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Chapter - 271
🕑 Added 2025-11-09 16:03:41 +0000 UTC[Title : The Month After (2)]
….
"That's a tall order." Pete observed.
"It's Superman. It should be."
Deonte checked his watch. "We have been at this for two hours. Let's take a fifteen-minute break, then reconvene to discuss production logistics and director assignments for the other films."
….
People stood, stretching, refilling coffee cups, stepping outside to process what they'd just heard. Several small conversations broke out immediately, people already debating aspects of the plan, raising concerns, proposing solutions.
Regal remained seated, staring at the timeline on the screen.
Eleven years, ten films. Two complete cinematic universes built from the ground up, maintained separately, then deliberately collided.
Pete sat beside him, his own coffee cup steaming. "You have really thought this through. How long have you been planning this?"
"Long back… I don't even remember when, since I was a kid maybe?" Regal admitted. "But yeah it all started becoming reality when I acquired majority ownership of MarvelD Comics.”
"And the multiverse structure, the separate Earths, that's been part of the plan from the beginning?"
"It had to be. I spent a year just reading comics, studying the characters, understanding what makes Marvel different from DC at a fundamental level. The more I studied, the more obvious it became that they couldn't coexist on the same planet.”
He pulled out his phone and opened a notes app, showing Pete a detailed document labeled MULTIVERSE CODEX - Draft 8.3.
Pete scrolled through it, his eyes widening as he absorbed the depth of detail. "You have mapped out different physics for each Earth. Visual color palettes, sound design principles. Even how time functions differently."
"Earth-616 operates on grounded realism." Regal explained. "Think concrete and steel, overcast skies, practical lighting that could exist in our world. Handheld cameras, natural performances, consequences that stick. When someone gets punched, they bruise. When they fall, they limp. The world feels tactile, physical, real."
He scrolled to the Earth-1 section. "Earth-1 is heightened reality - not quite fantasy, but mythological. Bold primary colors, dramatic lighting that wouldn't exist naturally but feels emotionally true. Composed shots that echo comic book panels. When Superman flies, the camera follows in ways that feel epic rather than realistic. When Wonder Woman fights, it's choreographed like a dance because she's been training for thousands of years. The world feels larger than life because the heroes operating in it are larger than life."
"Jesus, Regal. This is a doctoral thesis on fictional universe construction."
"It needs to be. If we are asking audiences to invest in two separate universes for eight years, those universes need to feel distinctly different at every level. Not just the characters and stories, but the fundamental texture of reality. When we finally cross them over in Crisis, the collision of those two different realities, Earth-616's grounded physicality meeting Earth-1's mythological grandeur, that's what will make it special. That's what will make it feel like reality itself is breaking."
Pete handed the phone back, slightly overwhelmed. "I believe you can do this. But I will be honest - the scale terrifies me. Ten films over a year of Elven years, each needing to be successful enough to justify the next one..."
"That's why we're being deliberate." Regal said. "We're not rushing. Every film gets proper development time, proper production resources, proper post-production. We maintain quality over everything else because quality is what builds audience trust. One mediocre film can be forgiven. Two in a row, and people start questioning the whole enterprise."
"And if something goes wrong? If a director doesn't work out, if a film underperforms, if—"
"Then we adapt." Regal said simply. "This is a roadmap, not scripture. If we need to adjust timelines, we adjust. If we need to replace a director, we replace them. The core vision - two universes building toward Crisis, that's locked. Everything else is flexible."
The fifteen-minute break stretched to twenty, but eventually everyone filtered back to their seats. The energy had shifted slightly, less shock at the scope, more determination to figure out how to execute it.
"Alright." Deonte said, calling the room to order. "We've established the vision. Now let's talk about execution. Regal, which films are you directing personally?"
"Four." Regal said. "[Superman: Man of Tomorrow], [Captain America: The First Avenger], [The Avengers], and both Crisis films. Those five are the tentpoles, they establish Earth-1's greatest hero, unite Earth-616's heroes for the first time, and merge both worlds. Everything else, I will produce and provide creative oversight, but I need other directors who understand the vision."
"Do we have candidates?" Patricia asked.
Pete and a few other people suggested a few names but none was confirmed yet…
Amara raised her hand. "What about visual consistency? If we have different directors for each film, how do we ensure Earth-616 maintains its grounded aesthetic and Earth-1 maintains its mythological style?"
"That's where I come in." Regal said. "As producer on every film, I am involved from pre-production through the final cut. I approve of cinematographers, production designers, composers - everyone who shapes the visual and auditory language of each film. Directors have creative freedom within the established rules of each Earth, but those rules are non-negotiable."
James nodded, understanding. "It's like different authors writing books in the same universe. Individual voices, but consistent world-building rules."
People nodded their heads in understanding.
