Yeah, boy, people would've formed a double line to see "that new Diane Wiest movie about the nun and the priest..." It's a business, Streep is a star, global box office, and she will sell tickets to much of, but not everything, she's in. She's earned her stardom the old fashioned way: with an impressive body of work. People will tune in to see Streep in "Master Class" who don't even know who Callas was. Welcome to show business, movie stars, and reality.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Wow, tough room. 18 Oscar nominations, 3 wins, 8 Golden Globes, 2 Emmys, 2 SAGs, and her movies have grossed nearly $2B. Yep, she's a lousy actor. You're right. It's the world that's wrong.
Personally, in terms of movie actresses similar in age, I greatly prefer Glenn Close, Sissy Spacek, the aforementioned Diane Wiest, Sally Field (when she's inspired like in Lincoln), and Mary McDonnell. However, I think it's a fool's errand to try to convince people Meryl Streep is a bad actress. She's not. She may not be your cup of tea and you may disagree with her interpretation of the characters.
IMO, the best Streep performance post-1980s was her role in Adaptation. She seemed less Streep by actually tearing down the pretentious and just played the character straight. When she has a good director, the director knows how to keep Streep from over-doing her mannerisms. When she is given more free reign, her ticks become unbearable (shifty eyes, playing with her hands, etc.).
That said, she is great and I'm happy to see an older actress can still be a global box office draw. However, her being the "one" doesn't really help the cause much, does it?
"I've got to get me out of here
This place is full of dirty old men
And the navigators and their mappy maps
And moldy heads and pissing on sugar cubes
While you stare at your books."
Interesting observations about mannerisms. I guess that's one of the challenges with anyone who is so successful they repeatedly get cast. I immediately think of Raul Esparza, Patti Lupone, Nathan Lane, Matthew Broderick, and Bernadette Peters who (among many, many others) often are talked about in similar terms (distinctive mannerisms).
We see them so often that even in different roles we become accustomed to some elements of what undoubtedly are part of their own identity. To those unfamiliar with their work, I wonder if they are anywhere near as noticeable.
Personally I have no problem overlooking mannerisms so long as they don't cross the line into schtick.