Comment Re:Wokeness (Score 2) 180
Sadly, I think there's something to that. Comedy tends to be transgressive in a variety of ways, but even then it stays within certain boundaries, certain taboos. As those boundaries tighten, the scope for good comedy does as well.
Consider Mel Brooks. Springtime for Hitler in The Producers would be beyond belief today. Blazing Saddles even only considering the N-word, likewise. Yet, it's not unreasonable to suggest both films were transgressive and challenging in their way, in their day.
There are of course other problems. Often it's an assumption that comedy is kind of a dumb thing (because let's face it, many of the gags are, on the surface, dumb) and that therefore no great intellect is required to reboot some comedy franchise.
Let's look at Ghostbusters. I'll leave aside the obvious ('Women are just men with breasts' approach to script-writing with the gender-swapped cast). That's an easy target. No, consider the very detrimental effect of massively improved special effects between the 1980's and thirty years later. The weird comedy-horror mashup worked, not just because of the script and the glorious actors (to name two not often mentioned, Rick Moranis and Sigourney Weaver(!)), but because the effects were somewhat rubbishy. Not even your 80-year-old grandmother was frightened.
The reboot? Some Hollywood midwit likely said "Oh, ghosts, scary, punch that up." And so it was. And the comedy then becomes, at best, a momentary relief from a very different kind of picture, even assuming everything else landed perfectly which it obviously didn't.