The 15 Best Netflix Original Comedy Series of All Time

Alison Brie and Betty Gilpin lead this dramedy about the founding of an all-female pro wrestling promotion called GLOW (Gorgeous Ladies of Wrestling) in the 1980s. Brie is Ruth Wilder, a struggling actress who takes a job with this fledgling wrestling operation despite not knowing anything about wrestling. In the ring, she becomes the Soviet-kitschy "Zoya the Destroya;" her rival is the patriotic Debbie "Liberty Bell" Eagan (Gilpin), her former best friend who has become Ruth's biggest enemy ever since Ruth had an affair with Debbie's husband. While GLOW was a real wrestling circuit, the story in the series has been fictionalized.

GLOW lit critics up with its fun take on feminism—these Ladies may be pretending to beat each other up while wearing skimpy outfits, but they're doing it for themselves—as well as its large ensemble cast of wrestlers and its lively sense of humor. A planned fourth and final season was scrapped just prior to filming in 2020 (with Netflix citing the pandemic as the reason).

"It's smartly plotted, with characters that deepen in the course of the show. But, refreshingly, in our era of homework TV, it's also a joyride, all roller skates and mousse-claw bangs, synthesizer jams and leopard-print leotards, home pregnancy tests and cocaine-serving robots. By the final episodes, I was whooping at my computer screen, fists in the air, like a superfan." —Emily Nussbaum, The New Yorker

Philomena Cunk is a character created by Charlie Brooker (Black Mirror) for his news satire Charlie Brooker's Weekly Wipe and performed by comedian Diane Morgan. She's an investigative reporter who doesn't know anything about anything, and obliviously poses ridiculous questions to real experts in Sacha Baron Cohen-like interviews. In Cunk on Earth, she hosts a mockumentary about world history. 

Critics got Cunked by Morgan's deadpan daffiness and Brooker and his writing team's high-and-low versatility. It takes a lot of smarts to be this dumb, and Cunk on Earth pulls it off beautifully. Morgan has already reprised Cunk in a one-off 2024 special, and a follow-up series (Cunk on Cinema) is due in 2027.

"Cunk on Earth is a consistently droll, frequently delightful series that mixes high and low comedy at a breakneck pace. The punchlines don't always land — in part because of inconsistency in the way the character has evolved — but if one observation feels too glib or one target feels too on-the-nose, don't worry. Philomena Cunk will be moving right along to the next. By the end of these episodes, darned if I wasn't seeing signs of actual emotion and depth poking through." —Dan Fienberg, The Hollywood Reporter

Creator-star Mohammed Amer draws on his own life experiences as a hip-hop-loving Palestinian refugee in Houston in this semi-autobiographical dramedy. Mo Najjar (Amer) is trying to become a U.S. citizen and keep his head above water financially while taking care of his family, which leads to him taking an unexpected life path.

The series was co-created by Ramy Youssef, and critics compared it to his own acclaimed self-titled semi-autobiographical series while also appreciating what's unique about Mo —its setting (multicultural Houston) and point-of-view (it's the only American comedy series created by a Palestinian person).

"Fans of Ramy shouldn't go in simply expecting more of the same, but Mo tells a sharp, funny and often quite moving story that more than deserves to be heard." —Louis Chilton, The Independent

This sketch series comes from the absurd and observant mind of Tim Robinson, a one-of-a-kind comedic talent who previously was a writer and performer on Saturday Night Live before co-creating and starring in the cult comedy Detroiters. Episodes of I Think You Should Leave are approximately 17 minutes long and pack in approximately 250 laughs, as Robinson and his collaborators come up with infinite variations on themes of social faux pas.

Critics loved the show for its endless stream of quotable, memeable lines (" We're all trying to find the guy who did this"), hilarious use of guest stars both famous (like Bob Odenkirk) and not (like Ruben Rabasa), and consistency across seasons. Its influences— Tim & Eric, Mr. Show, public access television—are clear, but there's still nothing else like it. (Except, maybe, for Robinson's newish HBO series.)

"Robinson is a master of embarrassment. His sketches tend to focus on two types of characters: people who tell small lies that grow larger and more obvious as they refuse to come clean, and people who are too irrational, confused or stubborn to understand what's happening--or refuse to understand because that would require admitting their own ignorance. This might sound like typical cringe comedy turf, but Robinson keeps it fresh by extending ideas behind all bounds of logic." —Garrett Martin, Paste Magazine

Netflix's most acclaimed anthology series has so far produced two seasons, each focusing on a "beef" between two aggrieved parties. The first stars Steven Yeun and Ali Wong as Angelenos whose road rage incident spirals out of control and blows up both of their lives. The second stars Oscar Isaac & Carey Mulligan and Charles Melton & Cailee Spaeny as two couples between whom the balance of power keeps shifting.

