

Lloyd Blankfein couldn’t possibly believe that. Goldman Sachs’ cooperation with Relativity Entertainment had indeed been smooth overall, but the premise was that Goldman Sachs itself had extremely strong capabilities.

How had Relativity Entertainment developed? It had swallowed up countless small companies along the way—it wouldn’t be an exaggeration to say it devoured people without spitting out the bones.

Lloyd Blankfein suddenly asked, “Why are you willing to share such a good opportunity with us, Ronan?”

Ronan casually replied, “When News Corporation and 20th Century Fox’s stock prices fall, I believe you have the means to gain huge profits while making their decline even more severe.”

Only with greater pain would the Murdoch family suffer a heavier blow, making them more likely to sell 20th Century Fox.

Otherwise, if the Murdoch family held on stubbornly and refused to sell, Relativity Entertainment would have no good options without paying a huge price.

For Relativity Entertainment to acquire 20th Century Fox at a lower cost and weaken the entire News Corporation, this was a fundamental condition.

Moreover, it wouldn’t be wise for Relativity Entertainment to directly challenge News Corporation on its own.

The top predators of Wall Street, left hungry by the financial crisis, had now caught the scent of blood…

Lloyd Blankfein said, “I will carefully consider the possibility of short selling.”

Ronan said, “In the current economic environment, such an opportunity is hard to come by again if missed.”

“I understand.” Lloyd Blankfein slowly said, “I need time to consider.”

Ronan did not say more. “I hope we have the opportunity to work together again.”

Robert Iger had also made preparations. Relativity Entertainment had contacted a professional trading team and would invest a certain amount of funds and resources.

Lloyd Blankfein stood up, shook hands with Ronan, and then took his leave.

Ronan called Robert Iger, briefly informing him of the situation so that Robert Iger could better grasp the real-time developments.

Robert Iger was in charge of the specific execution and had been making preparations. If this succeeded, he would become the Chief Executive Officer of the top entertainment media group in America, even the world.

In the afternoon, Ronan rushed to Century City’s Pacific Investment Foundation and met with Lin Jian of the Qianlu Group, who had come to Los Angeles again.

Over the next year, Lin Jian would stay in Los Angeles for an extended period. Whether the Qianlu Group’s entertainment empire could be successfully established depended on this critical time.

This time, he had also seen Relativity Entertainment’s preliminary plan. Based on his years of business experience, the success rate was extremely high.

“Mr. Anderson.” Lin Jian’s square face was full of caution as he reminded, “The opponent is an old fox with many years of experience—don’t underestimate them.”

Ronan was equally cautious. “Mr. Lin, rest assured. The plan is not only proceeding smoothly, but we have also prepared multiple contingency plans to prevent unexpected situations.”

This wasn’t Lin Jian’s first time dealing with Ronan. He knew this man possessed a maturity and steadiness far beyond his years. “Very well. The Qianlu Group’s funds will enter the market soon. At the latest, they will be transferred to the new company’s account by the end of this month.”

Ronan nodded slightly. “Relativity Entertainment’s funds will be in place this week.”

Lin Jian seemed to see a massive entertainment company beckoning to him. “Mr. Anderson, if possible, I hope to retain more business. Money is not an issue.”

Ronan smiled. “The agreement has already been signed. Mr. Lin, let’s proceed according to the agreement.” After a moment’s thought, he added, “Even after stripping away the parts Relativity Entertainment needs, what the Qianlu Group will receive will be worth more than DreamWorks.”

Lin Jian could only sigh inwardly. The Qianlu Group wasn’t simply being led by the nose by Relativity Entertainment. Over the past half-year, they had done enough research.

As long as they could successfully obtain the desired parts, the Qianlu Group’s entertainment business could immediately enter the world’s first tier.

Perhaps it couldn’t compare to Relativity Entertainment or the remaining top Hollywood companies, but it would be second only to them.

Years of hard work couldn’t compare to one acquisition.

No wonder so many people were obsessed with capital games—it seemed like a good shortcut compared to steadily developing industries.

Lin Jian asked, “When will the formal launch be?”

“We need time to make the final preparations.” Ronan gave a rough timeline. “Next month. 20th Century Fox has a major film premiering next month.”

Now, including Australia starring Nicole Kidman, 20th Century Fox had already collected six dragon balls. No one knew if Terminator 4 would become the seventh.

If it did, that would be even better. 20th Century Fox had invested over three hundred million dollars in production and marketing costs for Terminator 4. If it failed, it would trigger a series of chain reactions.

Even if it didn’t, Relativity Entertainment would ensure 20th Century Fox successfully summoned the dragon.

Each of the dragon balls 20th Century Fox had painstakingly taken from Relativity Entertainment shimmered with the super prestige of “massive losses.”

According to investigations from multiple sources, consecutive failures of major film projects, the money-burning black hole of Fox Online streaming media, the pressure of the economic crisis, along with the resulting debt, loan recalls, and financing difficulties, had left 20th Century Fox’s cash flow extremely tight. Even though Fox TV could still bring in some revenue, it was stretched to the breaking point.

If it weren’t for the Murdoch family and News Corporation backing it, 20th Century Fox itself would have a hard time getting through this.

It was only because Hollywood’s major companies now belonged to even larger media groups that even first-tier studios, after so many major flops, could avoid bankruptcy.

The Qianlu Group moved quickly. The day after Ronan met with Lin Jian, a sum of three and a half billion dollars was transferred to the account of the new company jointly invested in by Relativity Entertainment.

According to feedback from Relativity Entertainment’s Eastern branch, the Qianlu Group had been heavily borrowing from banks on the other side of the Pacific and had received considerable support.

It could only be said that this group’s ability to develop was backed by deep connections in that region.

Ronan vaguely remembered that this company’s debt had once reached an extremely exaggerated level. Later, due to certain reasons, they had to sell off major assets to repay bank debts.

But this also proved that the Qianlu Group had a very strong ability to raise funds.

From the initial financing from the Abu Dhabi Group to start Shai Entertainment, to now cooperating with the Qianlu Group, Ronan’s operations in “borrowing a hen to lay eggs” had become increasingly skilled.

20th Century Fox had many businesses that overlapped significantly with Relativity Entertainment. There were also parts, such as certain production departments and Blue Sky Studios, that Relativity Entertainment had no need to acquire.

Before the official acquisition battle began, Ronan not only successfully found a buyer to take over, but also had the buyer intervene early, providing real funds to alleviate Relativity Entertainment’s financial pressure.

Chapter 1131: The Beginning

The plan to acquire 20th Century Fox had not yet formally surfaced and remained within a very small circle of shared interests. Apart from quietly preparing for this task, Relativity Entertainment’s normal business operations had not been affected in any way.

Especially in the film sector, production, filming, and marketing and distribution were all proceeding according to plan.

In late January, Uwe Boll’s latest masterpiece once again served as Relativity Entertainment’s opening film of the year.

The Witch Hunter Washington held its premiere in Richmond, the capital of Virginia. According to legend, it was in this state that Washington achieved the feat of felling the Cherry Tree Demon, thus embarking on the path to saving America alongside the other Founding Fathers.

This film was not just about Washington’s adventure alone; it also introduced like-minded individuals such as Franklin and Jefferson.

With the resounding declaration of “Humanity shall never be enslaved,” Washington’s voice rang out powerfully.

Last year’s Abraham Lincoln: Vampire Hunter had stirred considerable market response and sufficiently hyped up The Witch Hunter Washington. Coupled with Uwe Boll’s appeal as a viral director, many audiences were willing to pay for this film.

In its first week of North American release, The Witch Hunter Washington, though unable to surpass Sony Columbia Pictures’ Mall Cop, which grossed thirty-two million dollars, still secured second place on the box office chart. It earned twenty-two million six hundred sixty-six thousand dollars across three thousand seven hundred fifty theaters.

This result was nearly three times its production budget of eight million dollars.

Despite the film’s abysmal reputation, it did not hinder Uwe Boll from achieving commercial success once again as a director.

Brother Bao’s journey as a director was far from over.

Perhaps after directing so many notoriously bad video game adaptation films and licking Blizzard’s boots for years, only to end up with nothing, Uwe Boll had gained some insights and found his own path in filmmaking.

Previously, Uwe Boll’s films were so poorly made not only due to his own issues but also because of the source of film funding, which was a significant factor.

Germany’s tax rebate policy led too many people to operate films rather than properly produce them.

Just like the highly formulaic horror films such as Final Destination and Saw, Uwe Boll had also found his own audience.

Reflected in the film, The Witch Hunter Washington crossed the forty-million-dollar mark in North American box office in just ten days, easily bringing substantial profits to Relativity Entertainment.

The previous Abraham Lincoln: Vampire Hunter had grossed one hundred fifty-two million six hundred eighty thousand dollars worldwide. The box office share alone brought Relativity Entertainment tens of millions of dollars in profit.

This film would also soon begin wide release in the global market.

The first weekend of February belonged to football, America’s number one sport. The influence of the NFL was such that the combined impact of the next three major sports leagues could barely compare.

The Super Bowl was typically held on the first weekend of February every year.

As the American Spring Festival, its influence and viewership were staggering. Even films released during the Super Bowl weekend would be significantly affected.

Most major Hollywood investments would concentrate on the following weekend, which was also the weekend before Valentine’s Day. Many films were prepared to occupy the Valentine’s Day schedule to secure satisfactory earnings.

Among them, the two most anticipated films were: one was Relativity Entertainment’s Twilight series’ third installment, Eclipse, and the other was 20th Century Fox’s nearly solely funded sci-fi blockbuster, Terminator 2018.

Both films were sequels to highly popular series. The former had created a series of miraculous records last year, truly a miracle of fan movies.

The latter had a production budget of two hundred million dollars, with 20th Century Fox investing one hundred fifty million dollars in global promotion and distribution.

20th Century Fox had high hopes for this super blockbuster.

Similarly, Relativity Entertainment also expected Twilight: Eclipse to achieve income and profits comparable to New Moon.

A year after the release of New Moon, the annual settlement report data had been compiled and sent to Ronan’s office.

New Moon ultimately grossed three hundred fifteen million four hundred thousand dollars in North America and over four hundred thirteen million six hundred thousand dollars overseas, totaling seven hundred twenty-eight million one hundred thousand dollars worldwide.

Currently, all global box office shares had been accounted for, and Relativity Entertainment had earned a total of two hundred seventy-six million five hundred thousand dollars.

In home entertainment, led by DVDs, New Moon generated one hundred eighty-five million six hundred ninety thousand dollars globally.

In global television rights and online streaming, the film earned one hundred fifty-one million two hundred fifty thousand dollars.

Since merchandise and copyright were accounted for separately, the film’s total income only included these three major items, totaling six hundred thirteen million four hundred forty thousand dollars.

In terms of costs, New Moon had a production budget of forty-five million dollars, global promotion and distribution expenses of eighty-four million five hundred thousand dollars, and home entertainment and television rights costs totaling twenty-six million five hundred thousand dollars. The cast, including Lindsay Bill, director Catherine Hardwicke, and other key creators, had a total backend profit share of sixteen million two hundred thousand dollars as per Guild regulations. The Pacific Foundation’s investment interest was fifteen million seven hundred thousand dollars, and Relativity Entertainment’s daily management fees and other expenses amounted to thirty-two million one hundred thousand dollars.

According to Hollywood’s usual calculation method, the film’s total expenditure was as high as two hundred twenty million dollars, with a net profit of a staggering three hundred ninety-three million four hundred forty thousand dollars.

Of course, some of these calculation methods involved Hollywood’s tricks, such as the film company’s daily management fees and other expenditures.

This was the income from the three major film items over the past year. Including other peripheral income, New Moon brought Relativity Entertainment a net profit of over four hundred fifty million dollars.

The film would continue to shine in the coming years, generating hundreds of millions of dollars in revenue each year for the next three years.

Relativity Entertainment expected that the profits from Eclipse in its first year of release would not be lower than New Moon, even with the presence of a behemoth like Terminator 2018 among the films released during the same period.

20th Century Fox was facing financial difficulties and was eager to recover funds. Terminator 2018 was specifically scheduled for release during the Valentine’s Day period in February, a time when audience enthusiasm was at its peak between the New Year and the summer season.

Even Rupert Murdoch personally invited James Cameron back from the South Pacific to attend the premiere of Terminator 2018 to boost the film’s promotion.

Compared to 20th Century Fox’s massive investment, Embassy Pictures’ promotion for Twilight: Eclipse still followed last year’s policy, focusing primarily on the couple Robert Pattinson and Kristen Stewart.

The promotional storyline for this installment had been pushed by Embassy Pictures to the stage where Robert Pattinson proposed to Kristen Stewart.

The two attended the Super Bowl the previous weekend, and the diamond ring on Kristen Stewart’s finger was particularly dazzling. With Relativity Entertainment’s backing, it even stole some of the limelight from the Super Bowl winners, the Pittsburgh Steelers.

In the next two years, there would be plenty of eye-catching stories to tell, such as breakups, public proposals, and engagements.

Robert Pattinson and Kristen Stewart had long since signed an agreement under the promotion of their management company and Embassy Pictures. Regardless of the authenticity of their relationship, they were not allowed to cheat or break up until the Twilight series concluded.

As for whether Robert Pattinson and Kristen Stewart would break up or cheat after the Twilight series ended, that was none of Relativity Entertainment’s concern.

This couple, whose relationship was both real and fake, played an extremely important role in the promotion of the Twilight series. Whether it was under Lionsgate Films or now under Relativity Entertainment’s contract, it was a successful example of Hollywood couple marketing and could be included in film marketing textbooks as a classic case study.

Eclipse, as a film entirely targeting female audiences, successfully continued the momentum of New Moon. On its first day of release in North America, it set a new series record with sixty-six million eight hundred thirty thousand dollars, easily surpassing the super blockbuster Terminator 2018 released during the same period and securing the top spot on the North American box office chart on its opening day!

Terminator 2018 finally allowed 20th Century Fox to collect the seventh dragon ball!

This super blockbuster earned eleven million four hundred thousand dollars on its opening day, with an extremely mediocre audience response.

The negative impact of the third installment ultimately affected the fourth, seemingly proving that without the Governor as the main character, audiences were unwilling to pay for the film.

In fact, even if the Governor returned, audiences would no longer pay for this film.

Had Judgment Day truly ended? Would machines return to the past in the future? The constant time travel might have already worn people out.

The Terminator series initially stemmed from a great idea but had now devolved into a terrible mistake.

Over the next three days, although both Eclipse and Terminator 2018 showed a trend of rapidly declining box office, with the latter’s decline being smaller, the overall number of audiences for Terminator 2018 was too low.

In the North American opening weekend, this sci-fi blockbuster only earned twenty-six million six hundred twenty thousand dollars. Compared to the massive investment, it could only be described as a disastrous flop.

Despite widespread criticism and the series’ reputation hitting a new low, Eclipse remained a favorite among young women. It exploded with one hundred fifty-seven million seven hundred seventy thousand dollars in three days, not only securing the box office crown but also achieving substantial profits during the opening weekend!

The next two installments in the series had completed all filming and would continue to be released during the Valentine’s Day period in the next two years.

20th Century Fox had originally planned to develop Terminator 5, but the sequel plan was canceled on the first day of Terminator 2018’s release.

The seven shining dragon balls were finally collected by 20th Century Fox, and the dragon was successfully summoned!

The disastrous failure of Terminator 2018 was first reflected in the stock market. 20th Century Fox’s stock price plummeted, and on the first trading day after the North American opening box office was announced, the market value evaporated by over one billion dollars.

This was merely the beginning of a series of terrible events.

Chapter 1132: Relentless Blows

The Fox Building, a meeting was underway.

Due to the box office flop of Terminator 4, the management of 20th Century Fox was in dire straits. The board of directors and some shareholders could only describe their feelings as furious.

The operations of 20th Century Fox over the past two years had deeply harmed their interests.

This was no longer something that could be suppressed with a few explanations or by invoking the Murdoch family.

Seven consecutive major film projects had flopped at the box office. The shareholders and some directors were extremely dissatisfied, especially with the person currently in control of 20th Century Fox.

“Mr. Murdoch, regarding Terminator 4, Australia, Dragonball Evolution, and other films…”

Inside the conference room, a white-haired man questioned James Murdoch, “Do you need to give the board an explanation?”

Before James Murdoch could respond, a representative from the shareholders’ meeting followed up, “Since you took office, all major film projects at 20th Century Fox have failed. The heavily invested Fox Online has shown no improvement, and the stock price keeps falling!”

These words struck James Murdoch, who remained expressionless. Strictly speaking, both the film projects and Fox Online were messes left by the previous administration. But the previous leadership had already been forced to resign, leaving the current management to bear the blame.

