My other take-away from LFIM's comments regarding "logical, money-making solutions," is that it's starting to become clear that he intentionally constructed Axanar--or more to the point, the Whatever-We're-Calling-It-Today Studios--as a Potemkin Village. (Not to be confused with the Excelsior-class USS Potemkin.) After all, if his objective was simply to grift the donors, he would not have gone to the effort of procuring the warehouse. He would've simply embezzled the money and skipped off to the Caribbean by now. Similarly, if he just wanted to make a film, he would've heeded Christian Gossett's counsel and been done a year ago.
Instead, he went to the time and expense of creating the facade of a potentially profitable studio in the hopes that CBS would "buy him out." It reminds me of the Michael Scott Paper Company story arc from "The Office." Michael started his own paper company, lured away Dunder-Mifflin's top clients by undercutting their prices--a financially unsustainable business model--and convinced the company to buy him out. Of course, that scheme only worked because D-M was (a) run by idiots and (b) in a financial position where they couldn't risk losing the sales from the Scranton office. I don't think CBS is in a similar position here. Even under the worst case scenario, they can risk the "loss" of Axanar's donor base.
