It's not just a problem with the capitalist strategy of movie making, but also a shortage of good ideas to exploit and a need to create products in order to justify one's existence.
This is a kind of odd idea. In ultimate terms, "everything's already been done," "Wisdom of Solomon," "there are only 'X' number of plots," etc., it's certainly true,
but this has always been true. And yet local originality (rearranging the furniture) and quality (saying again, what needs to be said for a particular generation) doesn't seem to be so impossible. So long as generations have pains, curiosities, and hopes, there will be ideas that fit the times.
Good ideas are harder to find in our modern age, in some part, because everyone now has a platform. Consider that more music is being made and widely distributed now than at any other time in history. But how many Soundcloud rappers are you willing to suffer through before you find the gem. The Marvel Cinematic Universe is itself too expansive to keep up with anymore
(Do I want to really to do the equivalent of a graduate class in "lore" and "canon" to understand why the purple man wants the magic rocks?). More good music is being made now than ever, but finding it is harder.
A problem particular to cinema is probably an inherent contempt for the written word. Film is a visual medium with visual slogans like "show don't tell." To give too much deference to the writing process would suggest otherwise. Story ideas depend on invention which takes us back to the written word (unless we're exclusively generating ideas by improv or story boards with no prior script), and this insultingly indicates that the logos is more important than the icon, that film is merely derivative of literature. Rather than exceeding and transcending writing with movie-magic, it turns out to be parasitic on it. Thus, the writer is excepted as a necessary part of the process (and there are even awards for good writing), but the big bucks, blow jobs, and extravaganzas go to the visualists and players.
The Director is Willy Wonka. The lead actor is Charlie. The writer is merely an Oompa-Loompa, necessary but merely instrumental, with the fantasy of true "invention" and "creation" being lauded to "visionary" directors and the actors who allegedly "create" their characters. Such is the hierarchy of the Chocolate Factory.