As a 50-something eldergay, I wanted to say I feel OP's pain. I grew up watching ILL reruns, but mainly when I was home from school sick for a day. We were not a big Lucy house. Neither of my parents were big on slapstick (and neither am I, though can appreciate its artistry), and we were more likely to watch things like "The Dick Van Dyke Show"--actually, my mother preferred westerns and things like "Combat," which may say something about her. I think we all found Lucy Ricardo kind of crass and loud--in the way that Ralph Kramden could be. My parents were working class, but had worked their way into the middle class, so maybe the prole humor just wasn't all that funny for them. I didn't like "The Honeymooners" when I was a kid, but grew to really admire it as an adult--I think the relationship between Ralph and Alice felt more real, with a blend of complex love and anger, and their lower-class borderline poverty seemed grittier.
At the same time, it isn't the case that we had a dislike of female comic actors--my mother enjoyed Joan Davis and Ann Southern, to name a few, and we watched the more current ones, like That Girl and Bewitched, and Carol Burnett was a Saturday night staple, and both my parents were huge fans of "All in the Family," and appreciated both Jean Stapleton and Carroll O'Connor. My mother never liked Bea Arthur in "Golden Girls"--thought she seemed forced and artificial--but enjoyed her in "Maude."
I do think comedy dates more quickly than drama, simply because it is often topical and more firmly rooted in situations of its time--while you can say that drama is too, somehow it is less at the mercy of the moment.
And I think dragging out the Kardashians, Honey Boo, and Two Broke Girls is missing the point. The Kardashians is more like "Queen for a Day" in some respects, Honey BooBoo an extended and problematic version of "Kids Say the Darndest Things," and every era has crappy sitcoms--how many of the elders on this board mourned the cancellation of such prizes as "The Ugliest Girl in Town" or "Grindl" (as great as Imogene Coca was, this was hardly her finest hour). "Hazel" was a success only because Shirley Booth was one of the most likable actresses in the history of television, stage, and film. I think we are in a bit of a dry spell at the moment, and the most popular sitcoms are primarily a boys' game--"The Big Bang Theory," "The Office" (which has needed to go away since Steve Carrell left), and even the modest success, "The New Normal," which is as much buoyed by the young actress who channeled Little Edie and by Ellen Barkin's complex characterization, despite really unhelpful writing. "30 Rock" had a long run of being smart--it seems to me to owe more to Mary Tyler Moore and the workplace comedy than to Lucille Ball in any of her incarnations.
I think Ball was a talented actress and used her lack of warmth extremely well in earlier movies like "Stage Door," "Dance Girl Dance," and especially "The Big Street," an unsentimental and vanity-free performance. One can hardly blame her for riding the success of the Lucy character as long as she did--the money and adulation must have been impossible to resist, and she became a kind of national icon for generations. But the darker, more interesting side of her got diminished--while it sounds ludicrous to think of her as the mother in "The Manchurian Candidate," if you watch her old RKO movies, you can see how it might have worked, if she were able to recover that part of herself.
As for "Mame" and "The Stone Pillow"--well, as Dickens was known to say, there are things about which we do not speak.