Ha you’re not wrong
This was one of the (many) issues with the gone-but-still-snarked-on Studio 60 on the Sunset Strip. The “show within a show” was supposed to be offering groundbreaking, thought-provoking political comedy, but the snippets we see were just terrible. Unlike 30 Rock, however, the show had no sense of humor about this.
Another thing that hurt Studio 60 in this comparison is that the characters in 30 Rock were portrayed as a bunch of people who worked on a typical comedy show. But we were constantly being told on Studio 60 that the characters we were watching were comedic geniuses of near legendary status.
I haven’t seen the third Bill and Ted movie yet. Did they actually feature the song that is supposed to change humanity? In the first two, they avoided playing the song, either with Rufus’ fourth wall breaking “they get better” or implying that Wyld Stallyns are just getting started. Do they dance around it again in “Face the Music” or do they actually try to present it?
Yes, but it actually kinda works. No spoilers!
I posted a comment meant for this thread in the wrong one.
Is… is that a Star Trek reference? Because if so, congratulations. I laughed.
Guilty as charged!
The best solution to the OP’s dilemma was in I’ve Heard the Mermaids Singing, where the supposed great paintings are just blindingly white blank canvases.
I present to you…
…the Emperor’s new paintings! 
An installation of Robert Ryman works at the Saatchi Gallery, London:
Beyond the sale in 2006 of the 1962 painting, Ryman’s work sold big—but not as big—in the ’80s, ’90s, and particularly the ’00s, for prices between $5 million and near $7 million.
Each of the five works in Robert Rauschenberg’s White Paintings (1951) consists of a different number of modular panels—there are one-, two-, three-, four-, and seven-panel iterations—that have been painted completely white. In each case, Rauschenberg’s primary aim was to create a painting that looked untouched by human hands, as though it had simply arrived in the world fully formed and absolutely pure. Considered shocking and even characterized as a cheap swindle when they were first exhibited publicly in 1953, the White Paintings have gradually secured a place in art history as important precursors of Minimalism and Conceptualism. Among the most radical aspects of the series is that these works were conceived as remakeable: Rauschenberg viewed them primarily as a concept and allowed for the physical artworks to be repainted and even refabricated from scratch without his direct involvement.
The analogous technique works great for indescribable Lovecraftian horrors, too!
I have seen a black canvas hanging in a museum that genuinely impressed me and I would pay $$$$$$ for it because I like it, not just for some theoretical collector’s value. It may have been a Reinhardt.
It just so happens that I have a wonderful example of a perfectly black canvas.
It’s called The Emptiness of Illusions in the Dark Night.
The canvas is fully authentic and signed by the artist in the very same black paint! Because I like your posts so much, I’m prepared to sell it to you for a special discount price of only $199,999.95 - this offer expires soon!
If you reply within the next 24 hours, I’ll even throw in a black frame as well, for the same price!!!
One of the things I learned from studying art history is the context in which these conceptual artworks were made. With conceptual art the “frame” – i.e. how and where and why – is just as important as the aesthetics. Arguably moreso, as Duchamp proved for all time with Fountain. Until Dada, Futurism, Abstract Expressionism, art was primarily aesthetic, and almost always a picture OF something else. Later, with Abstract Expressionism, the painting became the object itself; you were no longer looking through the painting at its subject, you were looking AT the painting itself. Monochromatic paintings made a strong conceptual statement that moved art history forward in a significant manner. They benefit from being seen in context: in person, on a wall, in a setting that itself gives them significance, like a gallery or a museum. Some of them are about texture, which you can’t experience with a square of white pixels.
Like Tarantino handled it in Pulp Fiction. The purest representation of a Macguffin.