In the Godfather series, did the Corleone family grow stronger or gradually decline?

Personally, I believe the family grew stronger—but in a different direction. In the first film, the family’s main businesses included casinos and some real estate (as mentioned in the novel); the novel also states that 'the Family was more powerful than Michael could imagine.' At that time, although the family was in a period of relative decline, it remained formidable—and still commanded numerous enforcers and soldiers. After Part II, the films diverge entirely from the novel, and the movies themselves provide little detail about the family’s overall power structure. Still, I believe the family expanded under Michael’s leadership: New York remained under the watchful eye of old allies (and after Frank’s death at the end of Part II, the Corleones likely reasserted control over their New York operations); they gained control over several key hotels and casinos in new territories (as referenced during the Senate hearing); and their ties with law enforcement and political circles deepened significantly. Though the family likely employed fewer street-level enforcers than before, its wealth and political influence unquestionably rose. By Part III, the family had evolved into something resembling a ‘cartel’—a decentralized network where regional bosses managed their own domains, though Michael retained ultimate authority. Yet even here, his control was no longer absolute: signs of internal dissent and rebellion were already emerging.

The Journey of a Lifetime (VII)

Link to previous part: Tom Riddle: The Journey of a Lifetime (VI) After Walt Disney’s death in 1966, the company plunged into crisis. Both Walt Disney Pictures and the animation studio were in dire straits. Fortunately, Disneyland in California and Walt Disney World in Orlando remained hugely popular, generating nearly three-quarters of the company’s total revenue. In 1983, corporate raider Saul Steinberg attempted a hostile takeover of Disney—but the company narrowly avoided it. The following year, to reverse the company’s fortunes, Roy Disney (Walt’s nephew) and Sid Bass (Disney’s largest shareholder) appointed Michael Eisner as CEO and Chairman, and Frank Wells as President. They then recruited Jeffrey Katzenberg—who had previously worked under Eisner at Paramount—to head Walt Disney Studios. It was Katzenberg and Eisner together who spearheaded Disney’s animation renaissance and triggered massive growth in consumer products. Eisner soon realized that Disney’s theme parks had accumulated enormous goodwill—a valuable asset. He discovered that raising ticket prices slightly would not deter visitors but would dramatically boost profits. Another major breakthrough came with licensing classic Disney films on videocassette for sale to parents who had grown up watching them—and who would then share those films with their own children. This became a billion-dollar business. Then, in 1995, Disney acquired Capital Cities/ABC, primarily to absorb ESPN’s 100 million subscribers. All these outcomes confirm that Eisner was a brilliant, highly creative thinker and businessman—the architect who transformed Disney into a modern entertainment conglomerate. Serving as his second-in-command was an extraordinary learning opportunity. The author admits that he gained invaluable management experience there—and, more importantly, deeply absorbed the creative and design philosophy behind Disney theme parks. Yet over the next two years, Eisner’s oversight grew increasingly intense. Many colleagues complained he was an suffocating perfectionist and micromanager. Eisner himself countered that people underestimate the value of micromanagement—and the author agrees, albeit with the caveat that balance is essential. Success often hinges on details; Eisner saw what others missed, and thus demanded more. Greatness, he believed, is assembled from countless small details—and under Eisner’s guidance, the author came to understand this truth ever more profoundly. In 2001, things began to shift. Apple announced a policy allowing users to copy and use purchased music freely. Many—including Eisner—saw this as a mortal threat not only to the music industry but potentially to television and film as well. As a staunch defender of copyright, Eisner immediately lashed out at Apple, accusing it of openly flouting copyright law. His stance deeply irritated Steve Jobs. Their friction had deep roots. As early as the mid-1990s, Disney and Pixar—then led by Jobs—had entered a distribution agreement. Initially skewed heavily in Disney’s favor, the deal gradually tilted toward Pixar as each successive film elevated its reputation and influence—while Disney itself was struggling through a downturn.

Avient Names Mike Frank As President And CEO

Oct 11, 2026

Avient Corporation has appointed former UPL CEO Mike Frank as its new President and Chief Executive Officer, effective immediately. The board also appointed Richard H. Fearon as Non-Executive Chairman and reaffirmed financial guidance through 2026.

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