The four-day opening weekend came to a close on a Monday evening, and the final tally that flickered onto the monitors at Miller Studios felt like a physical blow to the solar system of Hollywood.
$7.4 Million.
In an industry where a ninety-thousand-dollar budget is usually reserved for a single day of catering on a mid-sized thriller, Daniel Miller's debut had returned its entire production cost nearly eighty-two times over in ninety-six hours. It wasn't just a hit; it was a statistical impossibility. If the film's trajectory held even a fraction of its momentum, it was on track to become one of the most profitable films in the history of independent cinema relative to its cost.
The Burbank office, still smelling of fresh paint and expensive floor wax, was no longer a quiet workspace. It had become the epicenter of a cultural explosion.
Daniel sat in his glass-walled office, watching the city lights of Burbank flicker to life. Outside his door, the atmosphere was jubilant. Sarah, Sam, and Benny had officially signed their contracts as the first full-time employees of Miller Studios. Daniel hadn't just given them jobs; he had given them a home. Sarah was now the Temporary Head of Cinematography, Sam the Temporary Head of Production Design and Grip, and Benny being the Head of Sound and Post-Production.
For the twelve jurors, the weekend had been even more transformative. Every single one of them had received inquiries from the "Big Three" talent agencies—CAA, WME, and UTA. The "Theater Rats," as they had jokingly called themselves during the sweltering thirteen-day shoot, were suddenly the most sought-after character actors in the city.
Daniel had sat each of them down individually.
"The offers are going to be flashy," Daniel told Elias Thorne, who was currently holding a contract from WME that offered him more money for a guest spot on a procedural than he'd made in the last five years. "They want to sign you because you're the 'flavor of the month.' But don't sign yet. Wait until the second-week box office numbers come in. Your value is going to double when they realize this isn't a flash in the pan. Read every clause. Make sure they can't box you into 'angry old man' roles for the next decade."
Daniel knew the rules of the game. A studio couldn't own an acting agency—the conflict of interest was a legal minefield and a violation of the long-standing guild agreements. Daniel had no intention of dipping his toes into the agency business anyway; he wanted to direct and produce. By helping his actors find the right representation, he was building a network of loyalty and goodwill across the town. If he funneled a rising star to a specific agency, that agency would be far more likely to "bundle" their top-tier talent for Daniel's future projects at a discount. It was the "Old Hollywood" way of doing things—power through relationships.
---
While the team was on cloud nine, the internet was in the midst of a full-scale meltdown. The "Eccles Earthquake" had migrated from the snowy streets of Park City to the digital forums of the world.
Daniel opened his laptop and began scrolling through the morning's press digest. The narrative was shifting, and it was shifting fast.
> THE HOLLYWOOD REPORTER: The Miller Miracle and the Vane Silence
> By Anthony D'Alessandro
> "The $7.4 million opening of '12 Angry Men' has done more than just pad the pockets of Horizon Distribution; it has reopened a wound in the heart of the UCLA Film School. For years, the narrative was simple: Daniel Miller, the 'troubled' student, had attempted to steal the vision of the rising star Julian Vane. But as audiences sit through the breathtakingly precise, ninety-six-minute masterclass that is Miller's debut, a new question is being asked in the halls of every major studio: If Daniel Miller is capable of this level of original genius, why would he ever need to steal from someone else? While Julian Vane remains silent in his designer mansion, the industry is beginning to wonder if the 'Golden Boy' was the one holding the smoking gun all along."
> VARIETY: Elias Thorne and the Resurrection of the Character Actor
> "The true victory of '12 Angry Men' lies in its faces. Daniel Miller didn't cast stars; he cast souls. Elias Thorne's performance as Juror Three is already being discussed as a lock for a Best Supporting Actor nomination. But beyond the acting, the industry is reeling from the efficiency. Shot in thirteen days for under $100k, Miller has proven that the 'Studio Bloat' is a myth. He didn't need a hundred million dollars to make an epic; he just needed a room and the truth. The question now is: What does a man this talented do when he actually has a budget?"
Daniel scrolled further, finding the follow-up video from Oliver Grant, which had already reached two million views in six hours.
The video opened with Oliver sitting in his familiar dark-lit room, looking directly into the lens.
"I've spent the last three days watching the comment sections of my previous video," Oliver said, his voice grave. "And I see the same thing over and over: 'Is it a fluke?' 'Is he a one-hit wonder?' Let me be clear—I've seen the raw files. I've talked to the crew. Daniel Miller isn't a fluke. He's a blueprint. He's the first director I've seen in twenty years who understands that the camera is a weapon, not just a recording device. To the studios currently trying to bribe him with franchise deals: Don't bother. You aren't big enough for him."
---
On Reddit, the r/movies and r/A24 subreddits were battlefield zones.
[Thread: 12 Angry Men Box Office Discussion - $7.4M Opening]
> u/FilmNerd88: "Can we talk about the fact that this movie cost less than my college tuition and it's currently outperforming the new Vanguard action flick on a per-screen basis? Julian Vane must be punching air right now."
> u/DirectingStudent_UCLA: "I was in Daniel's class. The guy was a ghost. He never talked, just worked. We all believed the Vane story because Julian was the one with the money and the charisma. Watching '12 Angry Men' feels like an apology to Daniel. We were all wrong."
