When a devoted wife attends her high school reunion alone, a former classmate’s misspoken phrase triggers her alter ego as an elite assassin. Her husband/handler must intervene or there won’t be another reunion.

I think the logline should be framed and focused around the hook, the attention grabber.? ?And the person in the driver's seat of the story.

The hook is what the? wife does, not the husband.? And she is clearly in the driver's seat of the story.? If she doesn't go into assassination mode, then the husband has nothing to do (of dramatic interest).? There no story, no film.

What the wife does is the sizzle that? sells the concept.? Not what the husband does.

fwiw

Nobody ever complained about the stakes in a story being too high... The In-laws, Austin Powers, This Is The End are all good examples of successful (for a reason) comedies with high stakes.

High stakes in any genre = better story.

According to your logline the husband is the MC, it would be best to acknowledge that when discussing the concept with producers.

I guess it is the husband that has to take action but the bigger target is too much for a comedy.? I'm thinking?Romy and Michele's High School Reunion meets Gross Point Grosse Pointe Blank.

Even though it will be up to the husband/handler to resolve the problem, the action is focused on the wife until he can arrive.

"After his sleeper agent wife is accidentally triggered while attending her?high school reunion alone, He must stop her before there is nobody left for the next reunion."