The central Florida sun beat down over the towering spires of Cinderella Castle, a Disney "weenie", an architecture that help guides peopl through the park, Walt Disney World's Magic Kingdom.
Duke was walking down the park, this was simultaneously a romantic afternoon getaway and a corporate reconnaissance mission.
He wore a crisp linen shirt with sleeves rolled up, expensive aviator sunglasses shielding his eyes, and a yellow box of buttery popcorn in his left hand.
He tossed a handful into his mouth, with a boyish grin plastered across his face. He was genuinely having the time of his life, absorbing the sights, and joy of the tourist crowd.
Walking beside him, in high-waisted shorts and a tied-off blouse, was Lynda. She wore a wide-brimmed straw panama hat to protect herself from the sun.
She glared playfully at the popcorn box, then at the half-eaten Mickey Mouse ice cream bar Duke had just purchased.
"You are a terrible influence," she laughed, swatting his arm. "Do you have any idea how many calories are in that popcorn? Let alone the ice cream? I'm playing a warrior princess in two months and, I have to fit into a custom designer gown for the Academy Awards in two weeks. I cannot be wandering around a theme park eating pure sugar."
Duke chuckled, wrapping his free arm around her waist and pulling her close, unbothered by her diet.
"You already look like a goddess, I'm a man who appreciates women with some weight," he assured her, "Also as a man, I require sustenance to properly analyze my competition."
He took an exaggerated bite of the ice cream bar, earning another chuckle and eye roll.
But even as he joked, Duke was actively dissecting everything he saw.
As they stood in line for the Jungle Cruise, he leaned down, whispering into Lynda's ear.
"Look around us, Lynda. Do you know the scale of what Walt Disney actually accomplished here? He bought approximately twenty-five thousand acres of Florida swamp. Twice the size of Manhattan, entirely owned by a single entertainment company."
Lynda looked out over the trees, trying to comprehend the magnitude. "Twenty-five thousand acres? But the park itself doesn't feel that big. Where's the rest of it?"
Duke smiled, "The vast majority of this land is still completely unbuilt. The wilderness acting as a buffer zone against the outside world. They can expand gradually through the years without closing the park."
As the line shuffled forward, Duke tossed his empty popcorn box into a Mickey Mouse themed trash can. "Disney completely controls the economic ecosystem here too. The gate admission makes some money but it only covers overhead, But it's not where the actual wealth is generated."
"So where's the actual profit?" she asked, genuinely curious.
Duke gestured broadly with a sweeping motion. "Absolutely everywhere else. Once you walk through those gates, you're a captive demographic. You can't leave to buy a cheaper lunch or a cheaper souvenir. A fifty-cent fountain soda that costs them three cents in syrup. A plush Mickey Mouse toy manufactured for a dollar and sold for twelve."
"And above all else, the profit is the hotels, forcing consumers to pay them rent just for the privilege of sleeping near the park."
They finally boarded the ride, enduring the Jungle Cruise skipper.
After disembarking, they wandered deper into the park, eventually escaping the midday heat by ducking into the air-conditioned queue for Pirates of the Caribbean. As the boat drifted through the dimly lit caverns, Duke sat quietly, his arm around Lynda's shoulders.
This was the first time he had learned about Pirates of the Caribbean wasn't based on a preexisting movie or book. It was a Disneyland ride.
___
A week later, It was March 20, 1973, and Duke was back on his office.
He sat behind his mahogany desk on the Paramount lot, sunlight streaming through the windows. Across from him, was Jeffrey Katzenberg.
Today, the focus was entirely on the still unsuccesful animation division, a sector Duke viewed not as a sideshow, but as a crucial pillar for Paramount.
"Alright, Jeffrey," Duke said, leaning back. "Give it to me straight. How's the animation division functioning? Good news first. If there's any bad news, I expect you to have already figured plans to solve it, before you walked in."
Katzenberg offered a confident smile. "It's entirely good news, Duke. The NBC executives came to the lot yesterday to screen the first chapter of the Blue Beetle series. They loved it."
Katzenberg opened a thick leather binder, flipping to a dense spreadsheet. "NBC signed the broadcast contracts right there in the screening room. We're officially locked in for a December 1973 premiere."
"Furthermore, Star Trek: The Animated Series, which we're producing concurrently, is moving at a fast pace too. The original cast voice recordings are fantastic, and the animation respects the live-action aesthetic. NBC has locked that in for an October 1973 release."
Duke nodded slowly, this was exactly how he'd planned it. "Excellent work, Jeffrey. The television revenue from NBC will easily cover our production costs, but we're aiming to make our money through toys."
