@Chip_Unicorn A lot of Blazing Saddles relies on the humor of REALLY breaking the setting (Count Basie's in the middle of the desert, and the movie literally spills over into the rest of the studio, ending outside Grumman's Chinese Theater), and ethnic humor standbys.

But Young Frankenstein is completely set in a b/w Universal horror paradigm, and because Mel can't easily just stick in another ethnic joke, it solves for really absurd gags (like the Frau Bluecher gag, or did you make a yummy noise).

Then setting aside humor and playing the stories completely straight; Blazing Saddles is about a greedy rail baron engineering a Black sheriff into place to further drive out bigoted townsfolk, then it backfires when the new sheriff wins them over through cleverness and just good luck. Which is a pretty good western. Young Frankenstein sets up a Frankenstein heir with really mixed feelings about his legacy who creates a flawed monster, then realizes the life he's created is valuable and worthwhile, to the point that he's ultimately willing to sacrifice himself to save the monster, THE thing Victor Frankenstein was never even vaguely close to doing. Which is a ridiculously good Frankenstein based story.

The specific reason it comes up now is that Mongo is kinda like the monster, but Blazing Saddles doesn't really get into him too much as a person (f'rex, breaking paradigm wise, the line "Mongo only pawn in game of life" doesn't really hand you anything about Mongo as an actual person, it's just a gag). By comparison there's the dance number in Young Frankenstein, where there's this absurd situation, sure... and then Mel mostly abandons playing it for laughs, and instead it's this crucial plot sequence about how the monster's relatable and sympathetic.