10 Netflix Comedy Gems You Totally Missed

by

The original content on Netflix has always been a bit of a conundrum in terms of definition. Sometimes Netflix finances a project from the ground up; other times, it acquires distribution rights following film festivals, adding its signature red N logo. Regardless of the process, the outcome is similar: these shows or movies are blended into an algorithmically-generated playlist, released with minimal fanfare, and often forgotten by the following weekend, particularly in the comedy genre, which has expanded to include a wide range of content such as animated coming-of-age dreams (Big Mouth), mental health dramedies (Feel Good), and experimental sketch shows that break the fourth wall (The Characters, I Think You Should Leave). Despite being frequently funnier, quirkier, and more emotionally impactful than their higher-budget counterparts, the best comedy offerings on Netflix seldom trend.

One aspect of the challenge lies in the structure itself. Humor, inherently, is intended to be quickly consumed, shared, and moved on from – quotes, clips, and streams being its primary means. However, within Netflix’s vast, fast-paced content ecosystem, where supply exceeds demand and focus wanes swiftly, even the most creative comedies can slip through the cracks before a second season is commissioned. The following compilation focuses on exceptions – cult favorites, genre-blenders, and unique voices that merit reevaluation. Shows like Lady Dynamite, with its self-deprecating surrealism, Bo Burnham: Inside‘s nihilistic optimism, or the absurdity of Murderville, not only demand your attention but also serve as evidence that comedy, despite streaming exhaustion, remains a powerful and revolutionary means of storytelling.

10
‘Lady Dynamite’ (2016 – 2017)

A comedy like Lady Dynamite, which was crafted by Pam Brady (from South Park) and Mitch Hurwitz (Arrested Development) and features Maria Bamford as a semi-fictional portrayal of herself, may never be matched. This innovative series tackles themes such as mental illness, showbiz setbacks, and feminine anger, transforming them into a vibrant, self-aware meta-sitcom. It’s unconventional, nonlinear, and deliberately confusing – a narrative about rebuilding one’s life that emulates the very fractures the protagonist is overcoming. The humor is at once highbrow and lowbrow, raw with emotion and modern in its postmodern elements.

Mood Swings as Structure, Meltdowns as Form

The unique appeal of Lady Dynamite lies in its defiance of conventional norms in comedy, television, and conversations surrounding mental health. Unlike other shows, it freely traverses timelines (Past, Present, and a symbolic “Duluth” representing emotional cleansing), incorporates animated sequences, soap-opera logic, and dreamlike deviations to portray the protagonist’s psychological state. The series is about Hollywood but also healing, setting boundaries, coping with disappointment, and reconstructing one’s personal narrative under capitalism. Bamford delivers an astounding performance that is raw, eccentric, compassionate, and hilarious. The show refrains from using mental illness as a joke, instead employing humor as a means of storytelling redemption, providing a formal uprising that echoes the personal revolution at its heart.

9
‘The Characters’ (2016)

The series titled “The Characters” stands out as a unique production that Netflix currently doesn’t produce, possibly because it was initially unclear how to handle its concept. The idea was straightforward yet intriguing: eight episodes featuring eight up-and-coming comedians, each given the opportunity to create their own 30-minute performance from scratch. This led to a collection of eccentric, memorable performances that resembled early-career compilation tapes from future cult figures. For instance, Lauren Lapkus presented offbeat party mom skits, John Early brought Eurotrash pandemonium to life, and Kate Berlant delved into anti-capitalist performance art. The overall feel of the show is reminiscent of “Mr. Show,” “Kids in the Hall,” and an avant-garde sketch night held in a Brooklyn basement.

Sketch as Self-Destruction, Comedy as Chaos Ritual

The unique quality that sets The Characters apart, and continues to do so, is its deliberate disregard for conventional structure or refinement. These weren’t trial runs for Saturday Night Live; instead, they were bold, surreal, occasionally unsettling explorations of form and style. Tim Robinson’s episode serves as a precursor, showcasing the unconventional genius that would later become synonymous with I Think You Should Leave. These sketches aren’t designed for viral fame; they’re intended to challenge boundaries. They thrive in discomfort, absurdity, and the humor derived from self-destruction. Netflix may not have renewed it, but The Characters managed to encapsulate a period in alternative comedy where oddities weren’t merely tolerated – they were the essence.

8
‘Living with Yourself’ (2019)

As a movie enthusiast, I’d put it this way: “Diving into Living with Yourself, I found myself immersed in the world of Paul Rudd, who masterfully portrays not just one, but two characters – a weary ad man and his more vibrant counterpart. At first glance, it seems like a reminiscent tale similar to Multiplicity, but as the story unfolds, it transforms into a subtler, edgier narrative that’s far from what you’d expect.

