That’s one charitable hypothesis. Like saying that a drunk in the night wants to amortize his ability to look for a lost watch by only searching under streetlights.
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More like a flamethrower searching for things that aren't on fire.
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Evolutionary theory version - certain characters have been so present in your life that they hijack a Dunbar slot and you’re inevitably interested in ‘what’s going on with them?’ even if its no different/less fun than when you first met them...?
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I think it's also partly a logical extension of the wisdom that "nothing sells backlist like frontlist".
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Don’t you think it’s just about maximizing risk-adjusted returns? A lot of new characters and narratives just don’t work.
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That’s the supply side. The demand side is finding something you want to watch in a sea of content. Both matter. More important, it’s GOOD not bad. Anything that increases our shared culture/references is a win.
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Looking at old Hollywood, or any period really, I'm not convinced this era is more remake/sequel heavy than before. The hits tend to be, but that's driven by people mostly avoiding theaters except for big spectacles.
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The first wave of talkies included tons of remakes of silents, which themselves adapted books, plays, and vaudeville. We love the familiar.
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This lines up w the consolidation of movie studios. Existing IP de-risks new movies/shows *and* across existing merchandise and movies/shows.
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