Katzenberg turned to the next page. "Speaking of international licensing, the Madhouse studio, our wholly owned subsidiary in Tokyo is exceeding all expectations."
"While they've been instrumental in handling the heavy animation lifting for Blue Beetle and Star Trek, they've also launched their own domestic production aimed at the Japanese market. It's a sports drama called Aim for the Ace!. They are finishing it soon."
Duke nodded, genuinely impressed. "That's great, Jeffrey. I would like to establish Madhouse as a dominant domestic force in Japan, but our focus is still Blue Bettle."
"Understood," Katzenberg replied, making a rapid note. "Now, assuming Blue Beetle performs as we project this December, we need to immediately begin pre-production on the next wave of DC animated properties."
"The writers' room has pitched two concepts. First, an ensemble show called The Brave and the Bold team-ups between Batman and lesser-known heroes. Second, a stylized solo series centering entirely on The Flash. We are also working on a Green Lantern and Nightwing pitch."
Duke didn't hesitate. "Greenlight both for pre-production. The Flash has incredible visual potential, and The Brave and the Bold lets us test secondary characters for future solo projects."
Katzenberg hesitated briefly. "There's one slightly contentious issue. Hanna-Barbera has been relentlessly calling my office."
"They want to produce an ensemble show using our primary DC heroes, Superman, Batman, Wonder Woman. They're calling it Super Friends. They want to handle the animation, and they want us to license the characters for a percentage of broadcast revenue."
The warm atmosphere instantly evaporated, Duke leaned forward. He hated the Super Friends pitch with a burning passion.
"Absolutely not," Duke said, "Jeffrey, reject that pitch. Do not even entertain a follow-up meeting. Hanna-Barbera specializes in cheap, repetitive, limited-frame animation."
"A factory that produces visual garbage. If we let them touch Superman and Batman, they'll completely dilute the prestige of the brand. We animate them in-house, at the highest possible quality, or we don't animate them at all."
Katzenberg nodded quickly, "Consider it dead. I'll make the call this afternoon. However, there's one more external proposal. Taft Broadcasting reached out formally yesterday."
"As you know, they successfully launched Kings Island theme park in Ohio last year. They have incredible operational experience in the regional park sector. They caught wind of our land acquisitions in Orlando, and they want to enter a joint venture."
Duke crossed his arms, analyzing the angles. "What exactly are the terms?"
Katzenberg cleared his throat. "They want to provide operational expertise, physical park management, and a portion of construction capital."
"In exchange, they want fifty percent equity in Paramount Park, and they want us to lease them exclusive theme park rights to DC and Looney Tunes characters for a multi-million dollar annual fee. They effectively want to run the park and pay us rent for our IP."
Duke let out a dismissive laugh.
"Jeffrey, listen to me carefully. Taft Broadcasting wants to lease our IP because they know leasing provides safe, guaranteed short-term cash. But a lease inherently places a ceiling on our potential profits."
Duke stood, pacing toward the large windows, looking out over the bustling studio lot below. "If we partner with Taft, we share equity. If this park becomes the massive global destination we want to make it be, we'll be forced to split billions in long-term profit with a company that didn't do anything."
"I despise sharing equity, Jeffrey. It's a fundamental weakness. I don't want to be a landlord collecting safe rent on DC characters. Tell Taft that we're flattered, but Paramount Pictures plays alone."
Katzenberg closed his heavy binder with a definitive snap.
"I'll draft the rejection letter tomorrow. The animation division is secure."
Duke turned from the window, a smile returning to his face. "Exactly, Jeffrey. Now, if you'll excuse me, I have another meeting."
___
Duke stood near the glass, gazing out at the studio lot below.
The lot was alive with the chaotic energy of cinema, executives walking fast, extras idling aroung.
He took a slow sip of black coffee, smiling. He really loved the business. He turned as the door of his office swung open.
Barry Diller walked in, carrying a leather folder. Beside him, was Nolan Bushnell.
Nolan, the head of both Atari and the recently revitalized Ampex wore his characteristic relaxed attire of hawaiian shirt and shorts.
"Gentlemen, welcome," Duke announced warmly, "Please, sit down. Barry, you mentioned we have a situation brewing with the writers. Tell me everything."
Diller took a seat opposite Duke's desk, opening his folder.
"It's definitely an interesting situation, Duke," Diller began, serious but calm. "The Writers Guild of America West is gearing up for their next contract negotiation cycle, and the leadership is making some incredibly aggressive, forward-looking demands."
"John Furia Jr. is leading the campaign. He's the current WGA West President and wrote some of the defining episodes of The Twilight Zone and Bonanza. He's trying to anticipate the future so some of his demands are completely unprecedented."
Duke leaned back, resting his hands behind his head.