James Murdoch let out a sigh and said, “Everyone, please listen. The difficulties are only temporary…”

“Temporary?” another independent director retorted. “Is it really temporary? 20th Century Fox’s cash flow is tight and could break at any moment. The stock price is sluggish, and the market has lost confidence. How do you plan to recover?”

James Murdoch quickly replied, “We are formulating a new plan and will soon overcome the difficulties. The board and shareholders must have confidence in the management. We will definitely overcome the current crisis.”

Such vague and grandiose statements did not satisfy the board members and shareholder representatives present.

Another independent director, with a stern expression, solemnly stated, “Mr. James Murdoch, I have discussed this with several board members. Since you took over 20th Century Fox in Los Angeles, the company has been on a downward spiral. The stock price keeps falling, film and TV projects repeatedly fail, the new streaming media business Fox Online shows no future, and relations with major companies like Warner Bros and Relativity Entertainment have deteriorated, leading to disputes…”

These words instantly ignited James Murdoch’s anger. Were these his problems?

Anger boiled within him, but James Murdoch was not an inexperienced young man. Years of managing News Corporation’s UK business had taught him to maintain composure, at least on the surface.

The independent director continued, “There is clear data showing that since you took office, 20th Century Fox’s total market value has evaporated by more than twenty percent and continues to decline. Mr. James Murdoch, I have sufficient reason to question whether you are fit to lead 20th Century Fox.”

The white-haired man added, “I agree with your opinion.”

The shareholder representative glanced at James Murdoch and said, “On behalf of twenty-five shareholders, I propose to convene this year’s shareholders’ meeting ahead of schedule.”

James Murdoch’s expression gradually darkened. “I have received your opinions. That’s all for today. Meeting adjourned!”

With that, he stood up and left the conference room without looking back.

James Murdoch paid no attention to the directors and shareholders left in the room. Instead, he thought about returning to New York soon to personally explain the real situation at 20th Century Fox to his father.

This was not his responsibility; it was more of a historical legacy issue!

Alright, he admitted that due to his success in the UK, he had somewhat underestimated Hollywood and the US entertainment industry. He thought that with his abilities and the strong foundation of 20th Century Fox, success would not be difficult.

But the results were far from ideal.

James Murdoch returned to his office and sat in his chair, thinking for a moment, his brows furrowing.

Some things puzzled him.

Although he had not been deeply involved in Hollywood and the US entertainment industry before, since taking over 20th Century Fox, he had adopted a relatively cautious strategy. He had not made any drastic changes just because he was new to the position.

Logically, 20th Century Fox should have achieved a smooth transition.

Moreover, as the future heir of the Murdoch family personally in charge of 20th Century Fox, he had brought greater support from News Corporation. 20th Century Fox should have had better development.

Even though 20th Century Fox had participated in the parent company’s acquisition of Time Warner, with some resources tied up in Time Warner’s shares, it was far from a crippling situation.

However, the predicament faced by 20th Century Fox far exceeded his highest estimate before taking over.

If things went wrong, he might really be kicked out of 20th Century Fox and lose his father’s favor.

James Murdoch felt he needed to come up with an explanation to give his father an account and find a good solution to help 20th Century Fox through this crisis.

As long as he had the support of News Corporation and his father, the difficulties were only temporary…

A sudden, urgent knock on the door interrupted his thoughts. The person outside seemed very anxious.

James Murdoch frowned and said, “Come in.”

The assistant pushed open the door and entered, holding a fax in hand. His expression showed surprise, and beads of sweat were visible on his forehead.

“What’s wrong?” James Murdoch asked. “Why are you in such a panic?”

The assistant quickly said, “The latest news from the UK. Several media outlets reported today that our media companies used wiretapping methods…”

James Murdoch couldn’t help but stand up, interrupting, “What?”

The Fleet Street crowd always loved to spread rumors. If it were any other news, James Murdoch would have just laughed it off. But wiretapping was different. During his years managing the UK business, he had tacitly allowed his subordinates to use such methods to obtain news.

The assistant clearly hadn’t finished speaking, “The British royal family just issued a statement. Prince William confirmed that his phone was tapped and has formally reported it to Scotland Yard.”

James Murdoch took the fax from the assistant, glanced at it, and sat back down. “How could this happen? How could the news leak?”

The assistant didn’t know how to respond to his boss.

James Murdoch was not an ordinary person. He quickly suppressed the panic rising in his heart and forced himself to calm down. There was still a chance to salvage the situation.

It was just a few small media outlets. Fleet Street was always synonymous with rumor-mongering. With News Corporation’s media business in the UK, it wouldn’t be difficult to discredit them as slanderers.

As for the royal family and Prince William, that was a bit more troublesome, but not insurmountable. After all, they had name but no real power.

However, this was still the world’s most famous royal family, and their influence couldn’t be underestimated.

Thus, spreading rumors wouldn’t solve the problem, nor could they dismiss the British royal family and Prince William.

They would have to throw a few scapegoats under the bus.

This needed to be done quickly. The longer it dragged on, the deeper people would dig, increasing the chances of uncovering more damaging information.

James Murdoch quickly made a decision, “Have The Sun find two paparazzi on the periphery. Give them enough money to admit that the wiretapping was a spontaneous act and that they take full responsibility. Then, have the involved media outlets issue apologies and make appropriate private compensations. Resolve this quickly.”

The assistant said, “Alright, I’ll contact them right away.”

Shifting blame, especially onto small fry, was undoubtedly the best approach.

As long as enough money was offered, finding people to take the fall wasn’t difficult. There might even be people lining up to be scapegoats.

Just as the assistant was about to leave, his phone suddenly rang. It was his work phone. He quickly took it out and glanced at it.

“Answer it,” James Murdoch said.

After answering the call and saying a few words, the assistant’s expression changed instantly, as if he had encountered a major incident.

James Murdoch, already mentally exhausted from the day’s events, looked at the assistant’s stiff expression. Could something else have happened?

The assistant hung up the phone and said to James Murdoch, “Boss, just… I…”

He took a deep breath to calm himself and said, “The latest news. Relativity Entertainment held a press conference this morning for over a hundred media outlets, claiming that Relativity Entertainment, Ronan Anderson, and Ronan Anderson’s girlfriend, Jessica Felton, had their phones tapped. They presented some evidence on the spot and have formally reported it to the police and the FBI. According to that evidence, the target subtly points to 20th Century Fox and…”

The assistant glanced at James Murdoch, “…and you personally.”

The fax in his hand fell to the ground. James Murdoch was stunned for a moment and said, “Didn’t I tell you to bring the people back?”

“Last time, after the failed acquisition of Time Warner,” the assistant cautiously reminded, “you sent them out again to collect information, intending to target Relativity Entertainment later.”

James Murdoch instantly realized the severity of the problem. This was far more serious than tapping a British prince’s phone. He stood up and paced back and forth anxiously.

“What should I do?” he muttered to himself. “What should I do?”

The assistant remained silent. If the boss didn’t know what to do, how could a small assistant know?

In just one morning, a series of relentless blows had left James Murdoch truly panicked. Finally, he pulled out his trump card, “I need to call New York. Father will definitely have a solution.”

Chapter 1133: Complete Collapse

Beverly Hills, Future World Estate.

Over a hundred reporters gathered in front of the modern white marble entrance, their cameras continuously snapping photos of the dozen FBI vehicles parked at the gate.

Not far away, an AT&T signal station had been cordoned off by the FBI. Technicians from AT&T were assisting FBI personnel in collecting evidence.

The reporters could only take photos from the perimeter, but the stern expressions of the FBI agents made it clear that the news released by Relativity Entertainment was likely true.

While the professionals remained serious, the reporters were buzzing with excitement. The news that Ronan Anderson and his girlfriend had been wiretapped was explosive enough to keep the media busy for months.

If the story got even juicier—perhaps if the wiretappers had obtained videos or recordings of Ronan and Jessica Felton—it would be even more sensational.

But the reporters were destined for disappointment. The next wave of explosive news would have little to do with Ronan and Jessica.

This was only the beginning.

“We are just victims.”

Inside the estate’s grand hall, Ronan watched the departing senior FBI agents and turned to Jessica Felton, who had just arrived at his side. “As victims, we must seek justice.”

Jessica, who was well aware of the plan, asked, “What can I do?”

Ronan turned and gently draped his arm over her shoulder. “Express the anger of a victim.”

Since Jessica had already been drawn into this, Ronan wasn’t about to claim she was uninvolved. Besides, Jessica Felton had never been naive.

Jessica nodded slightly. “I know what to do.”

As a producer, she understood how to wield the power of media and public opinion.

Soon, Finch returned after seeing off the FBI agents. Ronan asked, “Are they gone?”

Finch replied softly, “The FBI has withdrawn for now, but there are still many reporters gathered at the estate’s entrance.”

Ronan waved his hand dismissively. “Ignore them.” He then asked, “How is Robert Iger’s side doing?”

Finch answered, “They’ve already begun their moves. Attacks are being launched simultaneously in the UK and the United States. Additionally, Wall Street’s Goldman Sachs and Morgan Stanley have been shorting News Corporation and 20th Century Fox for some time. The funds from Qianlu Group on the other side of the Pacific are all in place. We can strike at any moment.”

At this stage, individual efforts could only do so much. Ronan calmly said, “Let’s wait patiently.”

Jessica tightly gripped his hand. “No matter what happens, I’ll stand by your side and face it with you.”

Ronan smiled. “Don’t worry. Bob and I have been planning this for years. We won’t let anyone turn the tables.”

Though the plan had only just been set in motion, all the groundwork had been laid long ago. What seemed like a sudden attack had actually been years in the making.

From the moment Ronan sent out the first dragon ball, over four years had passed.

Jessica then said, “Come with me to the study. Help me figure out what to write on Netflix sharing.”

Ronan nodded and turned to Finch. “Notify me immediately if there’s any news.”

He accompanied Jessica to the first-floor study. Online, a wildly spreading “wiretapping scandal” was taking shape.

This had nothing to do with justice, nor with conflict, revenge, or counterattacks. Everything was driven by business interests.

Even without James Murdoch, regardless of what the other side had done, Relativity Entertainment’s target would still have been 20th Century Fox.

Over the past few days, reporters from the United States to the UK had been buzzing with excitement, as if injected with adrenaline.

The world’s media was focused on the UK and the United States.

In the UK, a series of wiretapping incidents were exposed by the BBC, instantly plunging News Corporation and its media outlets into a whirlpool of public opinion.

The News of the World was reported for possible wiretapping. James Murdoch’s former deputy in the UK, Rebecca Brooks, attempted to bribe the police with seven hundred thousand pounds to secretly resolve the matter but was instead recorded on video.

More than one former employee of The Sun revealed to the media that James Murdoch, the current chairman and president of 20th Century Fox, had spent millions of pounds during his time in the UK to suppress wiretapping incidents.

The previous wiretapping incident involving William further escalated. Political figures were not limited to William alone. A list of individuals who had been wiretapped, leaked from within the News of the World, was published by an authoritative Fleet Street media outlet. It included celebrities, tycoons, members of Parliament, and union leaders.

MP George Galloway and Railway Union Chairman Bob Carroll publicly reported to Scotland Yard that their phones had been wiretapped.

Soon after, former Deputy Prime Minister Prescott, Labour MP Chris Bright, and the former London Police Commissioner also filed reports. According to documents released by the BBC, their phones had also been wiretapped.

As more evidence surfaced, the number of victims reporting to the police surged, reaching nearly three hundred.

And these three hundred were far from ordinary people—they were at least well-known football players and sports commentators.

Almost everyone demanded that the government conduct the fastest possible investigation.

Including Manchester United players, numerous footballers launched protests. The Players’ Union and the FA also demanded a thorough government investigation.

The UK media’s coverage was far from over. The latest released documents showed that before James Murdoch left his position, he had already included the current resident of 10 Downing Street, Gordon Brown, and the lady of Buckingham Palace on his hunting list.

From the media to the public to public opinion, there was an uproar. The British were shocked. The audacity and madness of this Australian family were beyond description.

All that could be said was that they were truly the descendants of exiled convicts.

Although News Corporation’s media outlets were desperately defending themselves, claiming these were the actions of individual employees, they were powerless against the overwhelming tide of public opinion.

Scotland Yard also quickly released the latest investigation results. The case was not just shocking—high-ranking police officials were involved.

Without official cover-ups, the investigation proceeded smoothly. The police soon uncovered a new list of victims and made it public to reduce their own pressure.

The UK Chancellor of the Exchequer and many families of British soldiers who had died in Iraq and Afghanistan also joined the ranks of victims.

The list of victims grew rapidly. In just two days, two princesses of the royal family and the Secretary of State for Culture, Media, and Sport also fell victim.

This could no longer be described as shocking.

From sports to culture, from business to politics, from officials to the royal family, News Corporation had almost swept them all.

The latest episode of the BBC’s political news program even used the headline: The Great British Kingdom Has Completely Fallen into the Hands of the Murdoch Family.

The country had a very serious problem—it seemed to belong to a certain family.

In reality, the Murdoch family and News Corporation had a massive influence in the UK, but they were far from monopolizing it. Their actions were something no normal country could tolerate.

Under immense pressure, the UK acted swiftly, arresting several News Corporation employees, including James Murdoch’s former deputy, Rebecca Brooks. They also demanded that all News Corporation subsidiaries and media outlets in the UK fully cooperate with the investigation.

When the scandal broke, James Murdoch and Rupert Murdoch quickly rushed to London, intending to handle the crisis personally.

But a day later, they had to return to the United States.

Because the wiretapping scandal had fully erupted in the United States as well.

Under the strong pressure from Relativity Entertainment and the authorities in Washington, D.C., the FBI moved quickly. They soon arrested several individuals, and according to the evidence, the blame pointed directly at James Murdoch’s current assistant.

Meanwhile, similar to the situation in the UK, many prominent figures in the United States also became victims.

This included numerous Hollywood stars, sports icons, political figures from Washington, D.C., executives from Amazon and Time Warner, famous authors, media contributors, families of fallen soldiers, and families of 9/11 victims. The total number exceeded two hundred in just one day.

The media involved included multiple television and news outlets under Fox, as well as News Corporation’s New York Post and The Wall Street Journal.

Suddenly, American celebrities were all on edge.

In this so-called land where freedom reigns supreme, such a scandal erupting with powerful forces behind it meant that the pressure on News Corporation and the Murdoch family was unimaginable.

The authorities in Washington, D.C., and the newly elected leader declared that they would thoroughly investigate the matter and provide an explanation to all Americans.

After obtaining concrete evidence, James Murdoch was summoned by the FBI in Los Angeles and subsequently arrested. Although he was released on high bail and returned home, he was ordered not to appear in public.

At this point, Relativity Entertainment no longer needed to say anything. Apart from News Corporation’s own media, no outlet would pass up such a hot news topic.

And those who had been preparing for this opportunity fully realized that this was a perfect chance.

While Relativity Entertainment’s media outlets were working at full capacity to spread negative news about News Corporation, other media outlets were not idle. Time Warner, Viacom, and NBC Universal were all following up with reports on the latest developments in the News Corporation wiretapping scandal.

Soon, a new trending topic called “Wiretapping Scandal” appeared on Google, Yahoo, and many other websites. Opening this topic revealed almost nothing but negative news about News Corporation.

Even the upcoming Oscars ceremony received little attention. The public was most concerned about the progress of the News Corporation “Wiretapping Scandal.”

In the stock market, the shares of News Corporation and its many subsidiaries, including 20th Century Fox, were plummeting.

Chapter 1134: The Inevitable Trend

“Plummeted!”

“Plummeted!”

“Plummeted again!”

“A crash!”

Another ordinary trading day, but the New York Stock Exchange on the south side of Wall Street was no longer as quiet as it had been recently. Many were closely watching the stocks of News Corporation and 20th Century Fox, as if they had become the saviors of Wall Street.

The excited were few. In this commercial nation, some information remained high-end resources, firmly in the hands of a select few.

It was this select few who watched News Corporation and 20th Century Fox explode in the “wiretapping scandal,” who watched the stock prices plummet due to the scandal, and who then reaped as much benefit as possible, pushing News Corporation and 20th Century Fox further into the abyss.

Official actions against News Corporation and 20th Century Fox in the UK and United States were relentless. News of the World was indefinitely suspended, as authorities launched investigations based on concrete evidence. Multiple media outlets under News Corporation were in a state of semi-paralysis. Even the Fox Building, the headquarters of 20th Century Fox, had been occupied by FBI and Department of Justice personnel, severely disrupting normal operations.

