Intertextuality in Pastiche film

Right now I'm reading Fredric Jameson's Postmodernism, specifically the section on the rise of pastiche.  Pastiche film--meaning parody's apolitical successor, including nostalgia films--is a remarkable indicator of where we are in the postmodern era.  I'm reminded of the past decade's popular but critically panned "movie movies" that "satirized" (using the word loosely) elements of genre films.  Films like "Scary Movie" seem to suffer from attention-deficit disorder, leaping from one pop culture reference to the next without stopping to make any sort of subjective commentary.  Although one would be hard pressed to find any cinematic merit in such films, these new parodies do show evidence of postmodern sensibilities, most of all a playful attitude and a heightened intertextuality.  Without a basic knowledge of the genre being spoofed and recent tabloid news, the viewer is unable to appreciate the jokes.  However, unlike the intertextual nature of period films or earlier parodies (such as Blazing Saddles) which require a thorough knowledge of a specific genre or past era, these films depend on a shallow awareness of an array of subjects.  I'm not sure what this means for the future of pastiche; it's possible that this apolitical quilt of spoofs will continue to devolve into smaller and smaller parts, but this is a grim prospect.  Jameson echoes this pessimistic sentiment: "For with the collapse of the high-modernist ideology of style . . . the producers of culture have nowhere to turn but to the past."  This carries almost apocalyptic undertones for me; I don't think  I can stand another spastic movie movie.