Mostly audience impatience but some foundational aspects as well. Something about pursuing those characters outside of a lo-fi context makes them almost too real, like you have to reach for dramedy, diversity or some more crass form of meta 'authenticity', instead of finding the structure of Classical comic dramaturgy (chorus, mime, and burlesque) which the original show excelled at. If the materialism of the 90's show appears relatively disengaged and ironic today, now in modern shows it's sociality itself that appears inauthentic, stilted, ironic and disengaged. The dramedy worked in the new show and forced it into a believable pacing, but the way an extended cast of family/friends and colleagues/acquaintances melded together all-at-once didn't.

>All the Old Comedy writers worked within a highly structured format – parodos, agon, and parabasis – which paradoxically offered maximum scope for improvisatory flights of fancy. Song, dance, costume, and chorus all played important roles, as did the parody of the ‘senior’ drama, tragedy. Possibly due to the influence of tragedy was the important role of a heroic figure in Aristophanic comedy: as Northrop Frye put it, “In Aristophanes there is usually a central figure who constructs his (or her) own society in the teeth of strong opposition”. The diminished role of the protagonist (and chorus) in his latest works marks a point of transition to the Middle comedy.