CHRISTIAN TOTO: Here’s Why Hollywood Is Addicted to Sequels, Prequels and Reboots.

It doesn’t get more Hollywood than “Fly Me to the Moon.”

The Apple production stars Scarlett Johansson and Channing Tatum in a rom-com tied to the ’60s space race and the moon landing “hoax.”

Big stars! A big budget (reportedly $100 million)? A sweet summer schedule release and the perfect counter-programming to kiddie hits (“Inside Out 2”) and horror frights (“Longlegs”).

And … thud.

“Fly Me to the Moon” snared a tepid $10 million in its opening weekend. It’ll need a supermodel’s legs to avoid losing a bundle following its theatrical run.

What happened?

The film had almost zero buzz up until its release date. That never helps. Summer audiences weren’t wooed by the comely stars or the ’60s-era setting.

And we’re still addicted to sequels, prequels and reboots.

Hopefully the film will make back some of its production costs when it goes to streaming, including Apple’s own Apple TV+ app. But 13 years after Lynda Obst wrote Sleepless in Hollywood: Tales from the New Abnormal in the Movie Business, her look at Hollywood’s obsession with sequel-itis still looks correct, alas: