"We felt like we had done as much as you can do with the slasher genre. We were trying to find the next group of scary movies that were ripe for parody"
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There is a quiet confidence in the way Keenen Ivory Wayans frames parody as a kind of genre maintenance. He is not just chasing laughs; he is diagnosing exhaustion. “As much as you can do with the slasher genre” reads like a postmortem on an era when masked killers and screaming teens had calcified into ritual. By the time Scary Movie arrived, slasher movies weren’t simply popular, they were legible to the point of predictability. That’s the sweet spot for parody: when a genre has built such a clear grammar that a single shot, synth sting, or “don’t go in there” warning can be turned into a punchline.
The subtext is business-savvy as much as it is artistic. Wayans is talking about “ripe” movies the way a producer talks about undervalued assets. Parody thrives on recognition, and recognition thrives on market saturation. When audiences can anticipate the scare, comedians can weaponize that anticipation: stretch it, undercut it, make the viewer complicit in the joke.
Context matters here, too. Coming out of the Wayans family’s sketch-comedy lineage, this approach treats pop culture as raw material and critique at once. The intent isn’t merely to mock horror fans; it’s to expose how studio formulas train viewers to expect certain beats, then to give them the pleasure of seeing those beats dismantled. It’s comedy as cultural audit: once the genre becomes a machine, the best joke is showing the gears.
The subtext is business-savvy as much as it is artistic. Wayans is talking about “ripe” movies the way a producer talks about undervalued assets. Parody thrives on recognition, and recognition thrives on market saturation. When audiences can anticipate the scare, comedians can weaponize that anticipation: stretch it, undercut it, make the viewer complicit in the joke.
Context matters here, too. Coming out of the Wayans family’s sketch-comedy lineage, this approach treats pop culture as raw material and critique at once. The intent isn’t merely to mock horror fans; it’s to expose how studio formulas train viewers to expect certain beats, then to give them the pleasure of seeing those beats dismantled. It’s comedy as cultural audit: once the genre becomes a machine, the best joke is showing the gears.
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