313-315

Chapter 313: The Path to Premium Quality

The rumors were confirmed, and it was impossible for Tony Granmo and Martin Tangen not to feel a jolt of shock ripple through them.

A $120 million investment in a single TV series… this was absolutely unheard of!

Just last year, Dunn Pictures had acquired the Tarz TV network for a total of $1.7 billion.

That kind of bold investment was jaw-dropping!

Of course, it also made Tony Granmo and Martin Tangen truly grasp Dunn’s ambition.

The future Tarz would bid farewell to the era of buying content and step into a new phase of producing and distributing its own shows!

As founding members of the Tarz network, Tony Granmo and Martin Tangen naturally wanted the station to grow quickly, surpass HBO, crush Showtime, and become the top dog among North America’s premium cable networks!

And Dunn’s ambition, courage, and vision clearly aligned with that goal.

The two exchanged a glance, their eyes flickering with a mix of excitement and fervor.

Dunn caught their expressions out of the corner of his eye, nodded with satisfaction, and gave a slight smile. “By the way, Tony, do you know who snagged the pay-TV rights for Spider-Man?”

Tony Granmo ventured a guess. “HBO? I heard… they’d raised their offer to $28 million!”

That was an astronomical figure!

Under Hollywood’s windowed marketing model, movies hit premium cable channels about 12 months after their theatrical debut. The network gets exclusive rights for those 12 months, with up to three airings allowed.

After that year, the rights expire, and the film moves to free broadcast networks for its first public run.

In other words, HBO had shelled out a whopping $28 million for just three exclusive airings within a 12-month window!

That kind of investment could fund an entire movie on its own.

It was a clear sign of HBO’s fierce determination to secure top-tier content.

Dunn chuckled. “HBO lost.”

“What? You mean Showtime? No way! That old miser Redstone would never splash out like that,” Martin Tangen said, disbelief written all over his face.

Showtime, part of the Viacom group, followed the strategic playbook of its head honcho, Sumner Redstone.

Dunn smiled faintly. “No, it’s us!”

“Us?”

Martin Tangen’s eyes widened in shock.

Bill McNick didn’t bother with Dunn’s flair for suspense. He explained calmly, “Here’s the deal: Dunn Pictures put up $30 million on behalf of Tarz to secure the pay-TV rights for Spider-Man. That means come May, Spider-Man will be airing on Tarz, ready to meet audiences across America!”

“$30 million?”

The two Tarz network bigwigs were so stunned they almost forgot to breathe.

That was a massive move!

Even if Universal Studios funneled $27 million of that back to Dunn Pictures through some financial maneuvering, it still meant turning down HBO’s hefty $28 million bid!

With Tarz’s current subscription rates, they’d need Spider-Man to draw in 10 million new subscribers just to break even. Was that even possible?

Bill McNick raised a hand to calm them down. “No need to stress about it. All you need to know is our commitment to growing Tarz. From Dunn Pictures’ perspective, we’re not looking to profit off Tarz in the short term. In fact, we’re ready to pour in serious cash to boost its growth and pull in more viewers.”

Tony Granmo scanned the room, taking in the serious faces of Dunn Pictures’ top brass. It finally hit him just how determined Dunn, the big boss, was to make Tarz a powerhouse.

He took a deep breath and said, “Mr. Chairman, Mr. President, I get it now. I see the resolve from headquarters. If you can give Tarz the funding and strategic support we need, I’m confident I can take the network to new heights!”

“That’s nowhere near enough!” Dunn waved a hand dismissively, then nodded to Ella Fischer. She stood up and began handing out documents to everyone in the room.

“Here are six key points I’ve outlined for Tarz’s future strategy,” Dunn said. “These are non-negotiable essentials for breaking into the premium cable market!”

“First, we build our brand with distinctive, standout content!”

Dunn took a sip of water, waiting until everyone had their copies before continuing. “Content creation is going to be the heart of Tarz moving forward. Since Tarz doesn’t have that capability yet, Dunn Pictures’ TV production arm will handle it for now. But I’m not interested in churning out standard family sitcoms. We need unique, differentiated themes—like Six Feet Under, which dives into the funeral industry. That kind of originality is how we establish our brand.”

“Second, we don’t judge success by ratings alone! Tarz is still small, with a limited audience. We can’t afford to obsess over numbers and chase short-term wins. Quality matters more! Take Six Feet Under—it’s a rare gem. Even if the ratings aren’t sky-high, it’s a reputation-builder, and that’s what strengthens our brand!”

