[Nursie]

Not every action.

Some festivals avoid it by requiring ID to be linked to the ticket and banning resale (though they may allow refund).

It’s funny, but “extracting maximum profit” isn’t the only motivation some people have in life. Especially when it comes to cultural events.

[TeMPOraL]

> It’s funny, but “extracting maximum profit” isn’t the only motivation some people have in life.

[citation needed]

More seriously though, it's true that people - arguably most people - have other motivations than purely materialistic ones. But, like every market, cultural events are a dynamic system. It follows a trajectory over time.

Slightly more greedy people have better outcomes than slightly less greedy ones. The least successful get filtered out. Iterate that over time. What results do you expect?

And yes, this is a general argument of why the market first makes things better, then makes them all go to shit. And it is confirmed by real world. Exceptions involve some factors that counteract the dynamics described above. Do you see such factors at play in entertainment event industry? I don't.

[Nursie]

> Slightly more greedy people have better outcomes than slightly less greedy ones. The least successful get filtered out. Iterate that over time. What results do you expect?

Define "better outcomes" and "Least successful".

The most coveted and arguable most successful music festival in the UK, Glastonbury, operates in the way I described. A variety of other festivals in the UK do too, often due to the politics of the organisers (see, for example, Beautiful Days)

> Do you see such factors at play in entertainment event industry?

Yep, where people make it happen I see them at play and working well to create systems that both the organisers and the public want, and which lock out the third-party profiteers. It would be nice to see such things become more widespread. Though I agree we are less likely to see that where 'the industry' is in control, rather than artists or passionate individuals.