Claire pulled up financial projections again. "Let's talk about cash flow. If we're producing almost two films per year with budgets averaging $175 million each, that's $350 million per year in production costs alone. Add marketing at sixty percent of production, and we're at $560 million per year in total spend."
She highlighted a section of her spreadsheet. "Based on Iron Man's performance, we're projecting each film will gross at minimum $400 million worldwide, with potential for significantly more. That's $800 million gross per year from two films. After theater splits and distribution costs, we're looking at approximately $320 million in revenue per year."
"So we're cash-flow negative initially." Patricia observed.
"For the first two to three years, yes." Claire confirmed. "We're investing heavily upfront. But by 2017, when we have six films released and generating ongoing revenue from home video, streaming, and merchandise, we move positive. By 2019, we're significantly profitable. And by 2023, when Crisis releases, we're looking at potential profits in the billions."
"Assuming everything goes according to plan." Deonte said, his tone neutral.
"Assuming we execute properly." Claire corrected. "Which is why quality control is paramount. Every film needs to meet a minimum threshold of success, both critically and commercially - or the model breaks down."
Regal stood, walking to the window. The afternoon sun was beginning its descent, casting long shadows across the city.
Somewhere out there, Iron Man was still playing in theaters, still drawing crowds, still proving that superhero films could be both critically acclaimed and wildly profitable.
He turned back to face the room. "I know the scale is daunting and the financial risk is substantial. I know we're attempting something that's never been done before - building two complete cinematic universes simultaneously, maintaining them separately for eight years, then deliberately colliding them."
He moved back toward the table, his hands resting on the back of his chair. "But I also know we have advantages no other studio has. I own MarvelD Comics. I control the source material. I am not negotiating with rights holders or dealing with competing visions. I can plan long-term without worrying that someone will pull the rug out. And I have all of you - people who understand what we're trying to build and have the skills to execute it."
"The question isn't whether we can do this." Pete added. "It's whether we have the courage to try. Because if we pull this off, if we successfully build and merge two universes, we will have created something that will define blockbuster filmmaking for the next generation."
The room was quiet for a long moment. Then Patricia spoke, her voice steady.
"I am in. It's a totally irrational take, but I am in. We will need to expand our physical production capacity, hire more department heads, establish separate production tracks for Earth-616 and Earth-1 films. But it's doable."
"I am in." Claire said. "We will need careful financial management and probably some additional investors for the early years, but the long-term projections justify the risk."
One by one, each person at the table committed. Not blindly, everyone had concerns, questions, suggestions for improvement. But the fundamental vision had convinced them.
Deonte stood, extending his hand to Regal. "Red Studio is fully committed as a distribution partner. We will handle theatrical release, marketing coordination, and international distribution. You focus on making the films. We will focus on getting them in front of audiences."
They shook hands, the gesture feeling appropriately ceremonial for what they'd just agreed to.
"Final question before we adjourn." Amara said. "When do we announce this publicly? When does the world learn about the full scope of what we're planning?"
Regal smiled slightly. "Comic-Con 2015. After Captain America proves we can maintain quality, after Superman introduces DC to cinema for the first time, after Thor and Batman establish both universes as ongoing concerns. We announce the complete roadmap through Crisis. Maximum impact, maximum buzz, and by then we will have enough completed films that people will believe we can actually pull it off."
"Two years from now." Pete said, nodding. "That gives us time to execute the early phases, build credibility, establish the pattern."
"And it gives audiences time to fall in love with these worlds separately." Regal added. "So when we finally announce the crossover, it feels like a promise worth waiting for."
The meeting officially concluded at 7:30 PM.
People gathered their belongings, some already pulling out phones to start making calls, sending emails, setting the machinery of production into motion.
Regal remained in the conference room after everyone else had filtered out, staring at the timeline still displayed on the screen.
PHASE ONE: ORIGINS (2013-2017)
PHASE TWO: EXPANSION (2018-2020)
PHASE THREE: CONVERGENCE (2021-2024)
.
….
[To be continued…]
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Comments
Anderson
Thanks for the chapter
MARLENE ANGEL
REGAL WILL NOT DIRECT HULK MOVIE
MARLENE ANGEL
WHO DIRECT HULK AND BLACK WIDOW
MARLENE ANGEL
THE OLD HALEY QUIN WAS BETTER NOT THIS NEW ONE LESBIAN
MARLENE ANGEL
THEN THANOS VS DARKSIDE WAR,,,,THANOS HELP THE GOOD GUYS TO FIGHT DARKSIDE
Sicarius
another awesome chapter cant wait for john wick film
pat donohue
Also since the DC comics are less robust will you be introducing Harley Quin to the DCU
Thomas Sawyer
Are you going to use the Anti-Monitor, Thanos, Blackest Night (Necron), Darkseid, Celestials, or a combination of these to get Crisis? Because Thanos/Darkseid or Anti-Monitor/The Betrayer Celestial is really interesting.