Moreover, market and investor confidence had been severely shaken, causing News Corporation’s stock price to plummet repeatedly.

“Good news, things are developing as expected.”

In a VIP lounge, a senior manager from Goldman Sachs spoke on the phone with Lloyd Blankfein: “Given the current situation, we will inevitably reach the expected milestone. News Corporation and 20th Century Fox will face a major setback this time, and it will be difficult for them to escape their predicament in the short term. If things go badly…”

The rest went unsaid, but the implication was clear. The Murdoch family had gone too far, intending to ensnare the political and business elites of both the UK and United States.

This had crossed the line of government and society.

After the scandal broke, even he and Lloyd Blankfein had carefully checked their phones and emails, adopting the latest encryption methods. Goldman Sachs had even mandated that during this period, important decisions and plans could not be communicated via phone or email—they had to be handled face-to-face.

Goldman Sachs couldn’t be sure they hadn’t been wiretapped by the Murdoch family’s lunatics. After all, many explosive news stories revealed by The Wall Street Journal in the past had made people uneasy.

He had to admit, the Murdoch family was formidable, with each generation stronger than the last. James Murdoch was incredibly bold, daring to wiretap the world’s richest man and the current British Prime Minister.

No wonder News Corporation and 20th Century Fox’s media outlets always got explosive news, with newspaper sales soaring and TV ratings skyrocketing. In just twenty years, they had grown from a local Australian media company into the world’s leading entertainment and media conglomerate.

Not far from the New York Stock Exchange, Lloyd Blankfein sat in his office, sipping a hot cup of coffee. His mood had never been better in recent months.

News Corporation and 20th Century Fox were undoubtedly a ray of warmth in this economic winter.

One way or another, if everything went smoothly, Goldman Sachs would have an easier time.

As for whether News Corporation and 20th Century Fox would suffer more because of this, that was none of his concern.

The Murdoch family was too reckless, making people across the United States feel a chill.

Especially James Murdoch—daring to wiretap the world’s richest man, the British Prime Minister and Queen, and members of Congress. Would they dare not wiretap people on Wall Street?

Thinking about the possibility of past privacy being wiretapped, Lloyd Blankfein felt the Murdoch family needed a harsh lesson.

Goldman Sachs didn’t have the power to destroy the Murdoch family, but uniting multiple companies to make the Murdoch family bleed heavily wasn’t difficult.

Lloyd Blankfein suddenly thought of Ronan Anderson and Relativity Entertainment. From the way things were unfolding, they seemed to have been prepared for a long time. Perhaps they had detected James Murdoch’s wiretapping of Ronan Anderson long ago and used it as the foundation for a grand plan, turning a disadvantage into an advantage.

Ronan Anderson was incredibly patient. Goldman Sachs needed to be more vigilant against him.

If all went well, Relativity Entertainment would be one of the biggest winners of this event.

In Manhattan’s Park Avenue, at the Waldorf Astoria Hotel.

In the luxurious suite’s conference room, Robert Iger had just finished a call with Los Angeles and quickly checked the latest stock market trends.

His assistant said, “Lloyd Blankfein from Goldman Sachs has invited you to dinner tonight.”

Robert Iger thought for a moment and replied, “Tell him I’ll host tonight.”

The assistant made the call and then asked, “Still no movement on the stock market?”

“Stay patient, it’s not time yet.” Robert Iger glanced at the calendar and said, “There will be another drop. Have the team prepare.”

The assistant said, “Understood, I’ll communicate that now.”

Robert Iger’s gaze returned to the computer screen, fixed on 20th Century Fox. The entire News Corporation wasn’t the target. He and Ronan were both very clear-headed. Even with Relativity Entertainment’s capabilities and the massive funds and backers from the other side of the Pacific, swallowing the entire News Corporation was impossible.

This could provoke a desperate counterattack from the Murdoch family, potentially pushing some allies toward the enemy.

The economic crisis was still raging, and companies were focused on self-preservation. The external pressure on Relativity Entertainment acquiring 20th Century Fox wouldn’t be too great, but involving the entire News Corporation would likely make many people and companies uneasy.

Most importantly, it could burst Relativity Entertainment’s bubble.

20th Century Fox was Relativity Entertainment’s current target!

Robert Iger was well aware of Relativity Entertainment’s weaker areas—media operations.

As News Corporation’s largest subsidiary, 20th Century Fox wasn’t just a film and television entertainment company; it was also a media company. Its subsidiaries included Fox Film Corporation, Fox Television Productions, National Geographic Channel, Fox Broadcasting Company, Fox Radio, Blue Sky Studios, and the print media group Fox News.

Like Relativity Entertainment, the entire 20th Century Fox was composed of multiple subsidiaries engaged in various businesses.

20th Century Fox’s operations could complement Relativity Entertainment’s strengths.

Robert Iger was confident. Years of planning and Relativity Entertainment’s ample capital were enough to support this massive acquisition.

Relativity Entertainment’s recent performance had given Robert Iger ample confidence.

In 2008, Relativity Entertainment’s total revenue reached thirty-four billion two hundred million dollars, with a profit margin of nearly twenty-seven percent, achieving a net profit of nine billion two hundred million dollars. It ranked 192nd in the Fortune Global 500 and successfully entered the top fifty most profitable companies in the United States.

Among all large and medium-sized companies in Hollywood, the newly established Relativity Entertainment had the highest profit margin.

Including 20th Century Fox, the entire News Corporation’s stock price had plummeted repeatedly. Its total market value had dropped from sixty-two billion three hundred million dollars before the economic crisis last year to less than fifty billion dollars.

In the 2008 Fortune Global 500, the entire News Corporation ranked 281st, with revenue of twenty-seven billion two hundred million dollars and a net profit of five billion three hundred million dollars.

Looking at the data alone, Relativity Entertainment had already surpassed the entire News Corporation, including 20th Century Fox.

But a company’s strength couldn’t be measured by data alone. Otherwise, Relativity Entertainment wouldn’t have to do so much work and create so many incidents to weaken the entire News Corporation and the Murdoch family.

As a subsidiary, 20th Century Fox, which was barely involved in news media operations in the UK, Australia, and other overseas regions, accounted for less than half of the entire News Corporation’s size.

This was still a massive deal for Robert Iger and the largest acquisition plan in Relativity Entertainment’s history.

But in Ronan’s eyes, due to the social and economic environment, currency depreciation, and future development, the size of 20th Century Fox that Relativity Entertainment faced was much smaller than the over seventy billion dollars Walt Disney had spent on its acquisition.

Of course, if comparing Walt Disney in 2009 to Walt Disney in 2019, the difference in size was also enormous.

In ten years, many companies in the United States and around the world had seen their market values soar as if injected with an expanding agent. The speed of this growth was astonishing.

Now, Relativity Entertainment still faced an excellent opportunity.

To appease public anger, News Corporation had to announce the closure of News of the World, a tabloid with a 168-year history, which met its end this week.

Affected by this, News Corporation’s stock price plummeted. The market clearly showed signs of short-selling News Corporation’s stock. In just over a week, News Corporation lost nearly ten percent of its market value.

Another obvious development was that someone had united with the opportunistic vampires of Wall Street to aggressively suppress News Corporation’s stock.

Once the glorious News Corporation was now thoroughly mired in turmoil.

News Corporation had taken multiple self-rescue measures, but in the face of the inevitable trend of everyone pushing when the wall was about to fall, they were powerless.

As the investigation deepened, more and more British and American celebrities appeared on News Corporation’s wiretapping list.

In early March, Scotland Yard and the FBI released a list of six thousand people who had been wiretapped.

Countries around the world where News Corporation operated began related investigations.

The FBI then summoned several News Corporation executives and arrested the editor-in-chief of the New York Post and several managers.

Those closely associated with News Corporation were also suffering. Blair was inevitably implicated, having suppressed News Corporation’s scandals multiple times. There was even evidence suggesting he had many unspeakable secrets with News Corporation.

Subsequently, the FBI summoned Les Hinton, Rupert Murdoch’s top assistant for decades.

The investigation was now directly targeting the Murdoch family and Rupert Murdoch himself.

(In reality, in 2009, the total market value of News Corporation, including its subsidiaries, was around sixty-two billion dollars.)

Chapter 1135: I Am the Victim

Los Angeles, Century City, Fox Building.

James Murdoch, restricted from leaving the country, still arrived at work on time to stabilize the wavering morale at 20th Century Fox.

The company’s situation had been poor lately. FBI agents frequently visited for investigations, and under the immense pressure from public opinion, government authorities, and the massive group created by him and News Corporation, they pursued every lead like hounds.

The stock price seemed crushed by this overwhelming pressure.

The shareholders were thoroughly enraged, demanding an explanation from the Murdoch family.

How convenient—when profits rolled in, they stayed silent, but now that trouble had arisen, they expected the Murdoch family to take the fall alone.

James Murdoch called New York again, receiving the latest instructions from his father, Rupert Murdoch, who ordered him to personally visit Ronan Anderson of Relativity Entertainment.

His father, a seasoned veteran, suspected—despite the lack of evidence—that Relativity Entertainment was involved in this mess.

James Murdoch had confidence in his father’s judgment, but the accusation was hard to accept.

He had been scheming against Relativity Entertainment, waiting for an opportunity, yet before his plans could unfold, Relativity had struck first against 20th Century Fox and News Corporation.

But on second thought, it made sense. After all, he had ordered the wiretapping of Ronan Anderson, even if it yielded nothing useful.

James Murdoch instructed his assistant to contact Relativity Entertainment, planning to visit in the afternoon.

Then, he reviewed the latest updates on Relativity Entertainment through documents and the internet.

Relativity was integrating Lucasfilm. The new Star Wars film had begun scriptwriting. Netflix, in which they held a controlling stake, had a market value nearing one hundred and eighty billion dollars. Their newly released films were selling like hotcakes.

A remake titled Kingsman had opened in North America last weekend, raking in fifty-six million and eight hundred fifty thousand dollars in its opening weekend.

Relativity Entertainment had once again achieved success in film.

Even James Murdoch had grown numb to such news—it happened too often.

It was now March 2009. Some statistics from the previous year had been released. Even with films like Beauty and the Beast and Captain America still in theaters, Relativity Entertainment had topped both the North American and global box office charts in the past year.

Avatar, Beauty and the Beast, Alice in Wonderland, Iron Man 2, Inception, The Hunger Games, and Captain America—these films had made Relativity Entertainment the first company in history to surpass ten billion dollars in global box office.

Their total global box office reached eleven billion, six hundred eighty-seven million, and five hundred ninety thousand dollars.

Though Avatar contributed a quarter of that, Relativity’s diverse successes were the real key.

Box office shares alone crushed 20th Century Fox’s total global box office.

Even if Relativity couldn’t produce another Avatar-level blockbuster this year, the lineup announced by Embassy Pictures suggested their box office performance might not fall short of last year’s.

The most representative films were The Avengers, Transformers 2, and Iron Man 3. Industry experts predicted each would gross over one billion dollars worldwide.

Unless something went wrong, Relativity Entertainment would once again break the ten-billion-dollar global box office mark for the year.

What was even more terrifying was that box office and last year’s releases were only part of the revenue. Merchandising would continue to generate income for Relativity for years to come.

As far as James Murdoch knew, the Beauty and the Beast project alone had sold nearly four hundred million dollars’ worth of Belle’s dresses worldwide.

The company was obsessed with selling dresses, making Belle change outfits repeatedly in the film, and each one was stunningly beautiful.

James Murdoch shook his head, setting those thoughts aside for now, and returned to the “wiretapping scandal.” The impact on 20th Century Fox and News Corporation was enormous.

Insiders knew what had been done. The published data and cases might have errors, but they were few.

In reality, News Corporation’s actions were far worse than what had been made public.

If the investigation continued, the situation would only worsen.

After a solitary lunch, he returned to his office to rest and checked the latest developments. All the news was negative, as if 20th Century Fox and News Corporation would collapse entirely by tomorrow.

When James Murdoch had planned and approved those actions, he had never imagined facing today’s consequences. Apart from playing his trump card, he didn’t know what else to do.

But even the trump card didn’t seem effective. His father, Rupert Murdoch, was busy putting out fires, engaging in crisis management everywhere, with little to show for it.

At two in the afternoon, James Murdoch arrived punctually at the reception room of Relativity Tower.

“Long time no see, Ronan.”

Even in dire straits, James Murdoch maintained his smile in front of others. He shook Ronan’s hand and said, “20th Century Fox and Relativity Entertainment are neighbors. We should visit each other more often.”

Ronan ignored James Murdoch’s subtle overture and said, “It’s a shame that good neighbors installed wiretaps on my phone.”

James Murdoch was slightly surprised by Ronan’s directness but showed no embarrassment. He had anticipated this and said, “I deeply apologize for this matter. But I truly did not authorize it. I never did it, nor did I ever consider it.”

Blame-shifting was a basic skill for powerful figures, and James Murdoch executed it effortlessly: “It was done by subordinates without my knowledge. They were too bold, daring to do anything. Ronan, rest assured, I will give you an explanation.”

Ronan wasn’t about to believe such nonsense. “James, there’s no need to discuss the truth here. I believe the governments of the UK and the United States will reach a conclusion. Many people are waiting for the result.”

James Murdoch said, “In any case, Ronan, I should apologize to you.”

Ronan raised his hand to interrupt James Murdoch and asked, “I wonder, what brings you here today?”

Getting straight to the point, James Murdoch stopped beating around the bush and said, “Ronan, it’s clear to anyone that this matter has escalated to its current state due to the efforts of Relativity Entertainment and yourself.”

Ronan remained silent, offering no immediate response.

James Murdoch frowned slightly and asked directly, “Ronan, 20th Century Fox and News Corporation may not have had the best relationship with Relativity Entertainment in the past, but it wasn’t terrible. The Murdoch family isn’t blind. You’ve done so much behind the scenes—what do you want?”

Hearing this accusatory tone, Ronan couldn’t help but laugh. “Mr. James Murdoch, let’s get one thing straight. In this wiretapping scandal caused by News Corporation, my girlfriend and I are the victims.”

His voice grew heavier: “I should be the one asking you, Mr. James Murdoch. What did News Corporation, 20th Century Fox, and the Murdoch family hope to achieve by wiretapping my and Jesse’s phones?”

This stern attitude was completely different from the Ronan James Murdoch knew.

In his eyes, Ronan Anderson had always been relatively amiable, and there were few reports of him losing his temper with anyone.

“I didn’t mean anything by it.” James Murdoch, thinking of the recent situation, quickly explained, “I just wanted to clear up any misunderstandings between us.”

“Misunderstandings?” Ronan couldn’t help but shake his head slightly.

James Murdoch tried to speak again, but Ronan gave him no chance: “If you want to talk to me, you’re not important enough. Have your father come.”

“Ronan—” James Murdoch stared at him.

Ronan waved his hand. “I have work to do. That’s all for today.”

He paid no further attention to James Murdoch, rising and leaving the reception room. Connie entered shortly after, giving James Murdoch a slight smile. “Mr. Murdoch.”

James Murdoch remained silent, his emotions complex as he left Relativity Entertainment. He was no ordinary man, and after careful consideration, he realized his status might indeed be unequal to Ronan Anderson’s.

The other man was the richest man in the world, with a net worth greater than the entire News Corporation.

Back at the Fox Building, he immediately contacted his father, Rupert Murdoch.

Rupert Murdoch was in London, where the situation was far from optimistic.

The British Parliament’s special committee had released a preliminary report on the phone-hacking scandal involving News Corporation. The report severely criticized Rupert Murdoch for turning a blind eye to the wiretapping within the group and declared him unfit to lead an international media conglomerate.

The 85-page report highlighted three conclusions that drew widespread attention.

First, it stated that Rupert Murdoch and his son were “willfully ignorant” of the phone-hacking by News of the World journalists and were unfit to lead News Corporation. The entire incident demonstrated a massive failure in corporate governance within the company.

Second, the report condemned over a dozen high-ranking executives at News Corporation, accusing them of covering up the scandal and misleading investigations, seriously interfering with judicial justice.

Third, the British government and Parliament were considering forcing the Murdoch family to sell media assets such as Sky TV and The Times if News Corporation continued to downplay the issue as minor errors.

Including the royal family’s legal representatives and other law firms, multiple entities had announced plans to sue News Corporation.

Faced with such a severe situation, to preserve the Murdoch family’s media empire, Rupert Murdoch abandoned his previous denials. On News Corporation’s official website, he published a full-page apology:

We apologize for a series of serious misconducts. We deeply regret the pain caused to the victims. We regret not taking action sooner to address the problem.

At this point, the media mogul fully understood that the situation had spiraled completely out of his control.

