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Less than 30 years after “13 Going On 30” made legions of young millennials want to be “big-time magazine editors,” the classic rom-com is getting a reboot.

Jennifer Garner, who starred in the 2004 original as the 30, flirty and thriving Jenna Rink opposite Mark Ruffalo’s Matt “Matty” Flamhaff, is executive producing the project. “People We Meet on Vacation” star Emily Bader and Logan Lerman, known for “Oh, Hi!” and “Perks of Being a Wallflower,” will star in the reboot.

Brett Haley, who directed Netflix’s “People We Meet on Vacation,” will reunite with Bader to helm the project.

In a statement to “Deadline,” Haley said, “‘13 Going On 30’ is one of those rare, perfect films. Funny, emotional, deeply human, with unforgettable performances from Jennifer Garner, Mark Ruffalo, and Judy Greer. I’m a longtime fan, so stepping into this reimagining comes with tremendous responsibility.”

“Jennifer Garner being on board as an executive producer, after playing such a big part of what made the original special, is especially meaningful,” Haley continued. “I also couldn’t be more excited to reunite with Emily Bader after ‘People We Meet on Vacation.’ She and the amazingly talented Logan Lerman are a magical pairing. I feel incredibly lucky to be trusted with something that means so much to so many people.”

In case you missed it (or were living under a rock in 2004), our former Los Angeles Times film critic Manohla Dargis wrote of the film: “Another iteration on the apparently indestructible body-switching premise, ‘13 Going On 30’ closely adheres to the essential gimmick and learning curve introduced to superior effect in the 1988 hit ‘Big.’

“After a disastrous birthday party and a foolish wish to become ‘30, flirty and thriving’ (some alliterative propaganda she’s read in a fashion magazine), Jenna wakes one morning to discover that she’s metamorphosed into an older, taller, somewhat curvier version of herself. Now played by Garner, the wild-eyed teenager comes face to face with a wish fulfillment of a life that comes with a designer Manhattan apartment, an executive position at a slick women’s magazine, a hockey-star boyfriend who likes to strip to Vanilla Ice, and row upon row of designer shoes.”

While mum’s the word on plot specifics, the script for the reboot is by Hannah Marks, who penned and directed “Mark, Mary, & Some Other People,” with revisions by Flora Greeson, who wrote “The High Note.”

Once news of the reboot broke online, social media chatter picked up, with fans speculating which eras the film may be set in. If, like the original, the protagonist wakes up as a 30-year-old in today’s modern world, some worry the flick won’t be as lighthearted as the original.

One user on Threads said, “The concept of a 13 Going on 30 where a teenager in 2009 now wakes up in THIS reality in her 30s feels like horror not romcom.”

Rather than chasing sequels and reboots, Netflix is betting its 2026 film strategy on a massive investment in original storytelling and a renewed focus on the theatrical comedy.

The streaming giant’s need for original content is one of the main reasons Netflix fought fiercely to acquire Warner Bros. But even after losing the bid to Paramount earlier this month, the priority remains.

“We’re zigging where legacy studios are zagging,” Dan Lin, Netflix’s film chairman, said Wednesday at Netflix’s slate event in Hollywood.

Last year, 18 of the top 20 theatrical films were based on already established intellectual property, like with sequels and remakes. The only two original ideas to break through were Ryan Coogler’s “Sinners” and Zach Cregger’s “Weapons.” Both of these films were received well by audiences and earned golden statues at this year’s Oscars.

Lin said that at Netflix, 2025’s slate was the “exact opposite,” where half of the films it released last year were based on original storytelling.

“We have a very healthy content budget. So if there’s a great movie out there, we’ll go out and either build it or acquire it,” Lin said.

Bela Bajaria, the company’s chief content officer, said the company isn’t too concerned with the theatrical element that other studios can offer when hunting for these original stories, as Netflix is a streaming-first company.

“We’ve always had competition. This isn’t really any different,” said Bajaria. “It’s to understand what the competition is, not head in the sand at all. [We have] to understand what the market is and continue to look ahead.”

It’s not just original ideas that Netflix is scouting; the streamer’s also looking to fill gaps in genres. In recent years, comedies have fallen out of favor with major studios — leaving room for streamers like Netflix to expand. This year, Netflix is looking to break through with upcoming comedy productions like Kevin Hart’s bachelor party-driven “72 Hours,” John Cena and Eric André’s buddy comedy “Little Brother” and Eva Longoria’s “Fifth Wheel,” which Lin describes as “our version of ‘Bridesmaids.’”

“We’re taking the chance, and we’re making the movies,” Lin said. “It’s what we’re delivering, I hope, [it’s] what audiences want and what they’re craving. There are a lot of genres that you just can’t find in theaters anymore. So, we’re making those kinds of movies.”

In addition to emphasizing comedies, there’s a lot of opportunity to develop young adult films, Lin said. Netflix has upcoming titles such as “Voicemails for Isabelle,” starring Zoey Deutch and Nick Robinson, and “Roommates,” with Sadie Sandler, to draw in younger movie watchers.

One genre in which Netflix doesn’t see much success is live musical adaptations, so it’s “not an area that I’m leaning into,” Lin said. He first joined the company in 2024 and has since green-lighted 88 films.

Netflix subscribers watch about seven movies a month, according to the streamer’s data. So, with the push for original stories, the streamer is hoping to meet its consumers’ demands.

The current strategy is to release up to four “event films” a year. For 2026, Netflix is looking at Greta Gerwig’s “Narnia” adaptation and David Fincher’s follow-up to “Once Upon a Time … in Hollywood” as its big hitters.

“It’s all very under wraps right now, but it’s something that I’m just so thrilled about because it was the book of my childhood. It was the book series that I loved, and I lived through, and I spent so much time imagining myself inside of Narnia,” Gerwig said in a video message during the Netflix event. “It’s been a joy and an honor to be the person who gets to imagine this universe.”

Gerwig’s “Narnia” is set to hit Imax this Thanksgiving and start streaming on Netflix come Christmas.