While the first season enjoyed a better reception than the second, critics found both seasons to be intelligent, observant, and wickedly funny social satires. All six leads were applauded for their performances. Season 1 won eight Emmys, including Outstanding Limited Series and acting wins for Yeun and Wong.

"Much like the characters themselves, it is a series that is wrapped in an angry outer shell that reveals itself to have a compassionate inside that can either break free or be obliterated. Even as you never know which will end up coming to pass, you're locked in for the ride." —Chase Hutchinson, The Playlist

This satirical dramedy follows Black students at an Ivy League-style university as they deal with racial issues on campus and complexities in their personal lives. Hailing from creator Justin Simien, it's based on Simien's 2014 film of the same name.

Critics admired the show's well-calibrated satirical voice and timely themes. On a structural level, critics liked the way each episode focuses on a different character and the show's appealing visual identity, with episodes directed by top filmmakers including Barry Jenkins and Janicza Bravo. 

"The series maintains a perfect balance between joy and trauma that exemplifies the duality of the black experience; its writing is sharp and contemporary. Even the moments of parody feel relatable as opposed to over-the-top." —Ashley Ray-Harris, The A.V. Club

Call My Agent! (or Dix pour cent, in its country of origin) was one of the shows that first defined Netflix's global ambitions and everything-to-everyone diversity of material—it's the French showbiz satire people didn't know they wanted. It focuses on the happenings at a Parisian talent agency, with appearances from real French stars including Isabelle Huppert, Juliette Binoche, and Jean Reno playing fictionalized versions of themselves. 

Critics said oui to the show's light and playful tone, charismatic cast of regulars including Camille Cottin and Thibault de Montalembert, and how much fun the famous guest stars get to have playing heightened, self-parodic versions of themselves. Though the series ended six years ago with its fourth season, Netflix will stream a feature-film sequel (Call My Agent! The Movie) later in 2026. There have also been eight international adaptations of the format in various languages, including the English-language UK adaptation Ten Percent in 2022.

"There's plenty of intrigue afoot, but nothing really nasty occurs. Like Schitt's Creek, it's all immensely likeable – perfect escapism for a bleak winter." —Rupert Christiansen, The Telegraph

Creator Mae Martin's semi-autobiographical dramedy follows a Canadian comedian named Mae Martin, who's living in England and has some things they're not dealing with. When Mae starts a relationship with George (Charlotte Richie)—it's George's first non-hetero relationship—they're both forced to confront the trauma of their past and the uncertainty of their future.

Feel Good earned positive reviews for its outside-the-box take on the romantic comedy genre and its realistic depiction of drug addiction and recovery. Martin and co-creator Joe Hampson were especially praised for their writing. 

"Martin and Hampson have made a delicate comedy and a tender love story, grafting both on to an undercurrent of pain, without ever being maudlin about it. Feel Good is a beautiful achievement, kind, human, as clever as it is funny." —Rebecca Nicholson, The Guardian

Natasha Lyonne wears many hats—co-creator (with Leslye Headland and Amy Poehler), executive producer, writer, director, and star—in this sci-fi dramedy. She plays Nadia Vulvokov, a Manhattanite who's stuck in a time loop on her 36th birthday. As she tries to figure out why it's happening and how to make it stop, she connects with Alan (Charlie Barnett), who's experiencing the same thing. Each holds the key to the other's salvation. In Season 2, she discovers a time-traveling subway train that helps her better understand her family history.

Critics enjoyed the show's clever, location-specific riff on Groundhog Day, which here is a metaphor for childhood trauma, and how Lyonne's textured performance keeps it grounded. The show won Emmys for cinematography, costumes, and production design.

"There's much more to appreciate about this quick hit of brilliance, from the leads' soulful performances to the edgy, adventurous direction, but Russian Doll must be treated like its namesake. Unpacking it over and over again will reveal fresh insights. Each piece is worth admiring for different reasons, and each episode offers its own rewards." —There's much more to appreciate about this quick hit of brilliance, from the leads' soulful performances to the edgy, adventurous direction, but Russian Doll must be treated like its namesake. Unpacking it over and over again will reveal fresh insights. Each piece is worth admiring for different reasons, and each episode offers its own rewards." —Ben Travers, IndieWire

Another semi-autobiographical comedy, this one comes from comedian Maria Bamford and Arrested Development creator Mitch Hurwitz. It depicts—with surrealistic heightening—Bamford's life with mental illness. Lady Dynamite follows her as she tries to rebuild her life and career after a nervous breakdown and improve her relationships with the people in her life. 

The series earned great reviews for the way it handles dark material with a cheerfully weird sense of humor. Critics were blown away with how deftly the show translates Bamford's idiosyncratic comedic persona into an equally idiosyncratic series that's brimming with compassion and creativity. 

