I think the title of this thread shows a bit of a lack of understanding when it comes to repeats. The title implies skaters only "cling" to programs because they can't think of anything else to do or they just don't want new programs, and doesn't seem to take into account the real issues that many skaters face in this regard.
Choreography and costumes are expensive. For a skater like Ashley Wagner that may not be a viable excuse - but for a skater from a little skating country with minimal to no funding or sponsorship, that absolutely could be a reason to keep a program another season. And then there are skaters who suffer injuries that lessen the number of times the program is performed - like Coomes/Buckland, or Jason Brown and the Piano FS. Sometimes, a program is even planned to be kept for two seasons and is choreographed in such a way that the skater can only develop it over two seasons rather than one (the "Prince" SP Rohene Ward choreographed for Jason Brown was designed that way and it worked absolutely perfectly - Jason was really too young and not quite able to pull it off in the first season, but by the second season had matured and made the program his own - something that wouldn't have been possible if he hadn't already had a season of it under his belt).
I certainly don't take issue with Coomes/Buckland. I certainly do take issue with Ashley Wagner's repeats, Hanyu's repeats, Uno's repeats.
I also think one program method that is under-utilised is bringing back music skated to as a little skater. So Plushenko doing Aranjuez in Vancouver when he had used it at Junior Worlds (a gap of approximately 13-14 years). Or Max doing Les Mis and Gladiator as a Senior compared to him doing them as an Intermediate (gap of 11 years) or a young Junior (gap of 7 years). It can really show off a skater's improvement and how they've evolved as a skater.
Don’t forget how WeaPo went back to Je Suis Malade for their FD this season. I’m not a Lara Fabian fan in the slightest, but hot damn, that program is even better now than it was in 2012. And I say this while pushing my Poje fangirling slash stalking aside.
Also, I thought the whole concept of “The Best of Plushenko” was bloody hilarious, and I mean that in a good way, even though I’ve never been his biggest fan.