“Third, we go big with investments to set a new industry standard! TV shows in the past were low-budget, small-scale, and slapped together carelessly—that’s disrespectful to viewers! Tarz is taking the premium route. Every year, our TV production budget will be no less than $100 million! And don’t worry, I’ll personally oversee the content.”

Dunn paused, pleased to see everyone nodding in agreement.

“Fourth, we respect creativity and talent! Just the other day, I met a new friend—a crime reporter from the Baltimore Sun. He knows real cases inside and out and even adapted a script called The Wire. That’s the kind of talent we need to embrace, no matter where it comes from!”

“Fifth, quality over quantity—always! This is critical! Tarz has two channels right now: Tarz TV for series and Enrevieple for movies. That’s a solid setup. But I’ve heard… you’re thinking of branching into music, sports, and kids’ shows?”

Tony Granmo wiped sweat from his brow. “Uh… we just thought more variety might draw in a bigger audience.”

“Absolutely not!”

Dunn shot it down without hesitation, his tone firm. “Our brand is our standard! We offer premium content—no cheap filler to trick viewers! We don’t chase volume; we focus on quality, period!”

“I get it,” Tony Granmo said, exhaling quietly. “I’ll make sure the team understands these priorities when I get back.” This boss didn’t mess around—he was decisive and relentless.

Dunn’s voice grew stern. “Pay close attention to this. Early on, HBO tried diversifying—music, sports, talk shows, kids’ programming, stage plays. It all flopped. Why? No barriers to entry! Those formats are too easy to copy. HBO’s shows got mimicked by free broadcast networks in no time—who’d pay for what they can get for free? We need exclusive, premium content that’s uniquely Tarz!”

The room grew heavy. Jonathan Nolan broke the tension with a half-joking remark. “Of course, the content’s got to push boundaries! If we’re going for differentiation, we’re a premium cable network—we can’t just air tame soap operas like the broadcast channels.”

Dunn grinned. “Exactly. Big risks, bold flavors!”

Laughter rippled through the room.

Bill McNick shook his head, chuckling. “Bold, sure, but there’s a line. We can’t go so far we clash with mainstream American values—we’re not running a Playboy channel here.”

That got an even bigger laugh.

Dunn let the mood lighten before steering back to business. He cleared his throat. “Now, the sixth point is about scaling Tarz up. HBO started going global back in ’91, but their progress has been slow, and their strategy’s been a mess!”

West Cotton chimed in with a smile. “True. HBO’s early cash crunch meant they struggled in Europe and pivoted to South America and Asia—third-world markets. But we’re an English-language platform. Europe’s where the real action is.”

Dunn nodded. “Not entirely. Places like Korea, Japan, Taiwan, Hong Kong, and Singapore in Asia have paying subscribers too, and they crave premium content. But we can’t repeat News Corp’s mistakes. That market across the ocean is huge, but now’s not the time to reach for it.”

“It’s a massive undertaking,” he continued. “Without the right connections, breaking in is tough. No rush, though. Once Dunn Pictures acquires a world-class film distribution company, we’ll have the global channels and resources we need. That’s when Tarz can start expanding worldwide.”

Tony Granmo and Martin Tangen felt their hearts race.

A world-class film distribution company?

That could only mean one of Hollywood’s Big Six!

Was Dunn Pictures about to buy out a Hollywood giant?

This was earth-shattering news!

Bill McNick frowned, his voice authoritative. “Keep this under wraps!”

Tony Granmo coughed hard. “Uh… boss, if we’re going premium and building a brand, shouldn’t we rethink that old $3-a-month subscription fee?”

“Absolutely, it’s got to change!” Dunn’s energy was sharp and commanding. “It’ll sting in the short term, but we’re in this for the long haul! New pricing: $99 for three months, $459 for six months, $8,999 for a full year.”

“What?”

Tony Granmo and Martin Tangen gasped in unison.

That price… it was insane!

Even HBO, the priciest option out there, charged just $6 a month. Showtime hovered around $5. Dunn’s plan jacked Tarz up to $8 a month!

Wasn’t that a bit… predatory?

Dunn’s brow furrowed, his tone icy. “Too high? Hmph, this is just the start! Once our brand’s locked in, I’m aiming for $10!”

$10 a month?

