By now, most people have watched or know about the global phenomenon that is Netflix’s Squid Game.

Part of its popularity was it hitting in 2021 when we were coming out of the crap-factory that was 2020. Another reason was it was an original and cool show. Those of us outside of this show’s country of origin who were already into K-Dramas, Japanese movies, and anime were happy to see the rise of the Asian entertainment industry. We nerds been telling everyone forever these are great stories!

As a result of this popularity, more people begin looking into the Japanese series Alice in Borderland. The two both deal with a group of people with diverse personalities and life situations having to play a series of deadly games. Some Squid Game fans said Alice in Borderland was a “rip off” but that couldn’t be further from the truth. Not only did the first season of Alice in Borderland come out about a year before Squid Game, is was based directly on the manga by Haro Aso dating back to 2010. The arguments are neither here nor there, as these shows are really very different. I always preferred Alice in Borderland, because of its dark fantasy element.

Yet, last week, the Alice In Borderland Season 3 dropped and it was fine and dandy up until a very last unneeded scene that was a copy of an equally unpopular move by Squid Game. It brought the story to the United States.

The third season of Squid Game had it’s issues, but it was enjoyable. Then we caught a glimpse of “big Hollywood star” Cate Blanchett cameo as a recruiter for Squid Games happening in America. Director Hwang Dong-Hyuk said there thankfully won’t be an American Squid Game, but that still distracting and not needed.

Unfortunately, there likely will be a U.S. based Alice in Borderland, as we got to see a teaser for it at the end of the series. Netflix seems to think its happening. And, of course, the American one has to pounce on the over-worked issue of climate change. No one asked for this, and I hope it dies quicker than a Borderland player getting a laser through their head.

This is a trend, that is nothing new, especially in horror, as in The Ring reboot of Japan’s Ringu, not to mention The Grudge and Shutter. Those were okay but no one asked for them. We also didn’t ask for an American Train To Busan, a huge hit from South Korea. However, that was about to happen with The Last Train to New York. Producer James Wan has put this one on hold, so I think he’s smart enough to concentrate on films people actually want to see.

Now, I love, love, LOVE being American and have a good feeling my country is returning to its badass self, but I do not love the western entertainment industry’s inability to create original stories that aren’t preachy, wokey reboots, spin-offs, sequels, and remakes of popular IPs.

There are some good things happening. I wrote about what fun movies like F1: The Movie and K-Pop Demon Hunters were.Those are a step in the right direction of how good movies bring everyone together. Then we took a few jumps backwards with a sister-deserting live action reboot of Lilo and Stitch and the so-cringe they decided not to release it thriller The Savant.

Hollywood still doesn’t get that hard-working people outside of their world might not be as right or famous, but are in many cases much smarter than their high-thinking rhetoric. The thinking public wants new stories that are original, with likeable characters and well-thought-out villains.

Enter the popularity of the K-Drama, that takes you to South Korea with thrillers, mysteries, action, rom-coms and more. The characters get solid back-stories, and the ”green flag” men are loving, protectors. Even when the lead is a tough female, she isn’t the man-hating girl boss. There are some exceptions, but these aren’t the mainstream. For the most part you aren’t going to get beaten over the head with one-sided politics.

That is, until they saw how popular these shows were in America, and somehow thought we wanted more shows in America. Nope.

So, here’s some quick advice to the Korean and Japanese entertainment industries. We love these stories because they are set in your country. They spotlight your talent, your landscape and your values. We do like it when there characters visit other parts of the world, when done realistically.It’s nifty to see European or American character of any race pop up, but not as the spotlight hog. Your original stories are what we want to see, because we are sick of the preachy reboots set in Los Angeles or New York with the same check-list of characters and hot-button discussion issues.

Now, to my fellow American filmmakers, come up with a new story or find a source material that hasn’t been tapped. There are brilliant writers here in the U.S., and I know you can do it. Stop with the AI or Chap-GPT generated ideas, and come up with something new. Avoid preaching the same “message” movies you seem to think people want, and find some heroes, villains, adventures, thrillers and love stories that aren’t over soaked in your own politics. We love characters of all races, and both male and female leads, as long as they are well thought out. I know you can do it, and please let the Asian entertainment industry have their time in the spotlight without you piggybacking on their hits.

As for American-companies making series or films based on Japanese anime or manga, those are hit and mis. For example, Cowboy BeBop was a disaster. One Piece was absolutely well done, because the story remained true to the manga’s spirit.

Movies and series that teach us certain values or are about history and social issues are fine, as long as they aren’t constantly inserted into every single film. Sometimes, we just want to escape to another world.

For many, like me, that world right now is in the beautiful imagination of South Korea and Japan. Don’t let the “modern audience” Hollywood brigade mess up the good thing they have going.