Biopics and reboots aren’t new concepts in the entertainment industry. Yet in the past year, the amount we have seen has only skyrocketed. If everyone keeps making these films and shows, do they still feel special?
Everything in Hollywood has also become incredibly flat. At one point, biopics felt exciting. They have now become so common that they no longer stand out. Why are viewers beginning to consider each new biopic as merely another part of an increasingly crowded saga rather than as an event?
Biopics, Reboots, and Sequels, Oh My!
“Michael,” “The Devil Wears Prada 2,” “Ready or Not 2: Here I Come,” “Malcolm In The Middle,” “13 Going on 30.” These examples represent only a handful of the biopics and reboots that studios have already released or are currently in development. There is an overwhelming amount of repackaging going on in the entertainment industry. Every time I find myself scrolling Twitter (or X) and stumble across a tweet announcing that a perfectly good movie is getting a sequel or that Hollywood is making a biopic about a celebrity no one has thought about in years, I ask myself, “Who wants this?” Yet, audiences keep showing up, proving that plenty of people do.
When looking at the box office numbers for these reboots and biopics, they are clearly making these production companies tremendous amounts of money, and when they see those dollar signs, they figure, let’s just keep making more. A major element of it is profiting from nostalgia.
From the resurgence of the 2016 trends on social media to Hollywood’s decision to release films like “The Devil Wears Prada 2“, audiences and studios have embraced nostalgia as the theme of 2026. It seems that the public yearns for life pre-COVID, including pre-COVID film and television. Instead of creating new media that resonate with this generation, Hollywood continues to chase nostalgia in a cash-grab cycle.
Using the “13 Going on 30” reboot that is in the works as an example, instead of taking the plot of the film and making it into a TV show with new actors, how about making a brand new romcom that evokes the same feeling as the film? Well, that’s not going to happen because Hollywood prioritizes the guaranteed profits of reboots and biopics over taking chances on unique stories.
This all boils down to a lack of creativity. While a big reason for the number of biopics and remakes is money, it also suggests that no one cares to come up with original stories. The number of original releases seems to be becoming fewer. And when I say original, I mean not sourced from any prior material, including books or even games. And when these stories are made, they often don’t get the promotion they deserve compared to a biopic about a major figure. It all comes back to the money once again. Companies aren’t investing as much in these movies because they aren’t sure they’ll see enough revenue come back.
The Overexposure Epidemic
Many “Wuthering Heights” fans expressed their displeasure as soon as Emerald Fennell cast Jacob Elordi as Heathcliff in her version of the book. Emily Brontë’s portrayal of Heathcliff, whose ethnicity is left unclear throughout the book, was largely responsible for the criticism. Due to Brontë’s description of him as “dark-skinned,” many readers have different ideas about the character than Elordi. Fennell has described her adaptation of the novel as not a direct one. Yet, even so, was Elordi truly right for the role, or is he just popular? Now, don’t get me wrong, I like Jacob Elordi! But it’s also important to be critical of the celebrities we enjoy. In the past three years, the actor has starred in eight projects. Maybe it’s time to give someone else a turn?
The overexposure of actors actually has its own term: the “Jude Law Effect,” and Pedro Pascal is an actor who recently fell victim to it. Just last year, Pascal starred in three movies playing in theaters simultaneously. A move that drew criticism for the overwhelming experience of seeing Pascal everywhere you turned.
This phenomenon has also played a part in women’s careers as well. With her starring in “The Drama”, being a part of Christopher Nolan’s “The Odyssey”, and “Spider-Man: Brand New Day”, releasing, it’s been a big year for Zendaya so far. This lineup of films, and their time frame, can be grouped into the overexposure epidemic, yet it feels different. Compared to Elordi and Pascal, Zendaya’s last movie before this slate of films was “Challengers” in 2024, and that was it.
The circumstances also appear different because it seems that whenever a woman appears in an abundance of project they feel a need to take a break. Which is exactly what the actor said she is planning to do after this year. In an interview with Fandango, Zendaya said: “I guess, you know, I just hope people don’t get sick of me.” I’ve seen numerous women in the entertainment industry say those exact words. Yet when it comes to the men who have worked extensively in a given year, the number is noticeably smaller. Women feel like the world needs a break from them, while men will continue to star in movie after movie without a second thought. Hmm, interesting.
The Need For Fresh Faces and Ideas.
When the same faces continue to pop up everywhere, that doesn’t leave room for a new wave of breakout stars. The number of new stars that have emerged in recent years is small. Yet whenever an under-the-radar actor stars in a major series or film, they often become widely popular. This proves that a large segment of the public craves new careers they can follow. There’s something so special about an actor working for years, landing a breakout role, and then we, as the public, watching them become a star. The most notable recent case of this occurred with Hudson Williams and Connor Storrie, the stars of “Heated Rivalry.”
The season finale of the show aired on December 26th. By January, the pair were presenting together at the Golden Globes. Since then, both have multiple film roles lined up, further cementing their rise in the industry. People want someone new and shiny they can sink their teeth into. Which can turn into the “I was a fan of this person in the beginning” conversation. But at least these actors now have a fan base that enables them to pursue the work they have always dreamed of.
A similar idea applies to new films and original films. Sure, biopics and reboots are making money at the box office, and so are innovative ideas! You just might not be hearing about it. “The Drama” was released in April of this year, and it has already become one of A24’s highest-grossing movies. Also, the (singular) horror film “Obsession” was released a week ago and has already surpassed $80 million.
Over the past few years, the industry has relied heavily on a cycle of reusing and recycling familiar stories, and it keeps people satisfied up to a certain point. I think we’ve reached that point. To keep audiences engaged while preventing media from becoming stale, studios need to invest in new talent and innovative ideas. It’s really as simple as that. Everyone has their favorite actor and will see every movie they star in (I’m the same way), and that’s always exciting. Yet, it’s important to watch new projects with actors you may not be so familiar with, because that’s what keeps the industry thriving.
The Possible Future of Entertainment
If the oversaturation of biopics and reboots continues, where does that leave the entertainment industry? Well, I see a future in the industry where creatives can no longer thrive. Directors spend years fighting to bring their passion project to life. Only to face concerns about its profitability, it’s easy to see how they can become disheartened. As studios continue to prioritize biopics, reboots, and franchises, many filmmakers may feel constrained to create what sells rather than what inspires them artistically.
One major factor that helps these original movies keep getting made is that it is our job as the audience to go see them in theaters. Then a glorious ripple effect occurs. People begin to strike up conversations about the film, creating discourse, and that’s how it becomes popular. The same goes for new faces in the industry. An actor lands a role in a film or television show, clips of their performance spread across TikTok and X, and suddenly, audiences know their name. These movies don’t get made unless big studios see that people actually care.
Now, do I find myself watching a new biopic or reboot from time to time? Yeah, of course, I like to stay in the loop. But that doesn’t mean these conversations shouldn’t happen; if no one calls out Hollywood’s blandness, nothing will change.
