The enschlockification of American culture began when Yiddish language started dying.
Woody Allen and then Larry David tried to keep elements of Yiddish alive but both both Allen's and David's cinematic universes collapsed inward, generating their own enschlockened drivel that accelerated the demise of American culture. Allen's neurotic self-flagellation curdled into a kind of boutique anguish for the Upper West Side; David's misanthropy became a luxury product that American fats smugly envied and aped from the comfort of their oversized recliner chairs.
Whatever Teutonic-Talmudic wit still flickered in Hollywood permanently darkened with Seinfeld declaring on late night sets that the Woke Mob killed humor. But how can humor be dead when it persists in Seinfeld's genuflection to the IDF, or through the whirlwind romance between Cheryl Hines and a Kennedy?
Further beyond Americanism, many parallels can be drawn between the fall of Palestine and the decline of Yiddish, but that story is for another time since history fails to account for the Holocaust and the Nakba as part of the same, ongoing catastrophe. Westoids lack the vocabulary and compassion to hold two tragedies in the same hand without turning them into trading cards for the Oppression Olympics. As such, the schlock thickens.