The "CRASH is beneath her" argument is dismissive and reductive. The girls noticed there were no PC music blink blonks this time around and went "not intellectual enough for my earbuds". CRASH brought Eurodance (which seems to be the next big thing for the coming years), garage beats (same thing), Janet references, jackswing, a Cherrelle sample... it is anything but lazy and uninspired. You girls shit on CRASH while simping for Carly Rae and literally any woman who puts a garage/jungle beat on top of their vocals, try to show your bias less! But yeah, maybe the blonde horse girl with her 5th grade lyrics notebook and an exemplar of My First Vocoder at the church meeting was the one to be done wrong in this rate.
But sis both Crash and Midnights are reductive and lazy, it's really not an either/or question! The only difference is that Midnights actually has a ten or two tucked in the depths of its monstrous deluxe edition, while Crash brought all of the things you mentioned and still ended up sounding vapid, lazy and, for an album that tries bopping so hard, rather boring! No one wants more hyperpop (the genre peaked with Pop2 anyway and it's finally time for it to die so we don't get any more Unholy attempts at forcefully squeezing its bone-dry udders) from Charli, but what I do want from her is fun music, that's like the bare minimum that she always did, even at her absolute worst... until Car Crash.
But I'm glad you mentioned an artist who ISN'T reductive! What we shan't be doing is dragging Lord Jepsus into this discussion, for she is the best example that you can indeed keep doing the same brand of pop music for more than 10 years and make it sound fresh every time! And her latest effort would hold its own comfortably in this rate.