Hollywood Is Finally Catching Up …
And the stars have been saying so for a while—and no, I don’t mean celebrities.
There’s a shift happening in Hollywood right now and it has to do with planets like Pluto, Uranus, Saturn, and Neptune. Yeah. I know you are confused. But let me back up, so I’ve noticed lately that the trades are finally starting to pick up on something. Deals that used to take a year are closing in a week. Studios that moved like they had all the time in the world are suddenly scrambling to keep up with a new kind of player — lean, fast, creator-first, willing to spend on what they believe in and walk away from what they don’t.
If you’ve been paying attention to the sky, none of this is a surprise.
For the past two and a half years, I’ve been watching Pluto move through Aquarius. Pluto is the planet of death and transformation — it doesn’t renovate, it demolishes. And Aquarius is the sign of systems, collectives, and the radical redistribution of power. When Pluto entered Aquarius in 2023, I said out loud to anyone who would listen: the institutions that have been running things by the old rules are about to have a very hard time. Not because someone forced them to change. Because the energy itself would stop supporting the old way of doing things.
Hollywood is an institution. And it has been running on the old way for a very long time.
The old way looks like this: a writer or creator brings an idea to a studio. The studio likes it — maybe. The idea gets passed up a chain of executives, each of whom has notes, each of whom has a mandate, each of whom is managing their own political capital inside a machine that wasn’t built for speed or creativity. It was built for control. Months pass. Sometimes years. The project dies in development, not because it wasn’t good, but because the system was never really designed to greenlight things. It was designed to delay them until the risk felt manageable — which, creatively speaking, usually means until the soul has been extracted.
I’ve watched it happen to other people. I’ve seen genuinely visionary work get shelved because the gatekeepers moved slowly and no one inside the machine had enough skin in the game to fight for it.
That’s the old paradigm. And it is ending.
Here’s what the new paradigm looks like according to Lesley Goldberg of The Ankler: legendary showrunner David E. Kelley — The Practice, Big Little Lies, Ally McBeal — mentions a book he wants to adapt to an executive at A24. That was on a Friday. By Monday, the team had read Chris Whitaker’s We Begin at the End. By the end of that same week, A24 had won a bidding war for the rights and attached Kelley to co-write the script. Not because someone cut corners, but because the people making the decision trusted themselves, trusted the material, and didn’t need seventeen layers of approval to act on what they already knew.
That’s not just good business. That’s a different relationship with instinct. With creative authority. With what it means to actually believe in something.
And it’s forcing everyone else to reckon with a question they’ve been avoiding: why does it take us so long to do what we know we want to do?
The answer, usually, is fear dressed up as process.
Now guess what … at the end of April, Uranus moves into Gemini for the first time since the 1940s. Uranus is the great disruptor — the planet of sudden change, revolution, and freedom from what no longer serves. Gemini rules communication, speed, ideas, the movement of information. The last time Uranus was in Gemini, we got the birth of television. Before that, the telegraph. Every time these two energies meet, something about how we tell stories and how fast we tell them gets permanently altered.
We’re at that threshold again.
The independent thinkers in this industry — the ones who have been operating outside the machine not because they couldn’t get in, but because they could see the machine clearly enough to know it wasn’t built for what they were trying to create — those people are about to find more oxygen than they’ve had in a long time.
Neptune and Saturn are both moving into Aries this year. Aries is the sign of the pioneer, the original, the one who goes first. Saturn in Aries says: build something real, build it with integrity, and build it yourself if you have to. Neptune in Aries says: let your vision be bold enough to lead.
Together, they’re asking the industry a direct question: who are you actually building this for?
I want to be honest about something. When I look at who’s benefiting from this current wave of disruption, I notice it’s still largely the same people who’ve always had access — the established showrunners, the celebrity producers, the projects with recognizable names already attached, and mostly men—white men. Still, the machine is moving faster now, but it’s still, in many ways, moving for the same people.
That’s worth naming. Because Pluto in Aquarius isn’t just about speed. It’s about democratization. It’s about the redistribution of creative power to people who have always had the vision but not always the access. That part of the revolution is still unfinished.
The new paradigm isn’t complete until it actually makes room for new voices — not as a gesture, not as a quota, but as a genuine recognition that the stories that have been underresourced and underleveraged are often the ones with the most to say.
That’s the version of Hollywood I’m interested in. And I believe we’re moving toward it — not because the industry decided to be generous, but because the energy of this moment demands it.
I’ve been developing Fashion Files for six years. A prestige unscripted series. Cinematic, unhosted, one designer per episode — with a commerce layer built into the architecture from the beginning, because I saw early on that the future of content wasn’t just about what you watched but about what you could do while you were watching it. I built it the way I build everything: by trusting what I know, moving fast when I can, and refusing to let the industry’s slowness become my slowness.
There were years when the pace of this business made me want to scream. When I’d bring something to the table and watch it sit there, not because the idea wasn’t right but because the systems around it weren’t ready.
To everyone reading this … the systems are ready now. Understanding timing is key. And that is why I leverage astrology and why as much as I wanted too, I couldn’t panic while so much of Hollywood was breaking (strikes, mass lay offs, etc) though so many lives and livelihoods were unfairly being affected.
Sometimes things have to break before they can function properly. It’s sexy but it is often necessary. I chose to trust we will be better for it.
For any executive, producer, or creative partner reading this: the window is open. Not just for the projects you’re already tracking, but for the ones that have been waiting outside the traditional pipeline.
The creators who have been building in the margins, funding independently, developing outside the system not out of desperation but out of conviction — they’re not underdogs anymore. They’re ahead of the curve.
The industry is finally catching up to what a lot of us already knew.
Move like it. A24 is … but that’s another story for another time.
© 2026 Lana Jackson. All Rights Reserved.