Chapter 1136: The Worst Direction

Perhaps at the beginning of the incident, Rupert Murdoch believed that with the strength of News Corporation, they could quickly quell the controversy without paying too high a price. After all, they were a powerful and established media company.

Although in the 2008 Fortune Global 500 rankings, News Corporation, including the assets of its various subsidiaries, lagged far behind Relativity Media, the rankings and company valuations sometimes did not reflect a company’s true strength.

Rupert Murdoch had been in business for many years, and his network of connections was extensive, which was one of his sources of confidence.

However, the scale of the wiretapping scandal that was exposed far exceeded initial estimates, causing celebrities and political and business figures in the UK and the United States to feel threatened.

News Corporation had not only crossed the already low bottom line of society but had also struck a nerve with too many powerful individuals.

As time passed, the Murdoch family and News Corporation found themselves in an increasingly unfavorable position. Especially after several major investment institutions on Wall Street joined the fray, the stock price of the publicly listed company plummeted. By late March, the total market value of News Corporation had dropped to less than forty-six billion dollars.

Whether it was News Corporation or its subsidiary, 20th Century Fox, some shareholders were expressing their anger to the Murdoch family while also considering an early exit.

In the reception room of the Waldorf Astoria Hotel in New York, Robert Iger met with the third shareholder of 20th Century Fox this week.

“Mr. Motson, have you considered it?” Robert Iger had coffee served and looked at the middle-aged man with Mediterranean features. “The situation of the entire News Corporation, I believe you understand it better than I do. The market and investors have lost confidence.”

William Motson was clearly still hesitant. “News Corporation won’t collapse just like that. Difficulties are only temporary. Every company encounters unexpected situations. I believe News Corporation can weather the storm.”

Robert Iger countered, “Isn’t the current situation clear enough?” He maintained a smile on his face, like a kind and amiable man. “There are thousands of victims, including many prominent figures in politics and business. The British government has only issued an investigative report so far and hasn’t taken any action yet. What if they force News Corporation to sell Sky TV and other British media outlets? The investigation in the United States is still ongoing, and the final penalties won’t be lighter than in the UK. Will the authorities in Washington, D.C., the Department of Justice, and the Federal Trade Commission completely dismantle News Corporation? That possibility isn’t out of the question.”

These words made William Motson’s expression grow increasingly serious.

Robert Iger spoke directly, “Moreover, my boss, Ronan Anderson, as one of the victims, is extremely angry with News Corporation and the Murdoch family. As the richest man in the world, with a net worth of two hundred billion dollars, if News Corporation and the U.S. government don’t provide a satisfactory explanation, I can’t guarantee what he might do. If Mr. Ronan Anderson really decides to spend money, how long can News Corporation hold out in its current state?”

William Motson rubbed his beard and brought up the most crucial point, “Your offer from Relativity Entertainment is too low. At your price, if I transfer my shares, this deal will definitely be a loss.”

Robert Iger smiled and said, “But if you continue to hold on, the loss could be even greater. Even if this matter is resolved, News Corporation will face difficulties for a long time to come. This could very well be the turning point where News Corporation begins its decline.”

William Motson was seriously considering Robert Iger’s words.

“Wall Street is shorting News Corporation and 20th Century Fox.” Robert Iger continued, “Anyone who understands the stock market can see this. The longer it drags on, the lower the stock price will go. With the economy in the United States and around the world not doing well, how many companies are willing to spend a fortune to buy the plummeting shares of 20th Century Fox?”

His voice was quite gentle, “Mr. Motson, by the time we meet again next week, it won’t be today’s price, but the market price at that time.”

After several meetings and long discussions, Robert Iger was very clear that, as far as William Motson was concerned, it was time to close the deal.

William Motson hesitated for a moment and said, “Please allow me some more time to consider.”

Robert Iger smiled and said, “That is your freedom. Relativity Entertainment will not force any partner, but we also cannot pay a price that does not match the value.”

“Tomorrow!” William Motson thought of the entire News Corporation in turmoil and the plummeting stock market. “Tomorrow morning, I will give you a definite answer.”

Robert Iger said, “Good, I hope we can reach a cooperation.”

The two shook hands, and William Motson took his leave. Robert Iger returned to his suite office to continue handling related work. When the sun was near the western horizon, he went to a restaurant on the second floor of the hotel and dined with people from Goldman Sachs and Morgan Stanley.

The next day, Robert Iger received good news. William Motson had decided to accept Relativity Entertainment’s offer and transfer nearly three percent of Fox’s shares.

The remaining matters were handed over to the professional team, and Robert Iger continued to negotiate with other shareholders.

At this point, Relativity Entertainment no longer needed to hide its target.

The entire group was operating efficiently, and Ronan’s full attention was focused on this acquisition. He didn’t even attend the premiere of Jessica Felton’s new film, Miss Congeniality, in late March.

The premiere of this female cop comedy was held in Boston, the setting of the story. With a production budget of only forty million dollars, the film grossed thirty-nine point eight eight million dollars in its North American opening weekend, making it a box office success.

After more than a decade in the industry, Sandra Bullock seemed to be most popular in the role of a lovable, somewhat clumsy woman in commercial films.

This purely commercial comedy also helped the other female lead, Melissa McCarthy, truly make a name for herself. Known for her roles in Bridesmaids and The Heat, this plus-sized actress had a distinct personality.

During the filming of Miss Congeniality, Melissa McCarthy learned about Relativity Entertainment’s “Blacklist Plan” and recommended a script she had seen during her time on Saturday Night Live to Shai Entertainment. The script was called Bridesmaids.

The script had just completed its first draft and wasn’t written by a professional screenwriter. The creator of the script was comedian Kristen Wiig.

Jessica Felton saw potential in the script and quickly reached an agreement with Kristen Wiig. Shai Entertainment had a new comedy film project.

While preparing to film the next installment of the Fast & Furious series, Jessica Felton would also be working on this comedy film.

Like Miss Congeniality, many seemingly low-budget comedy films, once they could break into the market, often achieved great success with small investments.

The success of Miss Congeniality also marked a turning point in Sandra Bullock’s somewhat lackluster acting career. Weakness: The Game Process had already completed filming and would be released this year.

Additionally, Sandra Bullock had reached an agreement with Shai Entertainment for the final film in her three-movie contract. She would star as the female lead in Alfonso Cuarón’s space epic, Gravity.

If both films were successful, combined with her years of experience, Sandra Bullock would firmly establish herself as an A-list actress.

Alfonso Cuarón’s project was still in preparation, and filming was a long way off.

In comparison, the other two space film projects were progressing faster. Embassy Pictures had set a release date for The Martian in October of this year.

After completing The Dark Knight Rises, Christopher Nolan had fully shifted his focus to preparing Interstellar. This space epic would soon enter the filming stage and was tentatively scheduled for release in 2011.

Embassy Pictures had devised a special distribution strategy for the three space films, with one film released every other year.

Meanwhile, Relativity Entertainment had also secured several important actor signings, mostly related to the Marvel series.

After months of negotiations, South African beauty Charlize Theron officially signed a long-term contract with Marvel Entertainment. For a long time to come, she would play the role of Captain Marvel, Carol Danvers.

In the comics, this was a tall, spirited female character, and Charlize Theron’s characteristics made her well-suited for the role.

Marvel Entertainment had also reached an agreement with Nicolas Cage. This actor, who had become the king of bad movies, would play Doctor Strange.

Ronan didn’t remember the name of that British actor, so naturally, he wouldn’t spend the resources to find him.

Additionally, Chris Pratt, who had been drifting in Hollywood for years without much success, had signed a long-term contract with Marvel Entertainment to play the awkward dancing king, Star-Lord.

This could be considered one of the weakest superheroes in the Marvel Cinematic Universe.

New York, Kennedy Airport.

Rupert Murdoch, who had just attended a special hearing in the UK, returned to the United States by private jet. The escalating storm in both the UK and the United States had left him exhausted.

Especially James Murdoch, who had probably grown up in too comfortable an environment. In good times, it wasn’t noticeable, but in adversity, he found that James was not up to the task.

Rupert Murdoch, accompanied by his wife, asked the staff who came to greet them as they walked, “How is the situation in the United States?”

The middle-aged executive immediately replied, “An hour ago, Relativity Entertainment sent us a routine notice. They have completed transactions with several Fox shareholders and now hold fourteen percent of Fox’s shares.”

Hearing this, Rupert Murdoch couldn’t help but stop in his tracks and said with a heavy heart, “Things have indeed taken a turn for the worst.”

He turned to his wife and said, “Let’s go back to the company first. Notify the crew to prepare. We’ll fly to Los Angeles this afternoon.”

Chapter 1137: Dignity

Compared to New York’s relentless drizzle, Los Angeles basked in bright sunshine, with the March noon already carrying a hint of dry heat.

At the Beverly Hills clubhouse, a gentle breeze drifted through the windows, bringing a touch of coolness that felt just right—comfortable and refreshing.

Today, Ronan was hosting Rupert Murdoch and his wife, who had traveled all the way from New York. The atmosphere upon their meeting was warm and cordial, as if they were old friends reuniting after years apart.

Rupert Murdoch shook hands with both Ronan and Jessica Felton, his expression gradually turning serious.

Ronan faced him calmly. Though this conversation appeared to be Rupert Murdoch’s choice, it was, in reality, the result of relentless pressure from Relativity Entertainment and its partners—pressure that had forced Rupert Murdoch to make this move.

“Jesse,” Ronan said, maintaining a polite smile. “Take Mrs. Murdoch on a tour of our clubhouse.”

Rupert Murdoch gave a slight nod to the Chinese woman beside him, and Mrs. Murdoch followed Jessica Felton out.

Since becoming Ronan’s girlfriend, Jessica Felton’s social skills had improved significantly. She quickly found common ground with Mrs. Murdoch.

Thanks to her relationship with Ronan, Jessica Felton had some knowledge of the other side of the Pacific. Mrs. Murdoch, having grown up there, didn’t shy away from the topic when Jessica brought it up.

Though they were adversaries, not friends, they maintained a surface-level harmony. Ultimately, the real decision-makers were the two men left in the room.

Once the women had left, the atmosphere in the room grew tense.

Rupert Murdoch didn’t beat around the bush. “Regarding James Murdoch’s wiretapping of you and Miss Felton, I was unaware. If I had known, I would have stopped such a foolish act.”

Ronan believed there was some truth to this. In this country, vast sums of money often held more sway than members of Congress.

Wiretapping a super-rich individual carried even graver consequences.

“I apologize on behalf of Fox, on behalf of News Corporation, and on behalf of the Murdoch family,” Rupert Murdoch said, his words carrying genuine sincerity. “Ronan, I am deeply sorry for the harm you and Miss Felton have suffered. News Corporation will make amends.”

Relativity Entertainment had aggressively bought up Fox’s shares when News Corporation and 20th Century Fox’s stock prices plummeted. Even without concrete evidence, Rupert Murdoch could piece together what had happened.

But he couldn’t just abandon Fox.

By saying these words, Rupert Murdoch was essentially bowing to Ronan and Relativity Entertainment, hoping the matter could be resolved with an apology and financial compensation.

Ronan showed no sign of satisfaction at Rupert Murdoch’s words. “Rupert, I accept your apology,” he said without hesitation. “But how do you plan to compensate James Murdoch for the immense damage he has caused me and Jesse?”

Hearing that Relativity Entertainment had taken action against Fox, Rupert Murdoch finally understood the crux of the issue. He had come today to resolve the problem, so there was no point in evasion or argument—it would serve no purpose.

This was not an easy question to answer. After a long pause, Rupert Murdoch finally spoke. “Ronan, what kind of compensation do you want?”

Ronan smiled. “Rupert, since you’re apologizing, you must have come with sincerity, right?”

Rupert Murdoch knew that to resolve the crisis, he would have to pay a price. But he didn’t answer immediately. Instead, he remained silent for a while, feigning difficulty.

“I am an old friend of George Lucas. We met in San Francisco not long ago,” Rupert Murdoch said, having prepared well for this. “He mentioned something—after Relativity Entertainment successfully acquired Lucasfilm, you plan to reboot the Star Wars film series and reclaim all its rights.”

Ronan nodded slightly. “That’s correct.”

Rupert Murdoch continued. “I’m a fan of the Star Wars series, and I’ve been eager to see new films. I know Relativity Entertainment and Lucasfilm might be struggling with rights issues… How about this? As the distributor of the Star Wars series, 20th Century Fox will relinquish all its interests in the franchise, including the rights to Star Wars: A New Hope, and return them unconditionally to Lucasfilm.”

The offer sounded good, but Relativity Entertainment had grander ambitions. Ronan didn’t take the bait. Instead, he said, “Rupert, did you know? According to AT&T’s technical inquiries and the FBI’s investigation, someone began wiretapping my estate as early as 2004. For over four years, how many of my calls were intercepted? How much critical information from Relativity Entertainment was leaked because of this?”

Rupert Murdoch understood—this meant the offer wasn’t enough.

Ronan’s voice remained calm. “Relativity Entertainment once had its sights set on four or five major film projects—the live-action adaptation of The Prince of Egypt, Roland Emmerich’s 10,000 BC, the Terminator sequel, and that storm disaster film project. These were all initiatives Relativity Entertainment intended to launch or collaborate on, but they all ended up in the hands of 20th Century Fox.”

His tone grew heavier. “What does this prove? This vital business information was leaked for a reason!”

Rupert Murdoch was aware of these film projects and had heard James Murdoch mention them. Their origins did seem to trace back to Relativity Entertainment.

But he wouldn’t admit it. Instead, he said, “Ronan, all those films failed, each resulting in massive losses.”

“Failure is no excuse for shirking responsibility,” Ronan said coldly.

Rupert Murdoch adjusted his glasses. “But it prevented Relativity Entertainment from suffering losses. The outcome is still good.”

Ronan couldn’t help but sneer. “Rupert, you’re no stranger to the film industry. Don’t you know that the same project, in the hands of Relativity Entertainment and me, might not have ended up like it did at 20th Century Fox?”

Without waiting for Rupert Murdoch’s response, he continued. “Today, you represent the Murdoch family, News Corporation, and Fox in apologizing to me and Jesse. You’ve offered to relinquish the Star Wars rights as compensation. Jesse and I can accept your apology and your compensation. But what about the projects Relativity Entertainment lost due to the information leak? What about the series of problems that followed? Shouldn’t Fox and News Corporation provide an explanation for those as well?”

Listening to Ronan shamelessly split one issue into two, Rupert Murdoch’s emotions stirred. How could the younger generation be so ruthless?

Perhaps Rupert Murdoch had never considered using “wiretapping” as a tactic…

But circumstances had forced his hand. Especially with investigations in both the UK and the United States, under pressure from many influential figures and backed by powerful financial forces, News Corporation was facing its most severe crisis since expanding from Australia into the international market.

Rupert Murdoch glanced at Ronan and slowly said, “Fox and Relativity Entertainment have been locked in a lawsuit for a long time, which is the root of our conflicts. To show sincerity and resolve our disputes once and for all, I can make a significant concession on behalf of Fox.”

He exhaled softly. “Including X-Men and Fantastic Four, all superhero characters from Marvel Comics under 20th Century Fox—all their rights will be returned to Marvel Entertainment. Additionally, any related film and television projects in development will be halted immediately, and those already in production will not receive sequels.”

“Marvel’s children coming home—that’s what everyone wants to see,” Ronan said, shifting the conversation. “But these comic book superhero rights have always been disputed. Otherwise, there wouldn’t have been a lawsuit in the first place. Rupert, you can’t use assets that originally belonged to Relativity Entertainment and Marvel Entertainment to compensate Relativity Entertainment, can you?”

Rupert Murdoch’s face tightened, his expression turning serious. “Ronan, I came here in good faith. Don’t you have any regard for the Murdoch family’s sincerity? For the dignity of an elderly man in his seventies?”

Ronan also grew serious. “Dignity? Did you consider my dignity when you wiretapped me? Did you consider the dignity of every employee at Relativity Entertainment when you stole our projects using information obtained from wiretapping? You’ve trampled on my dignity and that of Relativity Entertainment, and now you expect us to accept your sincerity?”

“News Corporation may be in trouble, but its foundation remains strong,” Rupert Murdoch said, offering a carrot before the stick. “Ronan, do you really want mutual destruction?”

Ronan couldn’t help but laugh. “I’ve never underestimated News Corporation or the Murdoch family. Relativity Entertainment may not be a match for News Corporation. But why should Relativity Entertainment face News Corporation alone?”

This reminded Rupert Murdoch that Relativity Entertainment was the biggest force behind this, but it had also united many others. Otherwise, those major Wall Street investment firms wouldn’t have shorted Fox and News Corporation in advance.

