Let’s play a game. Open your favorite streaming app, scroll for 30 seconds, and try to find something original. Not a reboot. Not a sequel. Not “season 14” of a show that peaked at season 3.

Still scrolling?

Yeah. Same.

Hollywood’s obsession with nostalgia isn’t subtle anymore — it’s a full-blown business model. And the question isn’t “why are there so many reboots?” It’s are original ideas even welcome anymore?

Spoiler: they are. But you won’t find them on your homepage.

The Business of Playing It Safe

Before we cancel Hollywood’s creative department, let’s be fair — nostalgia sells. Really, really well.

Reboots and sequels come pre-loaded with fan bases, social buzz, and nostalgia-fueled box office numbers. That’s not art. That’s risk management.

Just look at the numbers:

• The Lion King (2019): $1.66 billion

• Top Gun: Maverick (2022): $1.49 billion

• The Little Mermaid (2023): $570 million

You think a brand-new story about an underwater teen with a dream could pull those numbers? Not without a Marvel logo stamped on it.

Why Originality Is Getting Sidelined

Hollywood’s not out of ideas — they’re just buried under spreadsheets, investor calls, and IP ownership rights.

New ideas are risky. They require faith. And in today’s climate, most studios would rather bet on a familiar face from 1996 than the next breakout storyteller.

It’s not about what’s good. It’s about what’s guaranteed.

That’s why every other release sounds like:
“[Insert franchise name]: The Origin Story You Didn’t Ask For (But Will Watch Anyway)”

Is This a Creative Apocalypse or Just a Phase?

Maybe this isn’t the end of creativity. Maybe it’s just Hollywood doing what Hollywood does best — adapting.

Streaming platforms created content overload. AI is now writing scripts (don’t worry, not this one). And the average viewer has the attention span of a TikTok swipe.

So what happens? Studios go where the comfort is. Nostalgia is safe. It’s quick. It hits your brain like a dopamine-infused memory lane.

But there’s a problem…

The more we dig into the past, the more disconnected we become from what could be.

The Bright Side (Yes, There Is One)

Original ideas aren’t dead. They’re just showing up somewhere else.

They’re in indie films. They’re in the weird side of YouTube. They’re in podcasts with zero sponsors and short films shot on iPhones. They’re in the stories creators like you and I are telling with almost no budget — but all heart.

And guess what? Audiences are watching.

People want something real. But real doesn’t always come with a billion-dollar ad budget. Sometimes, it starts as a blog post. A TikTok. A short film no one asked for but everyone needed.

Originality isn’t gone. It’s just decentralized.

My Take (And Why I Care)

I’ve worked in this industry long enough to see both sides. I’ve been on sets for indie projects and major productions. I’ve seen brilliant scripts die in development because someone somewhere decided “it’s not marketable enough.”

But I’ve also seen original stories change lives — without a single rebooted character in sight.

So no, I don’t think creativity is dead. I think it’s evolving. Getting smarter. Getting louder outside the mainstream.

The studios may be stuck in 1997, but creators? We’re building the future one story at a time.

Final Thoughts (And a Soft Challenge)

If you’re tired of déjà-view entertainment, do this:

• Watch something made by an unknown filmmaker.

• Support a podcast without sponsors.

• Share an idea that doesn’t come with a cinematic universe.

And if you’re a creator — keep creating.

Because the second we stop pushing for originality… nostalgia wins.