Chapter 238: A Symbol of American Mainstream Culture
That evening, in the study of his Bel Air mansion, Aaron received a phone call from Jack Wells in Austin. The topic was George W. Bush's gubernatorial campaign.
"Give him our full support," Aaron said without hesitation. "The Bush family's influence in Texas is no small thing."
Jack added another update:
"The demolition work for the Houston Dawnlight Sports Center has begun. Construction should officially start around March next year."
Aaron leaned back in his chair. "A year and a half for completion sounds right. A total budget of $250 million is acceptable."
Once completed, the Houston Dawnlight Center would likely become the most luxurious and expensive arena in the NBA.
---
Just before Thanksgiving, Aaron flew from Los Angeles to New York to attend the annual lingerie showcase hosted by Victoria's Secret.
The brand's strategy was clear: fuse fashion with lingerie, harness media attention, and project an image of confident, empowered sensuality. It was marketing brilliance.
At the The Plaza Hotel in Manhattan, Aaron and Christiana Reali watched as models in dazzling lingerie strode confidently down the runway. The audience was electrified. Flashbulbs exploded nonstop as photographers captured every striking moment.
This year's show featured two of the legendary "Big Five" supermodels:
Cindy Crawford and Linda Evangelista, both commanding the runway with effortless dominance.
During the afterparty, Charles Johnson, chairman of Franklin Templeton Funds, clinked glasses with Aaron.
"The buzz around this show is incredible. It's advertising gold."
"And high buzz means higher sales," Aaron replied calmly. "From now on, the show will be held annually. Starting next year, AMC will broadcast it."
He smiled slightly.
"Victoria's Secret will become the unquestioned ruler of the lingerie world."
Johnson nodded. "We'll move forward with plans to spin it off as a standalone public company."
"Then let's drink to that."
---
As expected, the show dominated headlines the next day. Though conservative voices criticized the lingerie spectacle, the overwhelming public response was undeniable. Sales spiked. Attention surged.
Christiana quickly began leading the models on a nationwide promotional tour.
---
In Aaron's Upper East Side mansion, Sophie Marceau arrived from Long Island.
She smiled teasingly.
"You really have endless ideas. An annual lingerie spectacle? Spending millions of dollars on it?"
Aaron merely lifted his glass with a faint grin.
Sometimes, spectacle wasn't excess.
Sometimes, spectacle was strategy.
And in America, spectacle was mainstream culture at its finest.
Sophie Marceau had previously shot a series of sultry nightwear advertisements for Victoria's Secret, images that were sensual and evocative, leaving plenty to the imagination.
"What, you don't like the idea?" Aaron asked, pulling her onto the sofa and wrapping an arm around her. "That's not all. I've also had people start developing exclusive models for Victoria's Secret—we'll call them 'Victoria's Secret Angels.'"
He continued, clearly pleased with the vision.
"Eventually, at the annual show, these Angels will wear their own signature wings. My goal is to turn the Victoria's Secret show into a highly anticipated fashion spectacle every single year."
Of course, these ideas were ones Aaron had passed along to Christiana Reali—ensuring her modeling agency would be deeply tied to the brand's future.
"By the way," Aaron said, kissing Sophie lightly on the lips, "I heard you were filming in Mexico recently?"
"That's right," she replied, looping her arms around his neck. "It's an action film—Clear and Present Danger—shot mainly in Mexico City. It was supposed to film in Colombia, but the situation there was unstable, so Mexico City doubled for Bogotá."
She leaned closer, half-teasing, half-resigned. "I seem to have become a decorative presence again."
Aaron brushed a hand over her back.
"Clear and Present Danger is a Paramount Pictures production. And Harrison Ford is one of America's biggest action stars—especially in patriotic, mainstream thrillers. He's practically the face of that genre now."
With Patriot Games last year, The Fugitive this year, and Clear and Present Danger coming next, Ford was firmly established.
"In action films, actresses are often supporting accents to the spectacle," Aaron said with a small shrug.
Sophie sighed softly. "After Four Weddings and a Funeral, most of the scripts I receive are romantic dramas. European filmmakers, Hollywood producers—they all want me in love stories."
"Well, you are perfect for them," Aaron replied, leaning in to kiss her again.
When the moment settled, she lay against him, clothing slightly disheveled, her voice softer now.
"I'd actually like to do more art-house projects. Strong stories. Character-driven films."
"You will," Aaron assured her, brushing his cheek against hers. "When the right script comes along, I'll let you know. But right now, having access to commercial films is a huge advantage. They build your visibility and influence quickly."
He added thoughtfully, "Independent cinema is harder. Finding a truly great indie project isn't easy—it's always a gamble."
---
After Thanksgiving, Dawnlight officially began production on The Mask, adapted from the Dark Horse comic series. Filming started at Dawnlight Studios in Los Angeles with a $23 million budget.
The leads were comedian Jim Carrey and rising blonde newcomer Cameron Diaz.
At the same time, Edward Zwick's Legends of the Fall completed its pre-production phase and entered rehearsals.
The principal cast—Brad Pitt, Anthony Hopkins, and Kate Beckinsale—were all present.
There had been suggestions to pair Tom Cruise with Sean Connery, but with a $35 million budget, it simply wasn't feasible.
Besides, Aaron believed strongly in the Pitt–Hopkins combination.
Hopkins' performances in The Silence of the Lambs and The Mask of Zorro were still vivid in audiences' memories. Pitt had proven himself in A River Runs Through It and was further showcasing his range in Interview with the Vampire.
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In Dawnlight's New York office, Aaron leaned back in his chair, speaking by phone with Evelyn Beckett in Los Angeles.
"How's pre-production on Bad Boys coming along?"
"Very smoothly. If nothing changes, we'll begin shooting in Miami next spring."
"Good. Move it forward as quickly as possible."
"Oh, and one more thing," she added. "It seems Jim Carrey has signed a deal with New Line Cinema for a low-budget comedy called Dumb and Dumber."
Aaron tapped his desk thoughtfully.
"Interesting. That means he could have three films released next year."
New Line's instincts, it seemed, were sharper than many realized.