Moreover, Relativity Entertainment clearly had political support from Washington, D.C.

That bastard James had driven away powerful figures from both political and business circles. It would take the Murdoch family a long time to rebuild their network of connections.

Now, who would willingly approach News Corporation and the Murdoch family? Who would help them?

In the eyes of those people, they might already be on the wiretapping list—too many prominent figures had already fallen victim.

Rupert Murdoch’s head ached at the thought. How could he not have known about News Corporation’s use of wiretapping? He had tacitly approved of the strategy.

But even he was surprised by how many people and forces were involved in the wiretapping.

Chapter 1138: Turbulent Times

Default tolerance—wasn’t that indulgence?

When Fox and News Corporation discovered they had wiretapped a prominent figure and obtained a major scoop, if there was no reprimand from above and instead, the matter was actively covered up, wouldn’t they do it again? And wouldn’t the next target be even more audacious?

This was all too obvious. Applied to ordinary people, it was no different from crime.

But understanding this logic didn’t mean one had to feel guilty or abandon significant personal interests.

Rupert Murdoch, after all, had been at the top for years. This act of seeking reconciliation or even apologizing and compensating might well be the first in nearly twenty years. Even with his age and experience, he couldn’t help but speak coldly: “I understand what you want. You’re thinking too much. Your appetite can’t support your greed. News Corporation will not give up 20th Century Fox…”

Ronan wasn’t surprised by this. He said, “Rupert, many of the difficulties News Corporation faces can be resolved with money. As long as the compensation is sufficient, the best outcome for the UK and US governments would be a massive fine. Due to the economic crisis and the failed acquisition of Time Warner, both News Corporation and Fox are strapped for cash. Who would be willing to support you with a large sum of money at this time?”

Rupert Murdoch said, “Give it up, Ronan. I won’t accept your conditions.”

Ronan calmly replied, “This is a fair deal, not asking News Corporation to hand over Fox to Relativity Entertainment for free. Relativity Entertainment will formally request to purchase 20th Century Fox. If you’re interested in talking, we can proceed with a premium pricing.”

“What?” Rupert Murdoch doubted he had heard correctly.

Ronan repeated, “A five percent premium over the market price at the time of our future agreement.”

Rupert Murdoch’s face darkened slightly. “Is this your idea of a fair deal? First, you use heavy-handed tactics to suppress Fox and News Corporation’s stock prices, causing them to drop by over thirty percent, and then you offer this so-called premium pricing?”

The shamelessness of this young man was almost unbearable.

Ronan spread his hands and said, “So, News Corporation needs to act quickly. The sooner you reach an agreement with Relativity Entertainment, the smaller the losses will be. You understand the current situation better than I do, Rupert.”

Rupert Murdoch fell silent for a moment. With time, the situation would only worsen.

But selling 20th Century Fox…

“We’ll end today’s discussion here.” Rupert Murdoch tried to regain control, proposing to leave while adding, “Ronan, my conditions will remain valid for this month. If you change your mind, you can contact me anytime.”

Ronan calmly responded, “Rupert, what I’ve said will also remain valid until the end of the month. Next month… well, the conditions might not be as favorable.”

Rupert Murdoch glanced at Ronan and said nothing more.

Jessica Felton and Mrs. Murdoch returned to the reception room at this time. After a simple handshake, Ronan and Jessica Felton escorted the Murdochs out of the club.

Watching the Murdochs leave the club’s entrance, Jessica Felton asked Ronan with concern, “How did the talk go?”

Ronan smiled slightly and said, “It went fairly well, about as expected.”

Jessica Felton instantly understood. “Rupert Murdoch didn’t budge?”

“No.” Ronan walked back toward the reception room. When Jessica Felton caught up, he said, “This was all anticipated. Rupert Murdoch has weathered countless storms in his life and won’t easily compromise. Unless the situation deteriorates to a certain point, he won’t agree to Relativity Entertainment’s purchase offer.”

Jessica Felton nodded lightly. “I hope there’s a good outcome in the end.”

In this regard, she couldn’t be of much help. The best she could do was to avoid being a burden and let Ronan focus.

“Let’s not talk about News Corporation.” Ronan then asked, “How was your conversation with Mrs. Murdoch?”

Jessica Felton suddenly smiled. “Mrs. Murdoch is quite interesting. She’s not an ordinary person.” She thought for a moment and said, “She’s very good at finding common topics. She’s a master of socializing. I’m far from her level.”

Ronan had read about the experiences of that fellow countryman. It was truly impressive how she had climbed to her current position step by step.

It was a pity that, for some reason, she had fallen for Blair.

Rupert Murdoch’s negotiations with Ronan had broken down, but he didn’t leave Los Angeles. Instead, he took full control of all operations at 20th Century Fox.

James Murdoch, whom he had once seen as his successor, had shown no effective performance during this crisis and was inevitably being sidelined.

But the series of crises triggered by the wiretapping scandal didn’t end with Rupert Murdoch’s efforts. There was no sign of improvement; instead, the situation continued to deteriorate.

In the UK, several members of parliament submitted a motion requiring the government to force News Corporation to sell all its media assets in the country. It was even listed for discussion in the next session of the House of Commons.

Because so many people were involved, support for News Corporation had plummeted. If it were truly brought to the House of Commons for discussion, News Corporation would likely face the worst possible outcome.

The plan to wiretap Prime Minister Brown had caused extremely severe consequences in the UK. Even the Labour Party, which had good relations with News Corporation, had distanced itself. There would be no fundamental repair in their relationship in the short term.

News Corporation’s business was primarily concentrated in three countries—the UK, the United States, and Australia.

Similarly, these three countries were the main victims of the wiretapping scandal.

Australia was the birthplace of the Murdoch family. Although there were occasional reports of wiretapping, they were few and could be ignored.

The main events were concentrated in the UK and the United States.

This month, aside from continuing to push the wiretapping scandal, Relativity Entertainment completed another task. Its subsidiary, Netflix, conducted a new round of financing, attracting more external funds and investment groups.

Although Netflix was burning through money at an alarming rate, with soaring stock prices and a market value rapidly approaching two hundred billion dollars, many people and groups were waving large sums of money, eager to join the ranks.

These people would become Relativity Entertainment’s partners for a certain period.

Perhaps this cooperative relationship wasn’t solid, and when it came to significant personal interests, they wouldn’t care about Relativity Entertainment.

But in some matters, forming a loose alliance to kick someone while they’re down and beat a falling dog wasn’t difficult. Moreover, if operated well, there were profits to be made.

After this round of financing and equity expansion, Ronan’s control over Netflix through Relativity Entertainment dropped to sixty percent, but Netflix’s market value quickly surpassed two hundred billion dollars.

In reality, on paper, his net worth had surged again.

The wiretapping scandal in the United States continued to escalate rapidly. The FBI held a press conference and released a preliminary investigation report hundreds of pages long, all pointing to News Corporation and the Murdoch family.

The Federal Trade Commission and the Department of Justice held consecutive meetings to discuss whether News Corporation needed to be broken up and whether the Murdoch family needed to sell its US media assets…

The authorities in Washington, D.C. also exerted tremendous pressure on News Corporation. After all, no one wanted themselves or their family to be wiretapped.

After the government released the preliminary investigation report, Ronan and Relativity Entertainment filed a lawsuit against the Murdoch family and News Corporation, citing the leakage of highly confidential projects and demanding astronomical compensation.

As if sounding a charge, a large number of wiretapping scandal victims in the UK and the United States chose the same approach.

Even some government departments filed lawsuits against News Corporation.

If all the demanded compensation amounts were calculated, the Murdoch family wouldn’t be able to cover them even if they sold News Corporation.

This incident had a massive impact. After collecting relevant evidence, the UK authorities arrested several high-ranking executives of News Corporation in the country.

The FBI also took continuous action, and many from News Corporation were taken in for questioning, seriously affecting the company’s internal operations.

News Corporation, once a media company at the peak of its glory, was now in turbulent times.

Soon, news broke that Relativity Entertainment was in contact with several major shareholders of News Corporation, seemingly seeking to acquire the company.

There were reports from Bank of America that Relativity Entertainment had applied for a massive loan.

Additionally, mainstream financial media confirmed that Relativity Entertainment was collaborating with overseas capital to establish a new company for the acquisition.

Relativity Entertainment itself had released some of Netflix’s shares, could obtain loans from Bank of America at any time, and had overseas financial support. The acquisition of News Corporation didn’t seem to have any financial issues.

When the new company established by Relativity Entertainment was about to reach an agreement with two major shareholders of News Corporation, Rupert Murdoch once again sought out Ronan, and the two engaged in a full day of discussions.

Relativity Entertainment had already touched the core of News Corporation, and the pressure from the government was increasing. If Rupert Murdoch didn’t want to be completely defeated in this crisis, he had to make a choice.

Whether the entire group would be dismantled and forcibly acquired, or whether they could continue to survive in the media industry—it was time to decide.

Just as he had once faced the aggressive Walt Disney, Rupert Murdoch wouldn’t easily sell Fox, but it wasn’t absolutely impossible.

Faced with these circumstances, everything was negotiable.

Robert Iger returned from New York, and over the next two days, he joined Ronan and Rupert Murdoch in their face-to-face meetings.

The Murdoch family didn’t have an absolute controlling stake in News Corporation. If they didn’t want to lose the company, there was only one choice.

Although Relativity Entertainment had taken a stance, they didn’t want to engage in a mutually destructive battle with News Corporation.

The two sides finally reached an agreement and decided to formally negotiate the acquisition of 20th Century Fox by Relativity Entertainment.

Such negotiations often took a long time, sometimes over a year, but News Corporation was running out of time, so both sides acted quickly.

Chapter 1139: The Avengers

Late April in Los Angeles brought sweltering heat, though the proximity to the ocean kept mornings and evenings pleasantly cool.

In the master bedroom, Ronan drew back the curtains and stood by the window near the bathroom, watching the rising sun as he answered a call from Robert Iger.

After nearly a month of negotiations, both sides had reached agreement on numerous points, and a final deal was within sight. One could even say the outcome was all but certain.

Whoosh—

From the adjacent bathroom came the sound of flushing. Ronan ended the call, pocketed his phone, and suddenly felt an inexplicable tension.

Jessica Felton was inside.

Ronan stared at the bathroom door, but no one emerged. He clenched his fists in front of him, noticing his hands trembling slightly.

He had never been nervous facing News Corporation or Rupert Murdoch, yet now his hands shook uncontrollably.

“I’ve got good nerves,” Ronan muttered under his breath. “I just don’t know what the result will be.”

He wanted to ask Jessica Felton inside the bathroom but feared disturbing her, worried she might make a mistake. He had no choice but to endure the agonizing wait.

Ronan glanced at the bathroom door again, unsure of the outcome.

This month, Jessica Felton’s period hadn’t arrived, and since the second half of last year, they hadn’t taken any precautions. As adults, they naturally understood the possible implications.

After Jessica Felton informed Ronan of the situation yesterday, he immediately had Nikita personally purchase a pregnancy test.

In theory, it didn’t seem like a big deal, but when it actually happened to him, maintaining composure was difficult.

Ronan felt more nervous than ever. He took a deep breath to calm himself.

The bathroom door opened, and Jessica Felton stepped out.

“How is it?” Ronan hurried over, asking, “Is the result out?”

Jessica Felton appeared relaxed but didn’t turn around immediately. Instead, she gestured toward the bathroom and said, “It’s inside. Go take a look.”

Ronan grumbled in dissatisfaction, “Can’t you just tell me the result?”

Though he complained, he obediently entered the bathroom.

Jessica Felton smiled. Since waking up this morning, she had noticed Ronan’s nervousness and was deliberately teasing him.

“What should we do next?” Jessica Felton rubbed her flat belly. “An out-of-wedlock child?”

It wasn’t a big deal. In Hollywood, unmarried couples having children was common.

Ronan entered the bathroom and immediately saw the pregnancy test on the sink. Unconsciously, he held his breath, as if struggling to breathe. Step by step, he approached, his gaze instantly falling on the test.

Two red lines! Two red lines…

A wave of indescribable emotion swept through Ronan’s mind. He didn’t know how to describe his feelings—excitement, anticipation, even a hint of bewilderment.

Ronan scratched his head and left the bathroom, immediately seeing Jessica Felton staring at him.

“What’s wrong?” Jessica Felton didn’t quite understand Ronan’s expression.

Ronan rushed forward, tightly embracing her, and said, “Jessie, let’s get married.”

“What?” Jessica Felton pulled back slightly, looking at Ronan. “What did you say?”

Ronan repeated, “Let’s get married.”

Jessica Felton heard clearly this time. She paused for a moment before asking, “Are you proposing to me? Oh my God, this is too shabby. There’s no sense of ritual at all.”

Ronan slapped his forehead. “I’m sorry, I’m too excited.”

Jessica Felton looked at Ronan and suddenly smiled. “It’s okay.”

Facing such a situation, Ronan couldn’t help but be overly excited. In the heat of the moment, he blurted it out and could only ask, “Can I make it up with a proper ceremony later?”

“Such things can’t be made up for later,” Jessica Felton held Ronan’s hand. “I accept.”

Both were excited, and a passionate kiss was inevitable, but Jessica Felton stopped any further advances. Right now, nothing was more important than the life growing inside her.

Glancing at the time, Jessica Felton reminded him, “Let’s go downstairs. After breakfast, we need to get ready. Don’t forget, today is the premiere of The Avengers.”

Ronan nodded slightly. “We must be punctual. The Avengers Initiative has come a long way to reach this point.”

The two went downstairs together. Jessica Felton asked about the earlier call, and Ronan briefly explained. Barring any major surprises, they should be able to formally sign the agreement with News Corporation in May.

Though Relativity Entertainment was busy negotiating with News Corporation, they hadn’t slackened in film preparation, production, or distribution. This summer season still had multiple films scheduled for release.

In April alone, Embassy Pictures distributed two films: the final installment of the Dawn of the Dead trilogy and Jerry Abrams’ Cloverfield.

The former continued the success of the first two films and, as the finale, might set a new box office record for the trilogy.

The latter, shot in a mockumentary style, used typical viral marketing. With a production budget of only twenty-five million dollars, it earned forty-one point six million dollars in its North American opening weekend.

Both films were expected to gross around two hundred million dollars globally.

Relativity Entertainment once again dominated the first weekend of the summer season, a slot that seemed to have become exclusive to Marvel superhero films.

The premiere of The Avengers was held at the Kodak Theatre on the Hollywood Walk of Fame.

Almost everyone knew this would be a massive hit.

After the trailer for The Avengers was released on Netflix Video, it sparked a viewing frenzy among netizens, garnering over twelve million views in the first twenty-four hours and setting a new record for trailer views.

The premiere venue was dazzling with starlight. Fans screamed at the top of their lungs, creating an electrifying atmosphere.

The biggest highlight was Robert Downey Jr., who arrived on the red carpet driving the Acura sports car from the film, playing Iron Man. This sent reporters and fans into a frenzy and delighted Honda, the company fully sponsoring the premiere.

Staying true to Relativity Entertainment’s commercial film style, The Avengers featured extensive product placements from twenty-seven companies, totaling eighty-eight point seven million dollars in advertising sponsorships—a new record for Hollywood film ad placements.

This film was the most anticipated and talked-about since Avatar. Over five hundred journalists from around the world gathered in front of the Kodak Theatre.

New York was about to be invaded by aliens again!

The Earth was about to be saved by superheroes again!

This was a timeless theme in Hollywood blockbusters. The reason Hollywood loved such themes was simple: audiences loved them!

After five films like Iron Man laying the groundwork, audiences were extremely familiar with the six Avengers members. Their personalities and stances were well-known.

The film didn’t waste time on explanations or interpretations. It jumped straight into the action with a fast pace, keeping the audience on the edge of their seats from the start.

For the first time, the six Avengers truly stood together!

Captain America Steve Rogers! Iron Man Tony Stark! The Hulk! Thor! Black Widow Natasha Romanoff! Hawkeye Clint Barton!

Amidst the soaring, space-opera-like score, the six stood in a circle, letting out a battle cry!

Even if they couldn’t protect the Earth, they would avenge it!

The Avengers had assembled!

Though the six superheroes varied in strength, each fully displayed their abilities. The film masterfully blended these seemingly mismatched heroes into a cohesive unit.

As a typical superhero blockbuster, the film naturally avoided messy, nonsensical endings. Instead, it delivered the audience’s favorite conclusion: the brainless S.H.I.E.L.D. Council launched a nuclear missile, Iron Man sent the missile through the portal, the missile destroyed the alien mothership, Black Widow closed the portal, Iron Man fell back to Earth before the portal closed, and the Hulk saved Iron Man…

In short, it was a standard Hollywood happy ending!