Just how high were this boss’s expectations for Tarz’s future?

Tony Granmo sucked in a shaky breath.

The road ahead was anyone’s guess!

Chapter 314: Nina’s Comeback

America takes intellectual property protection seriously—it’s a key driver of cultural growth.

Of course, in Dunn’s view, it also means a hefty financial hit for the average American.

Take a family sitting down to watch a Tyson vs. Holyfield boxing match on TV—the pay-per-view fee is a staggering $99.99! To Dunn, who grew up watching free matches in his past life, that’s downright unthinkable.

Then there’s the World Cup, the European Championship, the NBA, tennis opens, Formula 1 racing… Sports events are huge overseas for a reason: people pay to watch them!

Sure, NBC or CBS might air a few games for free now and then, but it’s just a hook to reel in more fans, get them hooked on sports, and ultimately open their wallets for premium access.

In this environment, Hollywood’s easily the biggest winner.

The standard DVD of Spider-Man sells for $19.99—about 160 yuan back in China. Over there, who’d buy it? Even pirated discs at 10 yuan a pop barely move!

But in the U.S., it’s a whole different ballgame!

In its first week, Spider-Man sold over 5 million DVDs. Sales tapered off in the weeks that followed, but that’s typical—VHS and DVD markets mirror the box office with a big opening-week surge.

Still, a month in, North American DVD sales for Spider-Man topped 8 million copies: 5.86 million standard editions, 2.18 million deluxe editions, plus another 730,000 VHS tapes. Total revenue? $220 million!

Even after the middlemen and distributors took their cut, Dunn Pictures pocketed $155 million.

Overseas, though, sales grew more slowly—not nearly as explosive as in North America. Current figures show 3.7 million units sold, at lower prices too. Factor in translation, reformatting, and new packaging costs, and Dunn Pictures’ international haul so far hasn’t topped $30 million.

Still, that’s a solid result!

Based on Universal Studios’ past experience, with Spider-Man’s current sales momentum, it could hit 10 million units in North America and 6 million overseas by May.

That means Dunn Pictures could rake in $250 million from VHS and DVDs before Spider-Man even airs on TV!

This is the golden age of DVDs!

And, of course, it’s all thanks to Spider-Man’s massive pull.

In Dunn’s past life, Sony Group had a rough go of it in the early 2000s, selling off assets left and right to stay afloat. The Spider-Man franchise played savior more than once.

It’s just that profitable!

So much so that Sony even flirted with the idea of ditching tech entirely to become a full-on entertainment company.

By comparison, horror films—like Saw, which thrives in the DVD and VHS market—don’t come close.

So far, Saw has been on sale in North America for two weeks, moving over 1 million DVDs at $12.99 each.

Unlike Spider-Man, which Universal distributes, Saw is fully under Dunn’s control. With Dunn Pictures pouring everything into building up the Tarz network, it’s a no-brainer to air Saw there too.

Dunn’s got it all mapped out: Spider-Man kicks things off, followed by Saw, then the heavy-hitting drama Six Feet Under, and after that… the nuclear-grade mini-series Band of Brothers!

Sure, jacking up Tarz’s subscription fees might lose some viewers at first, but Dunn’s confident this lineup will win them back—and then some. He’s aiming to push Tarz’s subscriber base past 10 million!

That’s no exaggeration. In his past life, HBO rode Band of Brothers to a breakout moment, surging to 15 million subscribers and kicking off its reign as the global leader in premium content.

…

Nina Jacobson was back at the company, looking radiant after her maternity leave. She’d filled out a bit, and after six months away, her eyes sparkled with creative energy.

Her first stop? Dunn’s office.

“Whoa! Look who’s here—a legendary mom!” Dunn exclaimed with exaggerated flair, jumping up to give her a light hug.

Nina Jacobson laughed. “You’re still the same old goof, huh? Never serious.”

After the quick embrace, Dunn helped her over to the sofa, his face full of concern. “Didn’t you say you’d be back in March? It’s only February.”

Nina smiled. “I’ve recovered pretty well. Plus, with Spider-Man tearing up the VHS market, I figured I’d get Marvel Studios back in gear and chase some more glory!”

Dunn flashed a thumbs-up. “Nice! With dedicated folks like you, I can sleep easy.”

“By the way,” Nina said, her tone shifting to serious, “I heard the company’s cash flow’s a little tight. That won’t slow down Marvel Studios’ projects, will it?”

