Hollywood is a series that is designed for professional orchestral composers. That means knowing the articulation you want in which parts you want it, note by note. This is what makes Hollywood the most versatile library on the market today because it's not at all dumbed down and restricted by what the library allows you to do or thinks you want. It also sounds terrible if you don't spend time working on the CC values.
Yes, there are times I want to kick Hollywood in the teeth and use something simpler but nothing worth doing is easy (so I've been told). The results you'll get with Hollywood vs other libraries is well worth the work you need to put into it.
I do believe your gripe about it is the same one I had when I first got it. They claim it's for pros but then market it to everyone. I had no idea what I was getting into when I bought Symphonic Orchestra years upon years ago but it was priced right and everyone raved about it so I bought it only to find out it was far more complex than anything else on the market and had no real resources available in order to learn how to use it. When I would ask I would get snarky replies like "you should know how to use it or not buy it" or "we're not giving away our trade secrets". I was bitter for a long time over that till I spent time with it and got some courses on orchestration (highly recommend Peter Alexander's stuff).
Apart from Hollywood, Stormdrum 2 & 3 are freaking fantastic and I use them on a ton of projects. Silk and RA are also pretty damn amazing though starting to show their age a bit. Still very relevant. Choirs, while a bit dated as well, are still amazing and have the only word builder that actually works... kinda. Pianos are still my go-to even with all the others I have, EW Pianos top the bill in my book and Spaces... I use Spaces on EVERYTHING. Orchestral, Rock, Pop, Industrial, New Age... everything I make has Spaces on it because it's hands down the best convolution reverb you can buy.