The air in Duke's Burbank office was remarkably calm.
The frenetic, week-to-week scramble that had defined this year seemed to calm down as the year end approached.
The Marvel distribution crisis, the Jackson 5 negotiations, the True Grit project, it had made him tired.
Duke's recent trip to the True Grit set, where he had successfully contained Wayne problem was the final straw for a crucial change in his management style.
He was feeling burnout.
The company was no longer an startup, it was a somewhat stable media conglomerate.
Duke's role had to shift from the hands-on operational fixer to a high up executive who focused only on existential threats, market direction and future acquisitions.
Duke spent a focused morning making a series of phone calls, not to solve problems, but to formally solidify the high-functioning executive structure that he had.
He was giving his team ownership of their respective branches, freeing himself to not be boots on the ground on issues.
Duke's executive team had proven their worth.
Duke's call with David Chen, who was now Chief Financial Officer, was the most satisfying.
The Marvel division was stable, Charlton was compliant, and the numbers were stable.
"David, Ithaca day to day operations are officially your command," Duke stated, his voice clear and final.
"Thank you, Duke," Chen replied calm, though the satisfaction in his voice was evident.
"Hey, that means I need you to be focused on the macro-financial health of Ithaca. Effective immediately, you are fully responsible for Marvel Comics stability, Charlton oversight, and managing all debt service schedules."
"This includes paper and printing contracts, inventory management, and maximizing the cash yield from the record division." Duke affirmed
Duke laid down the new, crucial boundary. "No more surprise phone calls to me about logistics, supply chain, or missed deadlines at Charlton."
"You are the operational CEO for everything outside of content creation and film development. My focus shifts to our production slate, and market direction."
Chen accepted the new responsibilities without question.
The stress of the daily chaos would still be present, but now he had the full institutional authority to manage it without seeking Duke's approval for every strategic maneuver.
The next call was to Walsh in Detroit, who was currently negotiating the Diana Ross deal and kept Joe Jackson functional.
"The boys are ready, Duke," Walsh confirmed. "The only worry is the demands from Joe, but we're managing it."
"You're managing it," Duke emphasized. "From now on, the music division is yours."
"You are given increased autonomy over the Jackson 5 launch and the full management of CCR's touring and recording demands. You'll have to speak with Chen about budgets now."
This was a massive vote of confidence, allowing Walsh to move with the necessary speed of the music industry without requiring Duke's approval.
"My goal is simple, keep the Jackson 5 focused and on-schedule for March 1969, and keep CCR happy," Duke instructed.
"I will not get involved in Joe Jackson's hotel demands or Michael's choreography. You are the expert. Your job is to maximize talent and minimize drama."
Walsh understood the shift perfectly.
He was no longer a middle manager; he was the de facto President of Ithaca Records.
Finally, Duke called Jensen, the executive producer who was simultaneously managing the wildly divergent operations of Butch Cassidy and True Grit in the field.
"Jensen, you are the indispensable man," Duke opened, a rare show of genuine sentiment.
"You are confirmed as my boots on th ground executive producer. Your primary function is to keep the cameras rolling, manage the budgets, and ensure the directors get what they need without destroying the bottom line."
Duke paused, reflecting on the recent turmoil. "I'll handle the macro-problem Wayne's ego with my weekly fly-ins. But you handle the daily technical challenges. You are the first and last word on set. No more calling me for logistics."
This formalization was crucial.
It ensured that the directors and stars saw a clear line of authority, with Jensen empowered to enforce budget and schedule, knowing he had Duke's unreserved backing.
The conversation with Jensen immediately delivered a necessary dose of good news, sharply contrasting the turmoil on the True Grit set.
"The Butch Cassidy and the Sundance Kid shoot is moving smoothly, Duke," Jensen reported, his voice steady. "
We wrapped the Bolivia sequences last week. The chemistry between Steve McQueen and Robert Redford is fantastic, and the dailies are electric."
Duke had been nervous about the pairing of the two volatile actors, particularly the somewhat difficult McQueen.
"And McQueen?" Duke asked.