> u/CinephileX: "Is he going to stay relevant? That's the real question. One-room dramas are great, but can he handle a set with 500 extras and a CGI budget? Or is he just the 'Basement King'?"
> u/VanguardInsider: "Rumor has it Julian's dad is already trying to 'acquire' Miller Studios just to shut them down. Daniel better keep his lawyers close. This town hates a disruptor."
But the most surprising development wasn't the technical praise or the industry gossip. It was the "Miller's Muses."
A fanclub for Daniel Miller had appeared on Instagram and Twitter, and it was growing at a staggering rate. It wasn't focused on the movie—it was focused on the man. The paparazzi shots from the Moondance red carpet, which had originally been taken as "just in case" fillers, had become digital gold.
There was one photo in particular: Daniel, caught in a candid moment, looking slightly to the left of the lens. His midnight-blue tuxedo jacket was open, his sharp jawline was accentuated by the Utah moonlight, and his eyes held a look of calm, distant intensity.
It had become one of the most liked "Director" photos in Instagram history.
[Instagram Thread: @TheMillerMuses]
> @LALovesCinema: "Can we stop talking about the script for five seconds and talk about the FACT that the director is hotter than any leading man in Hollywood right now? That jawline is a cinematic achievement on its own."
> @DirectorWife: "Why is he behind the camera??? Daniel Miller could literally save the rom-com genre just by standing in the frame and breathing. Look at that aloof energy. I'm obsessed."
> @FilmGirlie: "I went to see the movie because of Oliver Grant, I stayed because of the acting, and now I'm buying a second ticket just to support my future husband. He looks like a young, dark-haired Marlon Brando but with a genius IQ. RIP my bank account."
> @BeautyAndTheBeats: "Wait, I heard he was a hermit for two years? Imagine being that handsome and just hiding in a basement. The trauma only makes him more attractive. #JusticeForDaniel"
Daniel stared at the "thirst threads" with a mixture of confusion and amusement. He had never considered himself "handsome" in a way that mattered; his face was just a vessel for his work. But he wasn't naive. He knew that in Hollywood, a "Face Card" was a secondary currency. If the public was obsessed with him, it gave him a level of protection. You can't easily bury a man whom millions of people are actively watching.
---
The sun had fully set now. The Burbank office was quiet. Sarah, Sam, and Benny had headed out to celebrate their first week as official employees, leaving only Daniel and Tom.
Tom walked into Daniel's office, holding two glasses and a bottle of high-end scotch—something they could finally afford without checking the bank balance first.
"Seven point four million, Dan," Tom said, sitting across from him. He looked at the empty spaces in the room where they would soon put awards, posters, and more monitors. "Horizon just called. They're increasing the screen count to 1,500 for next weekend. The international markets are bidding for the distribution rights now. UK, France, South Korea... everyone wants in."
"It's the momentum," Daniel said, taking a sip of the scotch. It burned in a way that felt like victory. "People want to be part of the 'miracle.' We need to capitalize on it before the studios find a way to replicate the 'indie feel' with corporate money."
Tom leaned back, looking at his friend. "The guys are all signing with the big agencies. Sarah and Sam are already sketching out ideas for the 'next set.' Everyone is looking at you, Dan. They're all waiting for the command."
Tom paused, his expression turning serious. "The whole internet is guessing. The subreddits are taking bets. Some say you're going to do a horror movie. Some say you're going to do a big-budget action flick to prove you can handle the scale. So... what is it? What's the next work of Miller Studios?"
Daniel looked at the laptop screen, where a file was open. It wasn't a script yet—just a title and a list of requirements.
In his mind, the System's library was swirling. He had thousands of masterpieces to choose from. He could do *The Godfather*. He could do *The Dark Knight*. He could do *Pulp Fiction*.
But Daniel Miller knew that to truly dismantle the Julian Vanes of the world, he couldn't just do something "good." He had to do something that redefined the genre itself. He had to prove that he could handle a budget, a massive cast, and a story that was so technically complex that no one would ever dare question his genius again.
He looked at Tom, his eyes reflecting the cold, brilliant light of the Burbank skyline.
"I've spent the last three days looking through all the ideas I've had during my time with grandma,'" Daniel said, his voice dropping to a low, electric register. "I've decided what we're doing next."
Tom leaned in, his heart racing. "And? Don't leave me hanging, Dan. What's the title?"
Daniel reached out and turned the laptop screen toward Tom.
"We're moving out of the jury room, Tom," Daniel said, a slow, predatory smile spreading across his face. "And we're going somewhere where the stakes are even higher. We're going to show them that I don't just know how to handle twelve men. I know how to handle an empire."
Tom stared at the screen, his eyes widening as he read the title, cast size and budget of the next project. His jaw dropped, the scotch nearly slipping from his hand.
"Dan..." Tom whispered. "Are you serious? This... the budget for this... the scale... the industry will think you've lost your mind. Isn't this too big of a jump?"
"Good," Daniel said, standing up and closing the laptop. "That's exactly when I'm at my best."
--------------
A/N: Thank you for all the reviews, really grateful. Also there's a hint in the chapter as to which movie Dan is talking about, any guesses? ;)
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