Dunn Pictures was down to $410 million in cash reserves, with $100 million earmarked for premium series to supply Tarz. And then there was the massive Harry Potter and the Sorcerer’s Stone looming on the horizon, hungry for funds.

Dunn grinned. “Relax, I’ve got it covered. By May, Spider-Man and Saw will bring in a solid $300 million from VHS and DVDs. Taxes are light right now—only about $25 million. Plus, The Web is killing it at the box office—over $60 million in North America already. Money’s not an issue!”

Nina let out a relieved breath and smiled. “Good to know. Honestly, I wasn’t worried about Spider-Man 2 or Daredevil—with you overseeing them, funding’s never a problem. I’m actually thinking about another project.”

“Which one?”

“Signs.” Nina shot him a sly, triumphant look.

“Signs?” Dunn blinked, puzzled. “Since when did we greenlight that…? Wait—you mean Signs?!”

Now it was Nina’s turn to look shocked. “You know about it?”

Dunn’s eyes lit up with excitement. “Nina, tell me—did you lock down M. Night Shyamalan for this? Signs is his next film, right?”

Nina stared at him, a mix of awe and disbelief in her eyes, then shook her head with a wry smile. “Dunn, I swear, it’s like you’ve got X-ray vision into people’s heads.”

Dunn laughed heartily. “So I nailed it? Awesome! A director like Shyamalan—I’m all in!”

Truth be told, Dunn didn’t think much of Shyamalan’s skills. But the guy used to be Disney’s golden boy, and with Joe Roth’s downfall, he was a free agent. Snagging him would boost Dunn Pictures while sticking it to Disney’s film division—a win-win.

“Then I’m relieved,” Nina said, smiling. “So… how about we talk Spider-Man’s sequel? It’s Marvel Studios’ flagship, after all!”

Dunn shook his head. “I can’t direct the sequel myself, but I’ve lined up someone stellar for you.”

“Who?”

“Ridley Scott!”

“Scott?” Nina sat up straight, stunned. “Dunn, you’re not kidding, right? He never does sequels. He even turned down Alien 2, and that went to James Cameron.”

“Well…” Dunn rubbed his nose. “He’ll probably do me a favor, right?”

Nina frowned. “Dunn, big boss, this is serious! I need a straight answer. I’m back now, and I’m ready to kick off Spider-Man 2. The director’s a make-or-break choice. If Ridley’s not in, we need to start scouting backups ASAP.”

Dunn coughed awkwardly. “Alright, uh… hang on, I’ll call him right now and get a firm yes or no!”

With his staff this fired up, Dunn couldn’t afford to slack off—it’d kill morale.

Ridley Scott picked up the phone himself. Hearing it was Dunn, he jumped right in. “Dunn, I heard you’ve already started Harry Potter?”

Dunn paused, then answered honestly, “Yeah, we’re casting in the UK right now. David Heyman’s on it.”

“Man, Dunn! How could you not tell me about something this big?” Ridley’s tone carried a hint of reproach.

“What’s up?”

“You don’t get what Harry Potter means in the UK!” Ridley paused for effect. “Did you know the top acting talents there are tripping over themselves to join the cast? Even legends like Richard Harris are begging to work for free!”

Dunn’s jaw dropped. “No way! Harry Potter… it’s just a kids’ movie…”

“Don’t forget, those hall-of-fame artists have grandkids too!” Ridley snapped, half-exasperated.

Dunn had a lightbulb moment and couldn’t help but chuckle.

Hilarious!

Now he got why the Harry Potter series roped in nearly every top-tier British actor—most of them working for free. That’s how the first five films averaged just $130 million in costs.

Compare that to the five-film Pirates of the Caribbean series, and you see how dirt-cheap Harry Potter was to make.

Dunn grinned. “Ridley, don’t tell me your granddaughter’s nagging you to join Harry Potter too?”

Ridley didn’t deny it. Instead, he asked, “Who’s directing?”

“Huh?”

Dunn froze. Was Ridley Scott eyeing Harry Potter and the Sorcerer’s Stone?

No way that could happen!

“The director’s locked in—Chris Columbus, a pro at kids’ comedies,” Dunn said quickly, then softened his tone. “Ridley, a chaotic kids’ flick like that is better for a younger director. I still say Spider-Man 2 is your perfect fit.”

Ridley frowned. “What about producer?”

