Indeed, when the feud between Sheen and creator Lorre became public, Roseanne Barr sided with Sheen, saying that Lorre, before he was fired from “Roseanne,” had forced the actor to utter some of the worst jokes ever written. (Actually she used much more colorful language, but that was her point.) 

So what does it mean that Lorre is apparently “retooling” his show to make Cryer the central role, with the undeniably family-friendly Kutcher as the new antagonist? That times have changed, for one thing.

In the years since “Two and a Half Men” has been on the air,  network comedy, which at one point was not led by but defined by “Two and a Half Men,” has experienced a renaissance in number and lightheartedness.

“The Middle,” “Modern Family,” “Parks and Recreation,” “Community” as well as Lorre’s other shows, "The Big Bang Theory” and “Mike and Molly,” are all essentially joyful comedies that celebrate human triumphs as much as they gently acknowledge human foibles. Even “The Office,” which began as a darkish (though much lighter than its British progenitor) satire, is now a weekly celebration of human friendship.

 “Two and a Half Men” was many things, but it was never joyful. By the end, an increasingly haggard Sheen spat out jokes while Lorre used his end notes to make cracks about his own star. By bringing in Kutcher, Lorre and the network appear to be acknowledging the zero sum game of their own dark vision.

A child’s love alone cannot heal a broken alcoholic uncle any more than high ratings and piles of money can heal a broken alcoholic actor. Kutcher may or may not be able to save the show, but he should make one thing very clear to its creator and former star: This particular joke is on them.