Echoes of Hollywood

Looking at Kevin Feige, Murphy spoke earnestly, "A war between Captain America and Iron Man is perfect for a dark tone, showcasing a heavy and profound epic tragedy."

"Kevin!" Murphy said confidently, "If you trust me, this series can become a new benchmark for noir and superhero films."

Hearing this, Kevin Feige was at a loss for words. He hadn't extended a sincere invitation, yet Murphy's seemingly sincere response made him very tempted. The idea of handing over the Captain America series to him was compelling.

The Civil War comic was inherently tragic, and no one could deny Murphy's grasp of such heavy themes. Perhaps this series could indeed surpass "Man of Steel," considered a benchmark for superhero movies.

For a moment, Kevin Feige really wanted to nod.

But as the CEO of a company, not a child playing games, he had to stick to a clear plan for the series. Any misstep could cause the whole series to collapse. A dark tone wasn't out of the question, but it couldn't be as heavy as "Man of Steel."

Moreover, Walt Disney had already approached Marvel Comics with an acquisition offer. The platform of a media giant like Disney was unmatched by any single film company. With Disney's investment, Marvel would undoubtedly soar.

Even considering Disney's acquisition, he couldn't let the series feature overly heavy themes.

Inviting Murphy Stanton was a test. If he could slightly alter his style and lower his fee, Marvel Studios could consider him. Now, this test seemed redundant.

The Avengers series had to be a youthful, teen-oriented film, not a "Man of Steel" type. This way, Disney could use its platform to promote it worldwide.

Since Murphy wasn't going to be polite, he pressed on, "Kevin, have you thought about it? I guarantee the Avengers can die one by one, each death bringing a huge emotional impact to the audience."

After all, superheroes are strong, but their enemies are beyond ordinary. In large-scale battles, if no one dies...

That's just Disney's style.

Making a series of well-crafted films that attract a large teenage audience is something to be admired.

The former "Captain America: Civil War" would have been more impactful if a few top heroes had died, deepening the theme and making the film more shocking.

But Disney is always Disney...

Murphy asked again, "Have you made a decision, Kevin?"

"I... I'll think about it..." Kevin Feige felt it was best to leave. "I'll get back to you another day."

With that, Kevin Feige turned and left, not giving Murphy another chance to speak.

"Did you hear?" Gal Gadot whispered to Murphy as they watched Kevin Feige leave. "Marvel Comics is in talks with Walt Disney. Disney intends to buy Marvel Comics."

"That's why," Murphy shrugged, "Kevin Feige won't agree to my dark Avengers proposal, considering the acquisition."

Disney's main audience is children and teenagers.

Murphy checked the time. "Let's head to the screening room."

As they walked towards the screening room, someone stood in their way, seemingly waiting for him. The person approached and greeted him.

"Hi, Murphy."

"Long time no see, Diego." Murphy smiled.

The person was Diego Harris, the CEO of DC Comics. He nodded to Gal Gadot, then said to Murphy, "I saw you talking with Kevin Feige for a long time. Are you planning to join Marvel's Avengers project?"

"They invited me, but I didn't agree," Murphy replied casually. "Their plan is completely opposite to my style."

Diego Harris was intrigued and said, "Why not return to DC's Justice League series? We need you as a producer to helm the entire series."

"Sure, I've always been willing to do that." Murphy never rejected Warner Bros.'s offer to be a producer. "You can always discuss the terms with my agent, Bill Rossi."

Hearing this, Diego Harris's smile faded. Bill Rossi's terms were clear: ten plus ten, an exorbitant fee Warner Bros. couldn't afford.

A base fee of ten million dollars plus ten percent of global box office revenue was Murphy's bottom line, the main point of contention with Warner Bros.

As before, this brief negotiation ended without any results.

Murphy initially took on the series for the high pay, and staying in it was for the same reason.

However, he had laid a very successful foundation for the Justice League series and didn't want it overshadowed by the Avengers series, so he gave Diego Harris some advice.

"Just a personal suggestion," Murphy said thoughtfully to Diego Harris. "Follow the plan I submitted, laying a solid foundation with individual films. When the Justice League assembles, success will be inevitable. Also, the dark style doesn't suit all superheroes and should be controlled. Especially for non-Batman dark films, keep the battle scenes in daylight."

His relationship with Warner Bros. was purely business, and he had said enough. Whether DC and Warner Bros. executives listened was beyond his control.

Murphy ignored the contemplative Diego Harris and walked with Gal Gadot towards the screening hall.

They had delayed long enough that "Iron Man" had already started by the time they entered.

This film had many changes compared to Murphy's memory. As Robert Downey Jr. had mentioned, influenced by the addition of Wonder Woman in "Man of Steel," Agent Natasha Romanoff appeared early in this film.

However, the film's theme remained simple and light-hearted. The opposing forces were clearly delineated, with the villains severely caricatured and their powers significantly reduced from the comics. It was typical Marvel style, focusing on entertainment rather than deep themes.

The film explicitly mentioned the Avengers plan multiple times, such as references to Howard Stark fighting alongside Captain America and Natasha Romanoff's secret meetings with Agent Coulson.

A heavy theme is one style; light-hearted and fun is another. Done well, both can excite audiences. "Man of Steel" belonged to the former, "Iron Man" to the latter.

Thus, the film had a dramatic ending.

At the press conference, Tony Stark didn't read the script prepared by Agent Coulson. He directly announced to the media, "I am Iron Man!"

The press conference was in an uproar, journalists went wild, and the cinema audience was instantly energized.

From the beginning, Tony Stark's character had brought a completely new kind of superhero. His charisma peaked when he revealed his Iron Man identity.

In Hollywood superhero movies, no one had ever openly announced their identity.

Traditional superheroes always hid their identities, leading double lives. Tony Stark was an exception.

And this exception brought a fresh, thrilling experience.

This was one of the film's biggest surprises, making it hard not to love Tony Stark and "Iron Man."

Thus, it was natural for "Iron Man" to be loved by the general audience. In its first three-day weekend, it grossed nearly 110 million dollars from over 4,100 theaters in North America, making the Avengers series as successful as "Man of Steel."

The film's success was mirrored by its critical acclaim.

"Although I'm tired of superhero movies saving the world, I must admit 'Iron Man' is really, really cool! The visual effects are fantastic, arguably the best today. That's my main reason for watching. The gadgets, the house, the lab equipment, the responsive mechanical arms, the cars, the missile power, the test flight of the new armor, and the first battle—totally cool!"

"The process of making Iron Man is filled with the beauty of metal, very cool and exquisite. The special effects are seamlessly integrated, offering an excellent viewing experience. The plot is smooth and engaging, with no significant flaws and enough to attract viewers."

Since his release from prison, Robert Downey Jr., with Murphy's help, had quickly gotten back on track. The huge success of "Iron Man," combined with previous efforts, completely shed his image as a drug addict, firmly establishing him as a top Hollywood star.

This gave Robert Downey Jr. more confidence to face his troubled past.

Murphy, Ross, and Robert Downey Jr. met again at a bar near Old Chinatown, starting a well-targeted plan.

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