"He's difficult, yes," Jensen admitted easily. "He demands precision, has been fighting over wardrobe, and he challenges the lighting setup. But he respects the schedule, and more importantly, he respects the budget."
Jensen delivered the critical confirmation the Butch Cassidy production, despite its high-profile stars and challenging locations, was still under budget and ahead of the scheduled wrap date.
"For now we are good," Jensen concluded. "Give a firm producer control, and let the talent perform. It's working."
Duke ended the calls with a feeling of immense lightness.
---
The phone line crackled as Walsh brought up the first inevitable complication of managing teenage superstardom.
School.
"Duke, the Jackson 5 rehearsal schedule for the Diana Ross special is intense," Walsh reported from the Los Angeles office.
"And Joe is doing his usual routine. He's threatening legal action against Ithaca Records over the interruption to the boys formal education."
"He wants to look like a responsible father, but he also needs that TV slot, so he's trying to hold us accountable for the cost and compliance."
The problem was minor but time-consuming; a distraction that, a few weeks ago, would have demanded Duke's personal intervention.
"This is not a star problem, it's a legal problem," Duke stated, solving it instantly.
Duke's resolution was delegated and definitive "Hire a full-time on-set tutor who is certified and approved by the State of California."
"Immediately hire a legal liaison with experience in child performance contracts to handle all communication with Joe and draft a formal education compliance schedule."
"Their sole job is to keep the boys current with their schooling and to keep Joe Jackson legally placated with structured compliance documentation. Your focus remains on the music and the marketing."
Walsh understood, Duke wasn't planning on arguing with Joe.
---
Immediately after, Chen called in with a seemingly minor, but structurally important, financial worry from Marvel logistics.
"Duke, the success is great, but the rapid expansion of the Marvel line is creating a logistical issue," Chen explained.
"To handle the massive new volume, we need to purchase paper and ink far ahead of schedule to lock in the costs before the inevitable price hikes. That requires a larger upfront capital outlay for raw inventory than anticipated in the quarterly budget."
It was a good problem a symptom of growth but it was also a drain on the short-term liquidity that was essential for the debt service.
Duke's resolution was strategic, prioritizing long-term growth over short-term ease. He wasn't going to pull money from the film budget or the CCR tour revenue.
"Authorize a small, high-interest commercial loan, David," Duke directed.
"Keep it separate from the main LBO debt structure, label it strictly as 'Inventory Acquisition Capital.' We use the loan to cover the inventory purchase now."
He explained the rationale to Chen "We use the predictable, high-margin sales from the books to immediately service the short-term loan. We must prioritize sustained growth over short-term liquidity."
As the calls wrapped up, Duke settled back into his quiet office, allowing a moment of relaxation as he truly stepped into his new role.
He realized that the greatest success of the past few months wasn't the money or the celebrity connections he had bee making, it was the construction of the reliable executive structure beneath him.
HDuke realized his time was now better spent looking for new opportunities and managing production projects rather than arguing over school schedules or the proper use of an adverb on a movie set.
He pulled out the reports detailing potential acquisition targets.
His eyes scanned through various sectors small independent comic publishers that could be folded into Marvel, securing foreign distribution rights for his existing content, and analyzing the growing world of television syndication.
He paused on one specific, intriguing file.
Hannah-Barbera Productions.
The animation studio, responsible for Saturday morning hits, was rumored to be looking for a potential buyer or major investment partner.
Duke analyzed the numbers, his mind racing. Television animation was a lucrative, recurring revenue stream, the perfect counter-cyclical asset to film and music.
Animation could also help with Comic sales.
It was the future of branded content. He didn't have the capital yet but he marked the studio as a high-priority future target.
Duke picked up the phone for one final call, dialing the number for Goldberg on New York.
"Goldberg," Duke said, his voice calm. "I need an update on the Night of Living Dead release."
He brought up the release schedule for their smallest but most provocative film.
"It's October 1st. I want to know the internal tracking for the Night of the Living Dead release. Where are the prints going, and what's the early word on the box office?"
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I dont like this chapter too much but i needed to leave some thibgs clear before time skip(wont be a big one)
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