"I always appreciate a man with foresight, Barry. So what exactly is Furia asking for that you would ask me to meet? A percentage of theatrical box office? Upfront guarantees for pilots?"
Diller shook his head firmly, leaning forward. "No, Duke. Furia and the WGA are explicitly insisting on legal language regarding 'cassettes' and 'pay TV.' They're formally demanding a permanent cut of home video distribution."
Duke dropped his hands to the table and sat up straight, confused. He looked between Diller and Nolan, his mind racing.
"Home video? They want a percentage of home video?" Duke asked, incredulous. "Barry, how on earth do they even know enough about the home video market to formulate legal demands? Ampex and Panasonic are still in confidential research."
"We're years away from putting a mass-market consumer product on shelves. The technology is practically science fiction to the average American right now. How does a television writer have the foresight to demand residuals for a distribution format that doesn't even commercially exist yet?"
Nolan Bushnell chuckled, and shifted comfortably, running a hand through his hair with a relaxed grin.
"Duke, you have to remember that Hollywood is a company town. There are no true secrets when it comes to exciting new technology," Nolan explained, "By 1973, early technologies like the Sony U-matic are being heavily discussed in trade journals."
"The U-matic is a bulky precursor to what we're building with VHS mostly used in professional broadcast environments right now but the foundational concept of a physical video cassette is out in the open. The trades are buzzing with 'pay-per-view' concepts and Furia reads the trades."
Diller nodded in agreement. "Nolan's right. The writers are scared of a shift that leaves them out in the cold financially. And it doesn't stop at physical cassettes, Furia is also demanding a new residual system for content aired on premium cable channels."
"He's aiming directly at HBO. HBO is relatively small right now, but it's growing every month, and the WGA wants to guarantee that every time a movie is beamed into a paying subscriber's home, the writers get a piece. Furthermore, they're demanding an Independent Health Fund, financed by studio contributions, to provide a permanent safety net for their members."
Duke processed the aggressive demands with calmness. He was a pro-union man in his past life, and was still supportive of unions but these Hollywood unions felt demanding.
"An Independent Health Fund and a guaranteed piece of the premium cable and physical cassette royalties," Duke summarized, a slow smile spreading across his face.
"I respect the hell out of John Furia Jr. and honestly, Barry, I'm not opposed to giving them a fair piece. We'll still negotiate the percentages fiercely. Let them have their health fund and HBO sliver. But this cassette conversation brings me to my next question."
Duke leaned forward, resting his forearms on the desk, and locked his gaze onto Nolan Bushnell.
"This entire WGA situation highlights how critical the hardware division is to our long-term future. We're negotiating hypothetical profits for a machine we still havent even released."
"So, Nolan, I need the state of the game. What's the exact state of the VHS development project? We've poured capital into Ampex. Are we close to a breakthrough?"
Nolan took a deep breath, his expression turning more serious, "Well, Duke, the global video war has shifted dramatically in the last few months. I received a confidential briefing from our engineering liaisons yesterday. Panasonic has officially stopped all internal research on the VHS format."
Duke's eyes widened in shock once more. He practically shot up from his chair. "What? Panasonic pulled out? Matsushita said he supported this format?"
Nolan immediately held up a hand, offering a reassuring nod. "Relax, Duke. This is actually good news for Paramount."
"Panasonic hasn't abandoned home video, they just pivoted their strategy. Panasonic is the majority shareholder of JVC, and they're aware of JVC's groundbreaking work."
"But instead of merging efforts, Panasonic is independently developing their own format called the VX. Because Panasonic stepped back from the specific VHS standard, it left a void in the development consortium. Our team at Ampex rushed in to fill that void."
Nolan's smile widened . "Because we were right there to pick up the slack alongside JVC, Ampex has been able to dominate a larger portion of the VHS project. We've secured and protected foundational patents on magnetic tape tracking and the head-drum mechanics."
"JVC and Ampex are now the only two major companies driving the VHS standard forward. If this format becomes the global standard, Paramount will collect a fortune in licensing fees from every manufacturer who wants to build a VHS player."
"That's brilliant, Nolan. But we can't afford to be blind to our flanks. Where does the rest of the competition stand?"
Nolan nodded, "Sony is still off in their own walled garden, stubbornly working on Betamax. They're convinced their superior picture quality will overcome their drastically shorter recording times."
"Philips launched the N1500 format in Europe back in 1972, the first domestic cassette recorder but it's bulky, expensive, and completely unsuited for the American market or even any market at all."
Duke nodded, he never really considered any european company competition, after all, from his future, he knew they were bound to be small companies.
Of course that didn't include cars companies.
___
If you think youre getting away, I will prove you wrong