"With the confidence of a show that knows exactly what it wants to be--and with the titanic Bamford anchoring every scene with incredible empathy and generosity, Lady Dynamite manages to stand out amid the constantly churning fray of television by being entirely, proudly itself." —Caroline Framke, Vox

Australian comedy troupe Aunty Donna—Mark Samual Bonanno, Broden Kelly, and Zachary Ruane—brings its absurdist sense of humor to Netflix and the world in this sketch series. The show features guest appearances from "Egg Helms" (Ed Helms, who also executive-produces), "Jerry Seinfeld" (Karan Soni, who is 35 years younger and a different race than the real Jerry Seinfeld), and Kristen Schaal as the voice of a sentient dishwasher. 

Reviews highlighted Aunty Donna's deep, passionate silliness. It's relentlessly paced, full of surprises, and drenched in fake blood. Netflix opted not to renew House of Fun, but the troupe did make a follow-up series for Australia's ABC.

"Delivered with such forceful energy (this show is always 'on') and an incredible amount of creativity (it's nearly always funny), Aunty Donna's Big Ol' House of Fun is the sketch series for this year, and its madness is a blissful escape from our current reality." —Nick Allen, RogerEbert.com

The most prominent piece of televised improv comedy since Whose Line Is It Anyway?, Middleditch & Schwartz is a series of three fully improvised live performances by Thomas Middleditch and Ben Schwartz, two masters of the form. Using a simple one-word suggestion from the audience as a starting point, Middleditch and Schwartz proceed to create an hour of comedy from thin air. 

Critics were caught up in the joy of discovery, as the audience figures out the shape of the show in real time alongside the improvisers. Middleditch & Schwartz captures what it feels like to watch an actual live improv show, which is a very rare thing to see on TV. 

"If actors believe comedy is hard, then improv comedy is harder. Translating a live improv comedy show to a TV audience? That's double-diamond difficulty. And Middleditch and Schwartz are among comedy's moguls." —Sean L. McCarthy, Decider

Derry Girls is set in Northern Ireland in the 1990s, which were the final years of the Troubles, the decades-long period of political turmoil and violence on the island of Ireland. The series follows five Catholic school girls as they deal with normal high school things against that distinctive historical backdrop. 

Its memorable regional profanity is only one of the many things critics loved about the show. They also loved the winning performances of the cast, the smart way creator Lisa McGee universalizes the teenage experience, and the Liam Neeson cameo. 

"That is the fairytale quality of Derry Girls: we all recognise the hysterical pitch of teenage emotions, but the stakes are kept reassuringly low. The peace process rumbles on in the background with the abstract grandeur of history; in the foreground are all the other, much funnier, troubles associated with growing up. Nothing of importance ever happens, but that nothing happens very importantly." —Nick Hilton, The Independent

This adaptation of the beloved book series follows the five middle school girls in Stoneybrook, Conn. who are the members of the titular babysitting business. It's a show about friendship, those tweenage years where you're not a little kid but not a teenager either, and entrepreneurship. 

Critics were charmed by so many parts of The Baby-Sitters Club, which they described as a wholesome show that anyone would enjoy. Reviewers liked the things it kept from the original book series and the things it updated, and the bright performances from the young cast. 

"Isn't an anachronism so much as a tonic. ... The show strikes a shrewd balance between earnestness and humor, freshness and nostalgia, fidelity to Martin's beloved characters and awareness of how much has changed since her books dominated girl culture at the end of the 20th century. ... This may all sound painstakingly woke on paper, but nothing feels forced about these updates. The main cast is spirited and authentic." —Judy Berman, Time

For the first two seasons, Aziz Ansari's very loosely semi-autobiographical dramedy follows Dev Shah (Ansari), an actor in New York City whose career, love life, and relationships with his friends and family are in kind of a weird place. But really it's about whatever Ansari and co-creator Alan Yang find interesting. For the third season, the focus shifts to Dev's friend Denise (Lena Waithe) and her wife Alicia (Naomi Ackie). 

Master of None had the freedom to be anything it wanted at any given time—a goofy absurdist adventure one episode, a bittersweet romantic comedy the next, an intimate family drama after that—and critics loved its willingness to experiment, as well as its beautiful, cinematic filmmaking. The series won two Emmys for Writing in a Comedy Series, with Waithe becoming the first Black woman to win in that category for writing the classic episode "Thanksgiving" with Ansari. 

"Who needs a continuing plot arc when the characters are so beautifully defined and performed? Master is among the most character-driven shows on TV, and we're the better for it. The laughter comes easy on our part, but there's a lot of hard, smart work being done to make the show feel so effortless and naturalistic." —David Wiegand, San Francisco Chronicle