There is a power in writing. The writer can create worlds, create people and create situations that are impossible to resolve- but are, making the character's success that much more gratifying. To be successful at it, certain details must be accepted on their face.
In screenwriting I call it Gravity in Spaceships. We know there isn't gravity in spaceships, but for the sake of story we can accept it, for it will deepen the appreciation of the plot, or lighten the joke.
It is ironic that some of the most egregious behavior for our acceptance of the suspension of disbelief, on screen or on page, is in all of things, mysteries. The best mystery writers practice a very clever form of "Look over here" misdirection, and layer it with another subtle misdirection for the reader about deceptions of characters and clues. It is double-deceit and our minds filter out some of the more immaterial details that wouldn't matter one way or the other.
Sometimes, the writer will push it too far, and in dramatic movies it is especially a sore spot, for the screenwriter wants to be taken seriously. But like a pimple on the nose or a bit of spinach caught in the front teeth, the detail assumed to be not so noticeable is larger than life itself.
In comedy, we are much luckier. Our gravity is out there, and we will point to it for a laugh if necessary. We will double down on the suspension of disbelief. Please just laugh and don't overthink it.
In relationships we practice suspension of disbelief all the time, for we love the person. We know they come with faults in the past and normal flaws which may irritate at first, but later come to dearly love. Such is the nature of the human condition.
The point is to sit back and enjoy the writer's journey, and don't be bothered by the little stop signs and sights along the way that may spoil the trip for you. You wouldn't travel all the way to London and come back telling everyone that you felt chewing gum under the table at the pub. The point of the journey was not to search for chewing gum.