Ever since learning that The Odyssey is set to release in 2026, I was curious as to what other films were coming out. However, as I browsed various “Most Anticipated Movies of 2026” lists, I realized a pattern. A majority of them were sequels, reboots, or other installments of an already existing series. From massive franchises such as Marvel declaring Spider-Man: Brand New Day to sequels of classics such as The Devil Wears Prada 2, it seems that original works are in the minority. As I continued scrolling, I recognized more and more names: Dune: Part 3, The Hunger Games: Sunrise on the Reaping, Scream 7, Tangled (live action), Moana (live action), Toy Story 5, and the list goes on. This trend is not a novelty, though, as for the past years, there has been a worsening drift towards producing series. All this repetition led me to ask myself one question: is originality dead?
This ever-present pattern feels like a death of creativity, an erosion of something fundamentally human. To me, this trend stems from the capitalist imperatives that shape our world, including Hollywood. Installments are a safer investment, a fact proven by the numbers. Take Disney, for example. Moana 2 grossed over 1.059 billion dollars worldwide, while Elio, an original animation, earned only a revenue of around 154 million dollars. This staggering difference sends a clear message to studio executives: audiences want nostalgia, not novelty.
In a rapidly changing world, these recognizable characters and storylines provide escape and familiarity. Everyone has a comfort series they continue to watch, even with new shows being released yearly. In the same way, movie sequels and franchises feed off the sentimental feelings that exist within the audience already. We attempt to return to the past, when the world seemed less tumultuous.
Additionally, streaming services today provide much better, more immediate access than home video to old movies produced decades ago. The fact that audiences can, and do, revisit classics anytime they want has further developed their desire for familiar material. All of these elements combine to reduce the incentive for investors to fund high-budget original films that may not guarantee a profit, and instead focus on already established franchises.
I spoke with Dante Kippenberger ’27, one of the co-heads of the Film Production Society at CA, who shared a similar sentiment. He describes these sequels as being made with little soul behind them, a feeling I share. It is becoming glaringly obvious that these movies are made to be cash-grabs, driven primarily by the chance at profit rather than passion. When did art stop becoming a project of human creativity and instead become a hollow shell designed for monetary gain?
That said, originality still continues to thrive within the cracks of repetition. For example, Kpop Demon Hunters is an original film that was released in 2025 primarily on streaming platforms, as well as a sparse number of cinemas. Unexpectedly, it became a cultural phenomenon. Its influence spread across social media and online communities, and proves that audiences yearn for fresh ideas executed distinctly and with care. Films like these keep the heart of creativity pumping.
Overall, while I am excited to see many new releases in 2026, the fear of creative bankruptcy in Hollywood lingers in the back of my mind. I hope that as studios evolve, they recognize that audiences crave not just remnants of the past, but original, unique storytelling.