Dunn’s eyes sparkled. “Oh, you could totally be a producer! It’d be an honor for the whole Harry Potter crew!”

Ridley grunted. “I already turned down Black Hawk Down.”

“Smart move!”

Dunn snapped his fingers and gave Nina a firm nod. “Ridley, trust me—Spider-Man 2 is your best bet!”

Chapter 315: Daredevil

Ridley Scott had stepped away from Black Hawk Down, but being the nice guy he was, he didn’t want to burn bridges with Jerry Bruckheimer. Instead, he recommended another British director, Simon West, to take his place.

Simon West had directed the action blockbuster Lara Croft: Tomb Raider last year. Like Michael Bay, he was one of Jerry Bruckheimer’s “little brothers,” plucked from obscurity and given a shot at the big leagues. Back in the day, Bruckheimer’s Con Air had been Simon West’s breakout gig, launching him into the spotlight.

Unlike the brash Michael Bay, who’d even dared to butt heads with Dunn, Simon West kept a lower profile. Since he had decent ties to the British film scene, Dunn decided to let it slide and not hold a grudge.

That said… those actors who ignored the very public feud between Dunn and Bruckheimer, jumping into Black Hawk Down anyway? They’d definitely landed on his blacklist.

Take the confirmed cast, for example: Josh Hartnett, Orlando Bloom, Ewan McGregor, Tom Sizemore… all on the naughty list now.

Australian actor Eric Bana had also been offered a role, but he smartly turned it down.

That left a pretty good impression on Dunn.

Eric Bana… maybe he’d be perfect for the Hulk!

With Dunn’s foresight, a standalone Hulk movie wasn’t in the cards, but as a key supporting player in The Avengers, the role could solidify Eric Bana’s foothold in Hollywood.

As for Spider-Man 2… with Nina Jacobson producing and Ridley Scott directing, Dunn didn’t need to micromanage. The moment news of the project broke, advertisers came knocking with enthusiasm.

Things were a far cry from when Dunn made the first Spider-Man. Back then, he’d had to hustle for support. Now? Companies were practically throwing checks at him, begging to get in on the action.

Titanic had no product placement, and the Star Wars series wouldn’t dream of modern ads. But Spider-Man—a franchise with unmatched influence—was a goldmine for brands. FedEx ponied up $1.5 million, Coca-Cola dropped $5 million, Ford Motors shelled out $15 million, Motorola phones chipped in $4 million, HP computers added $6 million, Ray-Ban glasses threw in $1 million, Nike sneakers offered $4.5 million…

Marvel Studios hadn’t even gone looking for sponsors, and they’d already raked in $50 million in checks!

And that was just the early talks. As the project progressed and the script solidified, more tailored product placements would come into play—possibly even close-up ad shots. Marvel’s asking price? A cool $10 million per second.

All in all, Spider-Man 2 was shaping up smoothly. The film’s budget was pegged at $150 million, but with $80 million in sponsorships already secured, half the financial pressure was off.

Right now, Dunn’s focus was on Warner Bros.

Back in the ‘90s, a slew of superhero movies had bombed hard, effectively killing off comic book adaptations. But the new millennium brought Spider-Man and X-Men, breathing life back into the genre.

Marvel was flooded with offers from studios wanting to co-develop their superhero roster. With Dunn calling the shots, those deals were all shot down.

Warner Bros., though, had DC Comics under its wing—a powerhouse rival to Marvel—and that was something Dunn couldn’t control. DC boasted two titans: Batman and Superman.

As a shareholder in Legendary Pictures, which partnered with Warner on co-financed projects, Dunn had some insight into their plans.

Word was, Warner was gearing up to reboot the Batman series!

For fans, that might mean a long-awaited cinematic feast. For Dunn and Marvel Studios? Not such great news.

Luckily, Dunn had planned ahead years ago.

He’d handed the distribution rights for The Wedding Crashers to Tom Rothman instead of his usual partner Bill McNick, securing the rights to five superheroes in return—including his top pick, Daredevil!

---

“Use Daredevil to take on Batman?” Christopher Nolan’s eyes widened at Dunn’s suggestion. He swallowed hard, looking baffled. “Batman’s the most popular comic hero in America—Spider-Man doesn’t even come close. But Daredevil… even among Marvel heroes, he’s second-tier at best.”

Dunn gave him a sly, half-smile. “What, you don’t think you’re up for it?”

