I come from an analytic background, and to me, solving for creativity is just another math problem. Honestly, it's one of the easier ones. I'm not sure if my communication skills are up to the task, but I'll try to explain how I see it. Think of a cartesian matrix where every point in the cloud is a creative idea. When you start doing the math, there are literally billions of possible ideas. So let's say a plotline is like a lightning bolt going through the 3d space. it's not so much that we're running out of sky, it's that a lot of the lightning bolts are starting from the same cloud, and striking the same lightning rods.
So here's the solution I use for creativity, one of many I'm sure. I move the starting point sometimes, I move the goal sometimes, and more than anything else, I create constraints that stylize and procedurally affect the development of the creative process. You've seen this before, and it works.
Lets say the network asks for a detective show. The easiest way to refresh creativity is to move zones. Detective on the moon, detective in a wheel chair, psychic detective, etc. More creative would be to add deeper constraints, and multiplex them in a way that creates drama dynamically.
Case in point, The Shield. Perhaps the most creative detective show I've ever seen. A lesser writer would have moved the detective to LA, and left it at that, maybe the show could have been called "LA cop" there could be standard police procedural stuff, except it happened in front of the Chinese theater sometimes. What they did on The Shield though, was to make the main character an anti-hero. Then they made a meta change in the overall behavior of the plot. Events had lifelike reprecussions, and did not auto resolve at the end of episodes. Even in serial shows, plots typically resolve, tension is created, then released, providing room for new plots to replace them. In the shield, an event happens in the first episode, and the reprecussions of that event create a domino effect that spirals out of control and affects every episode until it's final resolution in the last episode, seven years later.
Case in point Star Trek. Maybe this constraint is harder to spot on the surface, but Star Trek almost never had a plot that centered around money. It's harder to see something that isn't there than it is to see something that is there, but if you think back, no main character in Star Trek was ever motivated by financial gain. There were certainly some creative overlap with past shows, but that one change in mentality reliably created something that was fairly unique.
In the words of Apple "Think Different"