Following the premiere, The Avengers quickly went into wide release across North America, dominating almost all theaters and shattering previous box office records.

The midnight screenings alone brought in thirty-eight point eight nine million dollars, obliterating past records.

It was rare to see so many superpowered heroes united. As representatives of American pop culture, the youthful audience couldn’t help but develop star worship.

The Avengers also took Hollywood’s usual tricks to the extreme: dazzling fights, rapid-fire one-liners, a cast of handsome men and beautiful women, and themes of justice and camaraderie.

Thus, the film set a new record as the first to gross over one hundred million dollars in a single day in North America!

On its first day of release, Friday, The Avengers raked in one hundred ten point twenty-four million dollars from four thousand four hundred ten theaters across North America!

This was a new record for North American opening day and Friday box office.

Then, on Saturday, it earned eighty point eleven million dollars, setting a new North American Saturday box office record!

Though Sunday saw an inevitable significant drop, after the opening weekend, The Avengers had grossed two hundred seventeen point fifty-two million dollars in North America!

This was a new North American opening weekend record, a new North American weekend box office record, and the first time a single film’s weekend gross had surpassed two hundred million dollars.

The Avengers then swept the globe, topping the box office in nearly every market where it was released.

When audiences grew tired of seeing heroes fight alone, they wanted to see them united; after achieving success together, each hero could have their own tailored series. Only by continuously studying the market could the industry keep producing high-yield products.

Chapter 1140: Global Dominance

The North American film market had never seen a phenomenon like The Avengers. While Titanic and Avatar had achieved remarkable stability in their weekly performances, The Avengers shattered records, surpassing five hundred million dollars in North American box office and over one billion globally in just twenty days.

The success wasn’t limited to ticket sales. Merchandise—comics, action figures, toys, and licensed character products—generated over five hundred million dollars in global revenue for Relativity Entertainment. Their investment in the Marvel Cinematic Universe had finally borne fruit, marking the official transition into its second phase.

Meanwhile, Robert Iger concluded negotiations with News Corporation, finalizing a series of agreements regarding 20th Century Fox. Ronan, representing Relativity Entertainment and the newly formed company with Qianlu Group, signed the full acquisition of 20th Century Fox.

Before the economic crisis, News Corporation’s total assets had exceeded sixty billion dollars. However, after the financial downturn and the wiretapping scandal, its market value had plummeted by nearly a third. Despite this, acquiring 20th Century Fox was no easy feat. The final purchase price exceeded its current market value by ten percent, totaling twenty-seven point six billion dollars.

This price reflected more than just the acquisition of 20th Century Fox’s film division. The deal included nearly ten subsidiaries: 20th Century Fox Film Corporation, 20th Century Fox Home Entertainment, Fox Music, Blue Sky Studios, National Geographic, Fox Searchlight Pictures, Fox Cable Networks, and Fox TV, among others.

Relativity Entertainment deliberately excluded Fox Online and Fox Networks, as their operations heavily overlapped with Netflix, a wholly-owned subsidiary. Traditional media outlets like Fox News and Fox Star Media were retained by News Corporation, as the Murdoch family refused to relinquish control over these assets.

Relativity’s acquisition was highly strategic, focusing primarily on entertainment and television. With Netflix already under its umbrella, overlapping and debt-laden businesses like Fox Online held little appeal. As for Fox News and Fox Star Media, even in the face of adversity, the Murdoch family remained unwilling to concede in the traditional media sector. Relativity had already secured Fox Cable Networks and Fox TV, and with the risk of other companies intervening, they acted swiftly.

Compared to Walt Disney’s later acquisition, Relativity obtained the complete Fox Cable Networks and Fox TV, along with their regional affiliates, but lacked stakes in Hulu and Sky TV. Additionally, 20th Century Fox had far fewer subsidiaries at this time than it would a decade later.

The economic crisis also prevented direct competitors like Comcast from entering the bidding war, sparing Relativity from having to raise their offer. This was not the case a decade later when Disney acquired Fox during the AT&T-Time Warner merger, which had driven media and entertainment stocks to unprecedented highs.

Of course, the deal was not yet finalized. Government approval was still pending. Relativity had already laid the groundwork, and within a week, the Department of Justice and the Federal Trade Commission approved the antitrust review—on the condition that Relativity divest Blue Sky Studios within ninety days.

Given that Relativity already controlled over forty percent of the North American animated film market through Shai Animation Studio, Pixar, and Princess Animation Studio, this restriction was expected. Ronan had never considered retaining Blue Sky Studios, as Shai Entertainment had long surpassed the once-dominant “Big Three” of Hollywood animation.

With regulatory approval secured, the deal was officially closed. The new company paid News Corporation twenty-seven point six billion dollars in two installments within a month.

With sufficient funds, News Corporation avoided further escalation of the wiretapping scandal. The U.S. and U.K. governments dropped discussions about dismantling the company or forcing the Murdoch family to sell their media assets. James Murdoch and several high-ranking executives became scapegoats, facing inevitable legal consequences. Additionally, News Corporation would have to pay substantial compensations and fines.

For instance, in the wiretapping cases involving Ronan, Jessica Felton, and Relativity Entertainment, News Corporation settled out of court, paying one hundred million, fifty-five million, and three hundred million dollars, respectively.

However, the wiretapping scandal was far from over. Ronan and Relativity would continue monitoring News Corporation, ensuring they had no chance of recovery. The power gap between the two had widened significantly.

With the deal finalized, Relativity and Qianlu Group began negotiations to distribute the spoils. Relativity held the dominant position.

Relativity had no intention of exploiting Qianlu Group. Following their agreement, they dismantled 20th Century Fox, as many of its operations overlapped with Relativity’s. A full acquisition would have led to significant resource waste, particularly in film production and distribution, where Relativity already excelled.

Relativity did not fully absorb 20th Century Fox Film Corporation. Instead, they reclaimed the rights to all Marvel superhero characters, reviewed Fox’s copyright and script libraries, and acquired nearly all the copyrights while selecting the best third of the scripts.

The most valuable asset was Fox’s film library—over twenty thousand titles—now under Relativity’s control. This acquisition meant Relativity had reclaimed the rights to the Fantastic Four, X-Men, Daredevil, and Deadpool, completing their consolidation of the Star Wars franchise.

After reviewing Fox’s film library, copyrights, and scripts, Ronan identified several projects for future development, including Alien, Rise of the Planet of the Apes, Predator, Garfield, and Alvin and the Chipmunks.

Blue Sky Studios was to be entirely divested. National Geographic, Fox TV, and Fox Cable Networks were unrelated to Qianlu Group and would form Relativity TV Network.

Fox Home Entertainment’s two merchandise distribution departments were merged into Embassy Pictures, where Relativity’s operations far surpassed theirs.

Fox Music merged with Relativity’s Big Machine Records, solidifying Relativity’s position as a leader in the music industry.

Fox Searchlight was handled similarly to 20th Century Fox Film Corporation.

Additionally, Relativity secured a seat in the Motion Picture Association of America (MPAA). From then on, the Hollywood Big Six would no longer include 20th Century Fox but would feature Relativity Entertainment—a far more powerful entity.

This acquisition granted Relativity a vast array of copyrights, most notably the complete 20th Century Fox film library. They now owned one of America’s four major public television networks, one of North America’s largest cable networks, and, most importantly, the power to shape industry rules.

Weaker areas like music records, television production, news broadcasting, and variety shows were now industry-leading. If Relativity successfully integrated Fox’s operations, it would undoubtedly become the world’s premier media and entertainment company.

The remaining assets, as per the agreement, belonged to Qianlu Group.

Qianlu Group invested fourteen point five billion dollars, a significant portion of which was for Fox’s brand value. As one of Hollywood’s most recognizable and prestigious brands, 20th Century Fox’s name alone held immense global influence.

For Qianlu Group, this was a once-in-a-lifetime opportunity. Even as the primary financial backer, they repeatedly expressed gratitude to Ronan and Relativity, acknowledging that without them, Eastern forces would not have access to Hollywood’s top-tier entertainment resources at this stage.

Qianlu Group’s gains were substantial. The 20th Century Fox brand alone would leave media outlets on the other side of the Pacific in awe for years. Beyond that, they acquired a nearly complete film and television industry system.

Even the remnants Relativity left behind included most of Fox’s film production, marketing, distribution, and merchandise sales systems, along with the complete Blue Sky Studios. International distribution channels, now nearly impossible to acquire, were particularly valuable.

Qianlu Group had spent a fortune to obtain an entertainment company more powerful than the current DreamWorks.

Ronan’s rationality was influenced by his past experiences. As the Eastern film industry accelerated, he had given it a significant push. While Relativity ascended to global dominance, he also hoped for the rapid rise of Eastern cinema.

Chapter 1141: The Wedding

Beverly Hills, Future World Estate.

After recent renovations, the estate exuded an even stronger futuristic vibe. Today, it was particularly different—surrounded by layers of security personnel. Anyone without an invitation was turned away.

This newly refurbished estate, including the entire nearby hillside, was private property. No trespassing.

Even the airspace above the mansion had been restricted by the owner to prevent overzealous reporters from disrupting the wedding.

Luxury cars arrived one after another, dropping off guests before exiting through a side gate to park in the massive temporary lot outside.

Hollywood’s elite were in full attendance—most of the A-list stars, directors, and producers had come.

But even more dazzling were the political and business figures.

The owner of the White House, Black Carbon, had already made an appearance. The current governor, Schwarzenegger, arrived early, followed by several members of Congress.

From the business world, Bill Gates, Larry Ellison, George Lucas, Mr. Chuan, Larry Page, Sergey Brin, and Jeff Bezos each led their own social circles.

Even Steve Jobs, despite his recent health struggles, had swapped his signature turtleneck and jeans for a formal suit.

Over ten of the top twenty richest individuals in America were present.

Such a guest list could only mean one thing—this wedding was extraordinary.

Even the best man was named William.

The ceremony began promptly, with guests gathering on the freshly decorated lawn.

Will Smith watched as Ronan and Jessica Felton stepped onto the wedding platform. He leaned toward Tom Cruise and murmured, “Can you believe it? Ronan, who used to care about nothing but the forest, is actually getting married today.”

Tom Cruise lowered his voice. “Let’s just wish them well.”

Will Smith nodded. “May God bless them.”

Jessica Felton’s father walked her down the aisle, handing her over to Ronan. The red-robed archbishop from the Western Diocese presided over the ceremony, offering his blessings.

The wedding proceeded smoothly, without any dramatic incidents. After the customary rituals, Ronan and Jessica exchanged rings.

In her pristine white gown, diamond-studded crown, and flawless makeup, Jessica Felton looked especially radiant.

After the kiss, Ronan took her hand and said, “Jesse, thank you for becoming the love of my life, my one and only. For sharing all my dreams, desires, blueprints, adventures, and so much more. Thank you for being my partner in life. With you by my side, I feel like the happiest man in the world, forever and always.”

Jessica Felton kissed him back and declared, “I will always put you and our family first.”

No more words were needed—her heart was clear.

Though her pregnancy wasn’t yet visible, the moment she confirmed she was expecting, Jessica’s priorities shifted from work to family.

After the ceremony, Ronan escorted Jessica back to their room. In the early stages of pregnancy, rest was crucial. With Lindsay Bill as her maid of honor, Jessica wouldn’t be bored.

Ronan returned to the banquet hall to thank the guests. The reception inevitably turned into a networking event.

Normally, gathering so many political and business elites in one place wasn’t easy.

Even though Ronan preferred not to discuss anything beyond the wedding, people still approached him.

Black Carbon was already preparing for the next election and inquired about Relativity Entertainment’s support. Mr. Chuan, now aligned with the Republicans, was also testing the waters to secure backing from a major media platform.

Under Robert Iger’s leadership, Relativity Entertainment had successfully integrated its newly acquired businesses. With Netflix in new media and the fully consolidated Relativity Television Network, along with various local stations, their ability to influence and shape public opinion was unparalleled.

Elections were, at their core, grand performances—and media support was essential.

“Too bad, Ronan, you’re married now,” Mr. Chuan said bluntly. “Otherwise, I could introduce you to my daughter.”

That was just his style—his daughter was always one of his biggest selling points.

Later, Bill Gates also sought out Ronan. With smartphones booming, Microsoft was planning to enter the smart mobile market and was considering acquiring Nokia’s phone business.

Nokia, due to strategic missteps, had seen its market share decline year after year. Last year, it lost its position as the industry leader.

Nokia’s closed ecosystem and Symbian system had been no match for the more open Android alliance. The once-mighty Nokia empire was now in decline.

Bill Gates hoped Microsoft could establish a cooperative relationship with the Android alliance.

Ronan gave a noncommittal response. Netflix wouldn’t give Microsoft’s Windows operating system any foothold in the smart mobile market.

A few guests from the other side of the Pacific also approached, including Lin Jian. The two chatted amiably.

The high-ranking official from China Film Group even presented Ronan with an official invitation to visit the other side of the Pacific for business discussions.

Ronan solemnly agreed to find a suitable time next year for the trip.

After the long wedding and reception, Jessica Felton came downstairs to bid farewell to the guests alongside Ronan before finally getting some rest.

Even for people of their stature, weddings were exhausting.

Sitting in their newly decorated third-floor bedroom, gazing at the large wedding photo on the wall, Jessica Felton rested her head on Ronan’s shoulder. “It feels like a dream.”

Ronan smiled. “As long as the dream stars you and me.”

Jessica Felton leaned in, kissing his cheek, then touched her still-flat belly. “I wonder if it’s a girl or a boy.”

Ronan placed his hand over hers. “I’ll love them either way.”

Jessica Felton asked, “Have you thought about names?”

“For a girl, how about Helen or Anna?” Ronan was clearly terrible at naming. “For a boy… Ryan? Duke? Murphy? Or Matthew?”

All common, simple names.

Jessica Felton didn’t comment. “We’ll decide later.”

She was just glad he hadn’t suggested Optimus Prime or Megatron.

Only she knew how obsessed Ronan was with Transformers. The franchise had immense potential, especially the toys. Thanks to last month’s success of Transformers 2, Hasbro’s toy sales were skyrocketing.

Jessica Felton had an inkling that Relativity Entertainment’s acquisition plans weren’t over. Since the Fox deal had cost less than fifteen billion dollars, the company still had substantial reserves. It seemed Ronan and Robert Iger had set their sights on Hasbro.

It made sense. With Peppa Pig, Pixar, and Shai Entertainment Animation Studio producing so many hit animated films, acquiring Hasbro would further boost Relativity’s offline revenue—possibly by fifty percent.

A wave of fatigue hit Jessica Felton. She stopped overthinking, pulled Ronan to bed, and they both rested. Today had been too tiring.

Months passed quickly. Just before Thanksgiving, Jessica Felton watched Frozen in their home theater. Upon learning she was having a girl, she insisted on naming her Elsa.

At the start of the new year, Jessica Felton was admitted to a private hospital in Beverly Hills, where she gave birth to a baby girl.

At Ronan’s insistence, they named her Helen.

The richest man in the world now had a little princess—Helen Anderson!

From the moment she was born, she was dubbed the “trillion-dollar princess.”

Names like Ryan, Duke, Murphy, and Matthew were never used.

Ronan, who had already settled down, now had a daughter. He was even more determined to take responsibility for his family—a married man’s most basic duty.

As the new year began, Relativity Entertainment fully integrated all businesses acquired from 20th Century Fox.

Media outlets widely praised the merger, calling it an unparalleled combination that created synergies, allowing Relativity to produce more compelling high-quality content, expand international recognition, and offer more engaging entertainment experiences.

Over the past year, Relativity’s films had once again grossed over ten billion dollars globally, securing the top spot in Hollywood for box office, overall revenue, and net profit for two consecutive years.

Relativity Entertainment now stood at the pinnacle of Hollywood, commanding an even larger market share than Disney ever had.

Simultaneously, the entire group had become the world’s leading entertainment and media conglomerate.

From a single film production business to a diversified empire, Relativity’s multi-faceted operations and seamless collaboration were unmatched worldwide. The company now comprised five major divisions: film and television entertainment, media networks, consumer products, interactive media, and smart terminals.

Especially in the internet sector, Relativity’s revenue growth was the highest.

Through online channels, social media, mobile platforms, and computers, Relativity offered tens of thousands of products—films, TV shows, popular music, sports broadcasts, stage plays, merchandise, and terminal games—making them accessible to consumers anytime, anywhere.

