David Zucker, the mastermind behind comedy classics like Airplane! and the original Naked Gun, is lashing out at Hollywood’s latest reboot disaster. Paramount booted him from the project and handed it to Seth MacFarlane, a move Zucker called “painful” and a betrayal of their iconic style.
Zucker reveals he and his team wrote a hilarious Mission: Impossible parody featuring Leslie Nielsen’s own son as the new main character. Paramount brass greenlit the script before mysteriously reversing course and giving the job to MacFarlane. “Hollywood doesn’t get comedy anymore,” Zucker declared, a biting shot at woke elites more focused on political correctness than laughs.
Zucker slams the choice of action hero Liam Neeson, saying it’s like “watching your daughter become a prostitute” after seeing sequels crash without the original creators. He insists the reboot’s goofy spy spoof needs comedic timing, not gravelly action voices—and Neeson just doesn’t fit.
The new film’s hyper-physical comedy and CGI overload clash with the deadpan style of the original, içindeki Zucker argues. “It’s not what they’d have done,” he sighs, pointing out how modern studios value flashy trends over time-tested traditions. “You can’t just slap a famous name on a sequel,” he warns, echoing conservative disgust with lazy woke reboots.
Comparing the disaster to Airplane! II—the ZAZ team’s darkest comedy moment—the director says indie creators now face an uphill fight against leftist studio agendas. “Hollywood doesn’t know how to make good jokes anymore—they’re too scared of offending the wrong people,” he complains.
Zucker vows to boycott the reboot entirely, refusing even to glance at its trailers. “Why support something that betrays what made America laugh?” he asks patriotic comedy fans, calling out Paramount’s short-sighted greed.
Zucker sees bigger trends: gutless execs chasing bonus checks rather than great stories, tokenizing classics for easy cash-ins, and ignoring the creators who built beloved franchises. “It’s all just woke corporate garbage now,” he spits, in tune with conservative frustration over Hollywood’s leftward drift.
For Zucker, the Naked Gun reboot isn’t just a bad movie—it’s a symbol of decaying American culture. “We need more films that make people laugh with people, not at them for cheap clicks,” he says. Real comedy—and real America—deserves better than this.
