> Then there's "it's all remakes now"—but 1) it's not,

It really is, if by "remake" you mean all ways of leveraging existing IP. Here are the top ten box office films of 2020:

    * Bad Boys for Life (sequel)
    * Sonic the Hedgehog (videogame)
    * Birds of Prey (comic book)
    * Dolittle (book)
    * The Invisible Man (book)
    * The Call of the Wild (book)
    * Onward (original)
    * The Croods: A New Age (sequel)
    * Tenet (original)
    * Wonder Woman 1984 (sequal, comic book)

Two originals. Now go back 20 years:

    * Mission: Impossible 2 (sequel)
    * Gladiator (book)
    * Cast Away (original)
    * What Women Want (original)
    * Dinosaur (original)
    * How the Grinch Stole Christmas (book)
    * Meet the Parents (remake)
    * The Perfect Storm (book)
    * X-Men (comic book)
    * What Lies Beneath (original)

Four originals. Go back another 10 years:

    * Ghost (original)
    * Home Alone (original)
    * Pretty Woman (original)
    * Dances with Wolves (book)
    * Total Recall (short story)
    * Back to the Future Part III (sequel)
    * Die Hard 2 (sequel)
    * Presumed Innocent (book)
    * Teenage Mutant Ninja Turtles (comic book)
    * Kindergarten Cop (original)

Five originals. Another ten years to 1980:

    * The Empire Strikes Back (sequel)
    * 9 to 5 (original)
    * Stir Crazy (original)
    * Airplane! (original)
    * Any Which Way You Can (sequel)
    * Private Benjamin (original)
    * Coal Miner's Daughter (original)
    * Smokey and the Bandit II (sequel)
    * The Blue Lagoon (book)
    * The Blues Brothers (SNL sketch)

Five originals again. I'm going by top box-office gross here because I think that's a good proxy for what is successful. You can look at other years, but there is a very clear (but not overwhelming) trend towards movies based on familiar content. It's not clear whether studios are leading audiences or vice versa. Probably some iterative process of both.

There's also a clear trend away from dramas. I think that's because drama (and non-slapstick comedies) tend to rely heavily on specific cultural norms for their effect which makes them translate poorly. There is a very clear trend especially in the last decade or so of Hollywood focusing on movies that will also do well in China in particular.