In 2010, Relativity’s revenue and profits both ranked within the top fifty of the Fortune 500—the only entertainment and media company in that tier.

Hollywood had entered a new era of entertainment, led by Relativity.

Chapter 1: Epilogue (1)

In an ordinary restaurant, a flat-screen TV mounted on the wall played the midday news.

“Lunch is served! Lunch is served!” someone shouted loudly in front of the cabinet stacked with boxed meals. “Hurry up, quick!”

Many people in khaki uniforms came over one after another to collect their meals. Old Hu was one of them. After getting his boxed lunch, he took off the steel helmet with a bandage flag on his head and placed it casually beside his seat, hurrying to eat his lunch.

The lunch was a fifteen-yuan standard boxed meal—one portion of rice with two vegetarian dishes and one meat dish. The taste was decent.

This was also related to the film crew. Although today’s film crew didn’t have a particularly large investment, there was almost no policy risk, and entry into television was basically unobstructed because it had a considerable audience nationwide.

After being shot by bullets, blown up by bombs, slashed by large knives, and torn apart by hand in the morning, Old Hu had “died” four times in a row as a background prop. He was truly “dead” tired and “dead” hungry.

He wolfed down his food, and everything tasted delicious.

After eating half a portion of rice, Old Hu felt “alive” again and slowed down his eating pace. As a drifting extra, he didn’t get to eat such quality meals every day.

He slowed down his eating pace. An older drifting extra had once told him: Be careful of stomach diseases!

If he really got a chronic illness, he wouldn’t even have money for treatment and would just have to endure it.

The TV volume was turned up high. Now that his stomach wasn’t growling, Old Hu could hear the TV program and looked up while eating.

“…… met with Ronan Anderson, the Joint Chairman of Relativity Entertainment, who is visiting China, at the Purple Light Pavilion.”

The world’s richest man!

Old Hu knew this person. The current world’s richest man, with a net worth exceeding two hundred billion dollars, was also in the same industry as him, working in the film and entertainment business.

“…… said that outstanding films and television programs are the common spiritual wealth of humanity. Building good spiritual sustenance is the shared responsibility of the international community. The achievements of Relativity Entertainment are recognized worldwide and have received widespread acclaim…… stated that the Eastern film and television industry, after decades of development, has forged a path with distinct Eastern characteristics. In the future, they hope to strengthen exchanges with Relativity Entertainment Group, share experiences, enhance mutual understanding, and promote the development of the film and television industry to better benefit people around the world.”

“Ronan Anderson is an old friend of the Eastern people and admires the brilliant achievements of the Eastern film and television development. He said that the East is a major world power, with an annual output of film and television works ranking among the top in the world, and has an important influence in the global film and television industry. Relativity Entertainment is willing to better understand the East, introduce the East, and work with the East to bring more positively meaningful spiritual sustenance to people around the world.”

“Mr. Anderson also stated that the East actively promotes the development of the film and television industry. Relativity Entertainment’s cooperation with the East can combine strengths, which is conducive to accelerating technological innovation and industrialization, continuously bringing outstanding film and television works to the world.”

“During the meeting, both sides also exchanged views on the development of the internet and reached a series of consensuses……”

Watching the news report, Old Hu felt a bit envious. From what he knew, Ronan Anderson had initially been a poor kid on the verge of bankruptcy but had developed into today’s super tycoon through the entertainment and film industry.

After this news, there was another related report.

Old Hu continued to eat and watch.

“This morning, Relativity Entertainment Group from the United States officially signed a contract with Shengai City to build the Relativity Vacation Amusement Park in the Bund East New Area. The project covers 155 hectares, with an expected total investment of 35.5 billion RMB. After completion, it will include thirteen major zones such as Avatar, Pirates of the Caribbean, Toy Story, Cars, Peppa Pig, Minions, and Cybertron……”

“Damn!” someone nearby exclaimed. “These Hollywood companies are really not just rich!”

Another person said, “The world’s richest man’s company can’t be ordinary.”

Old Hu lowered his head and silently shoveled rice into his mouth. He should fill his stomach first before thinking about anything else.

After finishing his meal, he found a napkin to wipe his mouth and sighed. As an actor, even though he was a drifting extra, he had dreams. How great would it be to make it in Hollywood in the future?

An international superstar!

The name “International Hu” sounded pretty good.

Life had to go on. Old Hu put aside his wild thoughts and walked out of the restaurant.

Immediately, a group leader came over and urged, “Hurry up, go back to the crew. I’ve talked to the crew. The clothes and the Type 38 rifle can be borrowed for now. We can rush a few more scenes in the afternoon. You can at least make it to ten consecutive kills and earn a bit more.”

Old Hu quickly followed the group leader, joking, “It’s ten consecutive deaths!”

Although he said that, his steps quickened. Rushing more scenes meant more money.

For extras like them who often went half a month without work, they had to rush as many scenes as possible when they could. Ten consecutive deaths were nothing. Once, he had held a Type 38 rifle and been killed sixteen times in a day in the crew.

He had heard of extras being killed more than twenty times in a day.

The number of little devils dying in the horizontal factory every year must be in the billions.

This also proved one point: such themes had always been very marketable.

………

Three months later, in Rhode Island, at the Hasbro headquarters.

Michael Bain, a reporter from Entertainment Weekly, pressed the camera shutter at the signing table where two people were shaking hands, capturing this important moment.

Just moments ago, Ronan Anderson and Brian Goldner, representing Relativity Entertainment and Hasbro respectively, had signed a contract. The former had fully acquired Hasbro for nine billion dollars.

Everyone in the industry knew that after Relativity Entertainment acquired Hasbro, its offline operational capabilities had improved qualitatively, and it had gained more material for adapting film and television works.

Michael Bain looked at Ronan Anderson, who was exchanging contracts with Brian Goldner. At just over thirty years old, he had built such a massive media and entertainment empire. It was truly remarkable.

With the acquisition of Hasbro, Relativity Entertainment now completely owned a cross-platform system for production, distribution, streaming, and peripheral production and sales.

How would Relativity Entertainment develop in the future? Would it become even more powerful?

Michael Bain instantly imagined:

Three years later, Relativity Entertainment acquires Paramount, the lowest-ranking studio in Hollywood.

Five years later, it buys Universal.

Eight years later, Relativity Entertainment attempts to acquire Warner Bros. and Time Warner, but the Warner Group tells Relativity Entertainment to get lost.

That year, the massive Relativity Entertainment was extremely angry and began building a Minions army.

In 2020, the Minions army attacks the Warner headquarters, kills many people, and forcibly occupies the company.

Subsequently, Relativity acquires Microsoft and declares war on the entertainment industry, ultimately successfully buying the United States and reorganizing the U.S. government into an authoritarian dictatorship.

In 2030, Relativity sends the Minions army to annex Mexico and Canada…

A Relativity Empire appears in North America!

Chapter 2: Epilogue

“Daddy! Daddy…”

A clear child’s voice rang out as a little girl skipped into the living room. “Look at me, Daddy!”

Ronan turned his head to see his three-and-a-half-year-old daughter playing hopscotch on the marble tiles, landing perfectly on each square.

Little Helen hopped toward Ronan and said in her baby voice, “Daddy, I’m not Helen right now. I’m a little frog.” She hopped forward again, deliberately adding a “Ribbit…”

Jessica Felton came downstairs and said, “Helen…”

“Mommy, I’m not Helen!” Little Helen stood up straight, putting her small hands behind her back with an unhappy expression. “I’m a little frog right now!”

Ronan coaxed her, “Okay, little frog.”

Little Helen squinted her eyes and smiled, then hopped toward Ronan again. “I love Daddy.”

Jessica Felton came over and handed Ronan a small denim jacket. “Alright, stop fooling around. Let your dear Daddy dress you. We’re going to the mall today.”

At the mention of the mall, Little Helen immediately jumped up and rushed over to hug Jessica Felton’s leg. “Mommy, I love you so much!”

Jessica Felton sighed helplessly. “You don’t love Mommy if we don’t go to the mall?”

Little Helen looked up at Jessica Felton, thinking seriously for a moment before saying, “Hmm… no, I don’t want toys. We have piles of toys at home.”

She let go of Jessica Felton and hopped over to Ronan, hugging him on the sofa. “Daddy, I love you so much!”

“I love you too.” He couldn’t resist this.

Little Helen asked, “Can you buy me snacks? We’re all out of snacks at home…”

Before Ronan could speak, Jessica Felton said first, “Helen, you promised Mommy.”

Little Helen jumped onto the sofa and sat next to Ronan, hugging his arm. “Mommy, no candy. I won’t eat candy today.”

Ronan put the jacket on his daughter and pulled her up from the sofa. “Alright, let’s go.”

Jessica Felton stepped forward, each holding one of their daughter’s hands as they went out to the car and headed to the mall.

In the car, Little Helen sat in her safety seat. As the car moved, her bright, lively eyes gradually lost focus, and she yawned, seemingly ready to fall asleep at any moment.

Like many children, she always fell asleep in the car.

Jessica Felton shook her little hand. “Don’t fall asleep. We’re almost there.”

Little Helen tilted her head against Jessica Felton’s arm. “Mommy, I’m so sleepy.”

Ronan felt sorry for his daughter. “Close your eyes for a bit.”

Before long, the car entered Century City and stopped in front of the Century City Commercial Plaza.

Jessica Felton shook her daughter. “Helen, we’re here.”

Little Helen wasn’t asleep yet, but she was still drowsy. She rubbed her just-opened eyes and mumbled, “I’m sleepy.”

Jessica Felton got out of the car first. “We’re at the mall.” She bent down to unbuckle the safety seat belt. “Alright, get out.”

Little Helen sat still in her seat. “Mommy, my foot hurts.”

“What’s wrong?” Ronan asked hurriedly. “Where does your foot hurt?”

Little Helen, in her baby voice, pointed randomly at her little foot. “It hurts here. It hurts so much.”

Ronan was about to take off her shoe, but Jessica Felton stopped him with a glance. “It’s nothing.”

Even so, Ronan was still worried. He picked up Little Helen from the car and was about to put her down.

But Little Helen clung to him like an octopus. “Daddy, my foot hurts. I can’t walk…”

Ronan immediately understood what was going on and couldn’t help but smile. “Walking will make it better.”

Little Helen still clung to him and wouldn’t come down. “Daddy, my foot hurts. I can’t walk.”

At three and a half years old, the little girl already had many thoughts, occasionally coming up with clever ideas.

Jessica Felton then said, “Helen, you’re already grown up. You can’t have people carry you around…”

Little Helen blinked her bright black eyes, full of innocence. “I’m Daddy and Mommy’s little treasure.”

Ronan had no resistance. “Jesse, I’ll carry Helen.”

Jessica Felton sighed helplessly. “You’ll spoil her like this.”

Ronan carried Little Helen and led the way to the mall. “Daughters are meant to be spoiled.”

Jessica Felton could only follow.

Little Helen clung to Ronan and said to Jessica Felton, who was following, “Mommy, I don’t want toys, and I won’t eat candy.”

Jessica Felton nodded. “Mommy believes you.”

Ten minutes later, Little Helen had already gotten down from Ronan and was standing in front of an ice cream shop, refusing to leave.

Jessica Felton said, “Dear, what did you promise Mommy?”

“Can’t we buy it?” Little Helen’s little face was full of grievance.

“Not today.” Compared to Ronan, Jessica Felton was a strict mother. “This is a sweet.”

Little Helen’s little head couldn’t understand the difference. “Ice cream isn’t candy.”

Jessica Felton said, “There’s sugar in ice cream.”

Little Helen was still speaking like a child. “Ice cream is ice cream, candy is candy.”

Jessica Felton was at a loss for words, not knowing how to explain.

Seeing that Mommy wasn’t moved, Little Helen became anxious and said with a crying voice, “Daddy, my foot doesn’t hurt anymore, and it won’t hurt in the future.”

Ronan pretended to ask, “Really doesn’t hurt anymore?”

“It doesn’t hurt. My foot won’t hurt in the future.” Little Helen said hurriedly, “Daddy, buy me ice cream? Please?”

She grabbed Ronan’s hand. “You said… okay.”

Ronan pulled his wife. “Jesse…”

Because they spoiled their daughter too much, they had reached an agreement on some matters, such as sweets. As long as Jessica Felton was present, they needed her consent.

In modern society, there were all kinds of snacks, but they were also a test for children’s teeth.

“You really can’t do anything with you two.” Jessica Felton squatted down and looked into Helen’s eyes. “Dear, Mommy can buy you ice cream, but do you remember our agreement?”

Little Helen immediately said, “Only one thing.”

Jessica Felton smiled and bought her daughter a scoop of ice cream.

After eating the ice cream, the two of them took Little Helen to the indoor playground in the mall. Little Helen quickly made friends with other children.

This was the purpose of bringing her here.

Ronan and Jessica Felton wanted Little Helen to meet more people and learn how to interact with others.

Sitting in the waiting area outside the playground, Ronan said, “Jesse, aren’t you being a little too strict with Helen?”

“It’s an objective condition that she was born into our family, which can’t be changed.” Jessica Felton was very clear-headed. “But we must do our best to ensure that Helen doesn’t develop princess syndrome. It won’t do her any good in the future.”

Ronan smiled and didn’t say anything more.

On the way back, Ronan held Little Helen’s hand in one hand and Jessica Felton’s in the other, as if he was holding the whole world.

(End of the book)

Chapter 1: Final Thoughts

It’s hard to believe that over five years have passed since I started writing. Time has flown by so quickly that I haven’t even noticed, and now a third of my hair has turned white.

Friends in the group chat have probably seen the photos I’ve shared—premature aging, I’m too embarrassed to show my face.

Oh, right, the old drivers in the group finally crashed the car. The old group was banned, so we’ve moved to a new one.

Here’s the new group number again: 330625675.

If you’re interested, feel free to join and chat.

A piece of advice: drive less, study more; do less needlework, and engage in more activities that benefit your physical and mental health.

Don’t drag the group owner down, because I’m no longer the owner. I don’t have the strength to withstand such a massive crash.

Next up is the usual thank-you time.

Thank you all for your unwavering support. I am truly grateful.

I’ll skip the hundred-thousand-word thank-you speech here.

Let’s talk about the new book.

I currently have no ideas for a new book. My mind is blank, and I don’t know what to write next. The more I think about it, the more confused I get.

I’ll probably take a long break to clear my mind completely, spend time with my wife and kids, especially my daughter. She’s been staying home these past few months instead of going to kindergarten, banging on the door and not letting me write. She’s just over three years old, but she’s already full of tricks, always complaining about aches and pains here and there—she’s turning into a little drama queen.

Alright, I won’t ramble on anymore. The earliest the new book will come out is mid-to-late May. See you then.

Wishing everyone prosperity every day.

Chapter 1: The Wasteland’s Future of Struggle

The new book Wasteland’s Future of Struggle has been released!

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Chapter 1: My Beautiful World

The new book My Beautiful World is currently being written. Please wait a moment.

Chapter 1: Fame and Fortune in America

The new novel Fame and Fortune in America has been released.

Currently being written by hand, please wait a moment.

Recent updates for some books may experience a few days of delay. Please wait patiently.