Christopher Nolan shook his head. “It’s not that. I just think… this could be a strategic misstep for the company. We’re talking about Batman here!”

This was a seminar on the Daredevil project, and Dunn was taking it seriously.

He’d gathered a powerhouse team: Dunn Pictures President Bill McNick, Marvel Entertainment CEO Alan Vann, Chief Creative Officer Stan Lee, Editor-in-Chief Joe Quesada, Deputy Editor Brian Bendis, Marvel Studios President Nina Jacobson, plus Andrew O’Hare, Deacon Whistler, Grant Hill, Kevin Feige, and the Nolan brothers, among other heavy hitters.

The goal? Pool their collective brainpower to catapult Daredevil onto the A-list superhero stage!

Dunn chuckled, shaking his head, then turned to Jonathan Nolan. “You’ve been digging into Daredevil’s comics for over six months. What’s your take?”

Jonathan Nolan, tapped as the lead writer for the Daredevil adaptation, felt both the pride and the weight of the gig. He said gravely, “No offense, boss, but… Daredevil and Batman are way too similar. Honestly, Daredevil feels like a Batman knockoff! If we pit these two against each other at the box office, I’m worried…”

Andrew O’Hare, Dunn’s loyal right-hand man of four years and a sharp market analyst, cut in with a firm shake of his head. “Not true! Sure, superhero flicks are hot right now, but if you re-released those ‘90s Batman movies today, they’d flop too. At the end of the day, it’s all about content and quality.”

Bill McNick chimed in, “Even so, Daredevil doesn’t have the juice to compete with Batman. If two similar movies hit at the same time, the world’s picking Batman every time!”

“Exactly. Their hero setups are practically identical,” Joe Quesada said, summing it up like he was laying down the law. “Both are masked vigilantes who only operate at night. They’re obsessed with their cities, willing to give everything for them. No crazy superpowers—just fists and grit. Oh, and the big one: neither of them kills.”

Stan Lee raised an eyebrow, a spark of realization hitting him. He glanced at Dunn, who was brimming with confidence, and ventured, “Well, not entirely.”

“Oh?”

The Marvel Entertainment old-timers perked up.

Stan Lee smiled faintly. “You guys forgetting who created Daredevil?”

“You did,” Alan Vann said with a grin. “Oh, and Bill—Bill Everett! You two cooked him up together.”

Stan Lee shook his head. “Not quite. Bill and I just built the framework. The guy who really gave Daredevil flesh and blood, who turned him into a superhero? That was someone else.”

Joe Quesada’s face shifted, and he blurted out, “Frank Miller!”

Stan Lee sighed, his expression a mix of emotions. “Yep, Frank Miller.”

Grant Hill, less versed in Marvel lore but familiar with the name, piped up, “Frank Miller? The Sin City and 300 guy? Those were some of the hottest comics of the ‘90s.”

“That’s him!” Stan Lee said with a rueful shake of his head. “Back in… what, 1979? Frank was a rookie in the comic world, interning at Marvel. I was the one showing him the ropes. At that point, Daredevil was on life support. Me and a few other artists were ready to ditch him. But Frank stepped up. He begged for a shot at the series.”

Kevin Feige, Marvel Studios’ ambitious young assistant president and self-proclaimed “Marvel Know-It-All,” had devoured every Marvel comic and fan work he could find. Still, this behind-the-scenes tale was news to him. Eyes wide with curiosity, he leaned in. “What happened next? Did Daredevil blow up because of Frank Miller?”

Stan Lee nodded. “You bet. We handed the series to Frank, and he showed off some serious comic chops. With his magic touch, he turned it all around!”

Alan Vann, who’d run Marvel back in the day, added with a sigh, “Frank took on huge pressure and redefined Daredevil’s vibe. He went dark and gritty—his specialty. He loved Eastern martial arts, so he threw in realistic fight scenes. With those changes, Daredevil shot up in the ‘80s, standing shoulder-to-shoulder with Captain America and Spider-Man as one of Marvel’s big three!”

Dunn had heard bits of this backstory, which was why he was so gung-ho about Daredevil.

Still, learning that Daredevil once rivaled Spider-Man’s clout? That was a shock.

Kevin Feige, the ultimate Marvel fanboy, couldn’t wait any longer. Listening to these old-timers drag it out was torture. “So what happened after that? How’d Daredevil fade again?”