The New Republic's John McWhorter doesn't worry about public cursing:
Language is all about creeping numbness, jokes wearing thin, feeling devolving into gesture. Terrible once meant truly horrific. The will we use to mark the future once meant that you quite robustly “willed” to do something, but diluted into just indicating that sometime you would.
Hence a burnt steak as terrible, a good movie as awesome, trivial terms like shopaholic based on the glum source alcoholic, and just as naturally, we now have snowpocalypses, and even what we process as irresponsibly casual usages of Holocaust. Profanity is hardly immune to this inexorable weakening, and as such, what we process as a peculiar encroachment of curse words into the public sphere is actually a matter of the words ceasing to be curses in any coherent sense.
Of course, there are societies where certain words remain forbidden for millennia, when a societal taboo exerts a block upon the natural process of dilution. Taboos once kept English curse words truly profane, but the cult of authenticity key to modern Western identity has vastly weakened those taboos. Hence in recent decades, the grand old four-letter words and their ilk have been swept into the vanillafication hopper.
When Bono said fucking brilliant at the Golden Globes ceremony in 2004 or Melissa Leo said fucking easy, they were using the word as a rendition of very that carries an extra component of lowest-common-denominator, incontestable genuineness. In all languages, there are ways of striking that note: Others in English include using -in’ rather than -ing or eliding subject pronouns in phrases like Hope so rather than I hope so. Fucking brilliant today urgingly connotes, whether or not we would put it in so many words, that something gratifies in a way that we all can empathize with, gosh darn it, despite possible quibbles as to whether it should be brilliant—the implied quibble in Bono case for example being the questionable artistic value of the award in question.