UNTITLED

Chapter 697: Solving Two Films’ Needs
Chapter 698: Business is Business
Chapter 699: The Unchanging Business Theme
Chapter 700: Ronan’s Conditions
Chapter 701: Limitless Potential
Chapter 702: Strategic Acquisition
Chapter 703: Balancing Looks and Acting
Chapter 704: A New Circle
Chapter 705: Infinite Horror
Chapter 706: Give It Your All

Chapter 707: An Honest and Trustworthy Businessman

Chapter 708: Alexander the Great
Chapter 709: Box Office Share
Chapter 710: Dead or Alive
Chapter 711: Comradeship
Chapter 712: Zombie World War
Chapter 713: A Miraculous Trend
Chapter 714: Prehistoric Myth
Chapter 715: Sharing the Wealth
Chapter 716: Great Potential
Chapter 717: Various Probes
Chapter 718: A Massive Paycheck
Chapter 719: Alice
Chapter 720: Illegitimate Daughter
Chapter 721: Mobile Client
Chapter 722: The Gunshot
Chapter 723: Seizing Every Opportunity
Chapter 724: Chicken Soup Is Still in Vogue
Chapter 725: The Hot Favorite
Chapter 726: Beautiful Memories
Chapter 727: Infinite Future
Chapter 728: Money Never Sleeps
Chapter 729: The Age Factor
Chapter 730: Chubby Round Face
Chapter 731: The Script Tossed in the Trash
Chapter 732: Old White Doesn’t Run the Show
Chapter 733: Streaming Media Launch
Chapter 734: Binge-Watching
Chapter 735: The Rise of a New King

Chapter 736: The Superiority of Being a Good Person

Chapter 737: Bountiful Harvest
Chapter 738: The Alien
Chapter 739: The Fashion Waist Fairy
Chapter 740: Demons Unleashed
Chapter 741: Just a Fairy Tale
Chapter 742: Archenemies
Chapter 743: The Most Important
Chapter 744: Dreams Come True
Chapter 745: An Outsider
Chapter 746: Persistence Through Defeat
Chapter 747: A Fresh New Look
Chapter 748: The Midas Touch
Chapter 749: The Charity Foundation
Chapter 750: Riding the Wave of Popularity
Chapter 751: Marvel’s Affairs
Chapter 752: Overthinking
Chapter 753: Brother Bao’s Iron Fist
Chapter 754: Personal Connections
Chapter 755: Mechs and Godzilla
Chapter 756: Style
Chapter 757: A Clash of Visions
Chapter 758: Distinctiveness
Chapter 759: Bald and Critical Hits
Chapter 760: Millionaire
Chapter 761: Pure and Beautiful
Chapter 762: Aliens
Chapter 763: District 9
Chapter 764: The Director’s Choice
Chapter 765: The Human Skin Inn
Chapter 766: The Final Preparations
Chapter 767: Calculations
Chapter 768: The Brewing Storm
Chapter 769: Everyone on Edge
Chapter 770: Imbalance
Chapter 771: Super Gossip
Chapter 772: A Textbook Example
Chapter 773: The Best in the Series
Chapter 774: Each to Their Own
Chapter 775: Kingdom of Heaven
Chapter 776: How a Movie Gets Murdered
Chapter 777: Back-to-Back Championships
Chapter 778: Preparing for the Future
Chapter 779: Despicable Me
Chapter 780: Cover Story
Chapter 781: A Different Philosophy
Chapter 782: Passing the Blame
Chapter 783: The Script is Wrong
Chapter 784: The Madness of Football
Chapter 785: Champions
Chapter 786: Ruthless Wealth
Chapter 787: Finding Oneself Again
Chapter 788: Decepticons Strike
Chapter 789: A Child Star with Innate Talent
Chapter 790: The Expected Failure
Chapter 791: The “It’s Actually Good” Rule
Chapter 792: Top Star
Chapter 793: A Strong Personality
Chapter 794: A Duty to Be Together
Chapter 795: In One’s Lifetime
Chapter 796: Business Matters
Chapter 797: America’s Tolkien
Chapter 798: Drunk on Life and Dreams
Chapter 799: The Living Captain
Chapter 800: A Brand New Record
Chapter 801: The Weather Man
Chapter 802: The British Gentleman
Chapter 803: Disney’s Collaboration
Chapter 804: Like a Fish in Water
Chapter 805: Messi
Chapter 806: The Master

Chapter 807: The Difference Between Good and Evil

Chapter 808: Ringing the Bell
Chapter 809: Successful Financing
Chapter 810: Disruptive Innovation
Chapter 811: The Ice Bucket Challenge
Chapter 812: Fame and Fortune
Chapter 813: Open Handheld Device Alliance
Chapter 814: Something Feels Off
Chapter 815: Diversity
Chapter 816: Ed
Chapter 817: Discussing the Termination
Chapter 818: The Capital of Confidence
Chapter 819: The Dynamics of Two Giants
Chapter 820: One More Choice
Chapter 821: Born Enemies
Chapter 822: The Choice for the Joker
Chapter 823: The Perfect Tool for Relaxation
Chapter 824: Differential Treatment

Chapter 825: Optimus Prime Abuses Me a Hundred Times

Chapter 826: Starting Over
Chapter 827: Indian Cinema
Chapter 828: Chairman Qiao

Chapter 829: A Mutually Beneficial Partnership

Chapter 830: Financing
Chapter 831: Commercial Advertising
Chapter 832: New Projects and New Itineraries
Chapter 833: Brokeback Mountain
Chapter 834: Horror Film
Chapter 835: New Player
Chapter 836: Chaos
Chapter 837: The Terrifying Wastewood
Chapter 838: A Fatal Accident
Chapter 839: The Golden Lion
Chapter 840: The Ruthlessness of Capital
Chapter 841: Rejection
Chapter 842: New Collaboration
Chapter 843: Bulgaria
Chapter 844: Minor Role
Chapter 845: The Changing of the Guard
Chapter 846: Please Show Some Self-Respect
Chapter 847: Money is the Greatest Capital
Chapter 848: Striving for the Future
Chapter 849: Outsiders and Insiders
Chapter 850: Who to Cooperate With?
Chapter 851: Resolving the Dispute
Chapter 852: Wait a While

Chapter 853: Only Believe in Disney Fairy Tales

Chapter 854: Dawn Breaks
Chapter 855: Unexpected Factors
Chapter 856: Sequels First
Chapter 857: Gilding
Chapter 858: Land of the Dead
Chapter 859: The Blacklist Plan
Chapter 860: Turning It into a Business
Chapter 861: At Ease
Chapter 862: Goodwill
Chapter 863: Sincerity Overflowing
Chapter 864: The Father of Jigsaw
Chapter 865: A Godlike Character
Chapter 866: The Warrens

Chapter 867: A Treasure Trove of Horror Material

Chapter 868: Quality Recommendations
Chapter 869: Shameless
Chapter 870: The Decision
Chapter 871: Ambition and Maneuvering
Chapter 872: Addicted to Poaching

Chapter 873: A Distant Relative Is Not as Good as a Close Neighbor

Chapter 874: Fox’s Assets
Chapter 875: Clashing Visions
Chapter 876: Blood Plasma Feast
Chapter 877: Fox Online
Chapter 878: Terminator Spin-off

Chapter 879: Three Daughters, Three Thousand Pounds

Chapter 880: I Will Change Hollywood
Chapter 881: Adversity
Chapter 882: The Female Billionaire
Chapter 883: Growing More Enchanting with Age
Chapter 883: Growing More Enchanting with Age

Chapter 884: Bursting into Song at the Drop of a Hat

Chapter 885: Hairspray
Chapter 886: Letting Go
Chapter 887: Equality
Chapter 888: A Long Road Ahead
Chapter 890: Seeking Help
Chapter 891: Exploiting the Crisis
Chapter 892: Verification
Chapter 893: Warner Bros’ Request
Chapter 894: Step by Step Pressure
Chapter 895: Good News
Chapter 896: Change
Chapter 897: The Tragic Young Man
Chapter 898: A Request to Purchase
Chapter 899: The Power to Make It Happen
Chapter 900: An Opportunity Not to Be Missed
Chapter 901: The Deal is Set
Chapter 902: The Circle of Tech Enthusiasts
Chapter 903: The Problem at Hand
Chapter 904: The Princess Plan
Chapter 905: The Disney Animation Team

Chapter 906: The Three-Way Struggle for Supremacy

Chapter 907: Plan Completed
Chapter 908: Not Working Properly
Chapter 909: The Da Vinci Code
Chapter 910: The Honest Man
Chapter 911: Egalitarianism
Chapter 912: A Stroke of Incredible Luck
Chapter 913: Musical Prodigy
Chapter 914: Six Hundred Billion
Chapter 915: Two Plans
Chapter 916: Lincoln
Chapter 917: What Catches the Eye
Chapter 918: Needlework
Chapter 919: Lincoln Knows Martial Arts
Chapter 920: The Parody Director
Chapter 921: Fifty Thousand Dollars
Chapter 922: The Moment of Rise
Chapter 923: Iron Man
Chapter 924: The Rich Fight by Burning Money
Chapter 925: The Unconventional
Chapter 926: A New Record for Superheroes
Chapter 927: Harvesting the Fans
Chapter 928: Overwhelming Vision
Chapter 929: Superman Returns
Chapter 930: The Perfect Hero
Chapter 931: A Royal Flush
Chapter 932: Estonia

Chapter 933: Wandering the World with Sword in Hand

Chapter 934: The Last Stand
Chapter 935: The Ultimate Convenience King
Chapter 936: The Madness of Will
Chapter 937: Respect Your Market
Chapter 938: None of My Business
Chapter 939: Content Full of Fabrication
Chapter 940: A Big Gift
Chapter 941: Warning
Chapter 942: Love and Hate
Chapter 943: The New Princess
Chapter 944: He Was Too Trashy
Chapter 945: Broadening Horizons
Chapter 946: Minions
Chapter 947: Animation Business
Chapter 948: Astonishing Progress
Chapter 949: Aerial Combat Hero
Chapter 950: The Little Devil
Chapter 951: A Question of Taste
Chapter 952: The Karate Kid
Chapter 953: Surviving Under Pressure
Chapter 954: Fleecing the Sheep
Chapter 955: Dragonball Evolution
Chapter 956: Don’t Let James Down
Chapter 957: The Most Difficult Work to Adapt
Chapter 958: The Professionals
Chapter 959: Summoning the Dragon
Chapter 960: A Beautiful Lie
Chapter 961: Blood Test Center
Chapter 962: After the Storm
Chapter 963: Everyone on Edge
Chapter 964: The Least Profitable Film
Chapter 965: Filled with Malice
Chapter 966: Time Does Not Allow
Chapter 967: Chaos Born of Despair
Chapter 968: Jigsaw Is a Disease
Chapter 969: Not Afraid at All
Chapter 970: A Dud
Chapter 971: The Inevitable Shift
Chapter 972: The Incredibles
Chapter 973: Balancing Market and Art
Chapter 974: Advancing into the East
Chapter 975: Beauty and the Beast
Chapter 976: The Advantage of Skin Color
Chapter 977: Who’s Worse Than Who

Chapter 978: The Role of Heartbreak in Career Success

Chapter 979: Record Company
Chapter 980: Free Licensing
Chapter 981: Not as Good as DVD Sales
Chapter 982: A Token of Gratitude
Chapter 983: Ignorance and Stupidity
Chapter 984: The Best Picture
Chapter 985: Only the Result Matters
Chapter 986: An Ordinary Return Gift
Chapter 987: The Hangover
Chapter 988: Focused Entirely on Work
Chapter 989: Indivisible
Chapter 990: Death by the Joker
Chapter 991: Deification
Chapter 992: Indian Film Culture
Chapter 993: Years of Devotion
Chapter 994: Truly Joyful
Chapter 995: Five Gold Mines

Chapter 996: First Time Exceeding Billion Dollars

Chapter 997: Fan-Oriented
Chapter 998: The Five Waves of Truth
Chapter 999: The Worse, The More Beloved
Chapter 1000: Weakness
Chapter 1001: The Omen
Chapter 1002: Touching the Dream
Chapter 1003: The Triple Crown
Chapter 1004: Reaping the Benefits
Chapter 1005: Relentlessly Dredged Up Again
Chapter 1006: Startled
Chapter 1007: I Do
Chapter 1008: Love and Family
Chapter 1009: Cop and Criminal Theme
Chapter 1010: Revival
Chapter 1011: Movies Aren’t Medicine
Chapter 1012: Feminism Incarnate
Chapter 1013: Regarding Marvel
Chapter 1014: Bustling Activity
Chapter 1015: It’s Complicated
Chapter 1016: The Slaughterhouse
Chapter 1017: The Rights of Aliens
Chapter 1018: High Returns
Chapter 1019: A Visit
Chapter 1020: The Dragon Pearl Emerges
Chapter 1021: A Brutal Flop
Chapter 1022: You Are Free
Chapter 1023: The Most Destroyed City
Chapter 1024: Pure Popcorn
Chapter 1025: S.H.I.E.L.D.
Chapter 1026: Aggressive
Chapter 1027: The Ultimate Crossover
Chapter 1028: The Day He Comes Home
Chapter 1029: Each Gets What They Want
Chapter 1030: Lightning McQueen
Chapter 1031: The True Childhood Ruiner
Chapter 1032: Advancing on All Fronts
Chapter 1033: Transformers
Chapter 1034: Decepticons Strike
Chapter 1035: That Unforgettable Bond
Chapter 1036: Cosmic Spokesperson
Chapter 1037: Losing Reason
Chapter 1038: A Popular Victory
Chapter 1039: Endless Business Opportunities
Chapter 1040: Ambition
Chapter 1041: Once Upon a Mountain
Chapter 1042: Following the Money
Chapter 1043: Deification
Chapter 1044: Glory Unmatched
Chapter 1045: Changing Plans
Chapter 1046: The Profound Impact

Chapter 1047: A High Starting Point for Internationalization

Chapter 1048: No Effort Without Gain

Chapter 1049: Uncle Can’t Tolerate This

Chapter 1050: The Appeal of Dawn of the Dead 2

Chapter 1051: The Vault
Chapter 1052: Prevention is Better Than Cure
Chapter 1053: The Witch Hunter Washington
Chapter 1054: A Successful Beginning
Chapter 1055: Winter Is Coming
Chapter 1056: Momentum
Chapter 1057: Changing Genres

Chapter 1058: Still Relying on Derivative Products

Chapter 1059: The Beginning of Turmoil
Chapter 1060: Divide and Conquer
Chapter 1061: Fan Economy
Chapter 1062: Stay Out of It
Chapter 1063: Gratitude and Recompense
Chapter 1064: A Complete Subversion of Values
Chapter 1065: The Female Entrepreneur
Chapter 1066: Nothing to Do with Fairness
Chapter 1067: The Great Strike
Chapter 1068: Divine Status
Chapter 1069: Self-Rescue
Chapter 1070: No Choice
Chapter 1071: A Perfect Conclusion
Chapter 1072: Self-Exile
Chapter 1073: The Hundred-Billionaire
Chapter 1074: Who Will Foot the Bill?

Chapter 1075: The Axe Gang’s North American Branch

Chapter 1076: Humanity Shall Never Be Enslaved

Chapter 1077: The Present Struggle
Chapter 1078: The Master of Retcons
Chapter 1079: Unbelievable
Chapter 1080: An Unsolvable Problem
Chapter 1081: Equal Distribution of Awards
Chapter 1082: Serving the Story
Chapter 1083: The So-Called Freedom
Chapter 1084: Castle in the Air
Chapter 1085: Unease
Chapter 1086: S.H.I.E.L.D.’s Coffee
Chapter 1087: Watchmen
Chapter 1088: Insisting on the Dark Style
Chapter 1089: Technical Issues
Chapter 1090: Someone Else’s Child
Chapter 1091: The Return
Chapter 1092: The Money-Making Journey
Chapter 1093: The Advantage is Clear
Chapter 1094: Love Is a Beam of Light

Chapter 1095: Ten Years to Forge a Single Sword

Chapter 1096: A Renaissance in Film History
Chapter 1097: A Cultural Phenomenon
Chapter 1098: A Significant Gain
Chapter 1099: The Rising Tide
Chapter 1100: Shocking Revelations
Chapter 1101: Preparing for the Sequel
Chapter 1102: No Choice But to Accept Aging
Chapter 1103: Inclination
Chapter 1104: The Stepmother Alliance
Chapter 1105: Gravity
Chapter 1106: The Fourth Dragon Ball
Chapter 1107: The New Successor
Chapter 1108: The Budget Version
Chapter 1109: Leap of Faith
Chapter 1110: The Dark Movie Universe

Chapter 1111: A Movie Only Smart People Can Understand

Chapter 1112: Inside and Outside the Circle
Chapter 1113: Space Epic
Chapter 1114: Market Gap
Chapter 1115: The Croods
Chapter 1116: The Key
Chapter 1117: Development Leads to Maturity
Chapter 1118: A Timely Arrival
Chapter 1119: The Most Crucial Link
Chapter 1120: Opportunity
Chapter 1121: Madness
Chapter 1122: Record-Breaking Blockbuster
Chapter 1123: Symbol of Spirit
Chapter 1124: The Hydra Captain
Chapter 1125: The Marvel Effect
Chapter 1126: A New Version, A New Legend
Chapter 1127: Alliance
Chapter 1128: Deep Roots
Chapter 1129: The Triangular Structure
Chapter 1130: No One Can Stay Out of It
Chapter 1131: The Beginning
Chapter 1132: Relentless Blows
Chapter 1133: Complete Collapse
Chapter 1134: The Inevitable Trend
Chapter 1135: I Am the Victim
Chapter 1136: The Worst Direction
Chapter 1137: Dignity
Chapter 1138: Turbulent Times
Chapter 1139: The Avengers
Chapter 1140: Global Dominance
Chapter 1141: The Wedding
Chapter 1: Epilogue (1)
Chapter 2: Epilogue
Chapter 1: Final Thoughts
Chapter 1: The Wasteland’s Future of Struggle
Chapter 1: My Beautiful World
Chapter 1: Fame and Fortune in America