This series, created by Timothy Greenberg, is cloaked in the guise of a low-key sci-fi comedy, but beneath the laughs lies a slow-burning existential crisis, neatly packaged in sitcom fashion. The genius of this show lies in its minimalistic approach to genre, delving into themes of midlife ennui, identity fragmentation, and the chilling acceptance that even an improved version of oneself might not be enough.

Rudd, with his skillful portrayal of both roles, delivers one of his most layered performances – a blend of charisma and emptiness that’s as captivating as it is haunting.

Clones, Capitalism, and the Exhaustion of Self-Improvement

The unique aspect of the series “Living with Yourself” lies in its insightful exploration of the paradox of self-improvement, particularly in the context of late-stage capitalism, where change is demanded yet no genuine rewards are offered. The improved version of Rudd’s character isn’t nicer or more sincere; instead, he’s simply more efficient, more appealing, and better suited for a society fixated on the false promise of happiness. The show is both humorous and poignant, daring to question if being replaced by a more refined version of oneself represents liberation or a form of extinction. In an entertainment industry saturated with complex comedies, “Living with Yourself” achieved something subtler and more bizarre: a tragic tale of a doppelgänger hidden within a typical office comedy.

7
‘Running Point’ (2025)

Showcase Point is Netflix’s recent endeavor to create an uncommon workplace comedy that isn’t shy about being bold, stylish, or female-led, with a protagonist who possesses more edge than typical network TV characters. Created by Alyson Fouse (Big Shot) and featuring Kate Hudson in her initial regular TV role, the series centers around Isla Gordon, who finds herself unexpectedly promoted to president of a professional basketball team – a position she never sought, in an environment that remains dubious about her qualifications. Hudson delivers the role with sparkling proficiency, hiding nervousness beneath her blazer. It can be likened to Veep meeting Ted Lasso, but with sneakers, salary caps, and PR crises lurking around every opulent suite corner.

Courtside Chaos, Sports Power Plays, and High-Stakes Humor

Hudson possesses the charm that could easily sustain a show of this nature, and if early reactions are any guide, “Running Point” could surprise viewers just as “The Bold Type” or “Superstore” did before – appearing initially lighthearted but hiding depth and being more progressive than its advertising suggests. The allure of “Running Point” lies in its unapologetic embrace of genre. While it’s sports-related, it’s primarily a comedy that delves into the intricacies of female leadership, grappling with issues such as legacy hires, impostor syndrome, and the fine print of success for women in male-dominated environments. There’s a chance it may be overlooked, unfortunately.

6
‘Mo’ (2022 – Present)

The show “Mo” is one that Netflix might find challenging to market – it’s a subtle blend of comedy genres, combining refugee stories, immigration red tape, humorous visual jokes, and street-level humor with a mix of elegance and sharpness. Created by Palestinian-American comedian Mo Amer in collaboration with Ramy Youssef from “Ramy”, the show explores the life of Mo Najjar as he manages an undocumented existence in Houston while dealing with family duties, various jobs, PTSD, and a profound American feeling of rootlessness. It’s a comedy that embodies contrasts – it’s both earthy and absurd, affectionate and rough-edged, politically minded and deeply personal.

Olive Oil, Border Crossings, and the Refugee as Trickster

The unique quality of Mo lies in its skillful blending of trauma and absurdity without diminishing either aspect. Amer’s performance is subtly witty and captivating, portraying a man trapped within systems that are simultaneously comically dysfunctional and profoundly soul-crushing. The production occasionally delves into magical realism (such as a talking parrot hallucination or a silent syrup baptism), lending an otherworldly dimension to its humor, which is uncommon in immigration narratives. Mo does not lecture; instead, it adapts, hustles, trips, and perseveres. It offers a distinctly American narrative from an unusual perspective, and its humor becomes even more engaging and crucial due to its casual handling of its own profoundness.

5
‘Feel Good’ (2020 – 2021)

Feel Good is one of Netflix’s hidden gems in terms of emotionally intelligent and stylish comedies. Created by and starring Canadian comedian Mae Martin, this series is a semi-autobiographical blend of drama and comedy that delves into topics such as addiction, gender identity, love, and personal growth limits. The story unfolds in Manchester, with Charlotte Ritchie playing Mae’s complex girlfriend George. Unlike traditional narratives that often resolve into redemption arcs or sensationalized trauma, Feel Good is a raw, honest, and humorously engaging exploration of these themes. Its unique narrative voice comes from someone who stands both within and outside the system they’re critically examining.

Love, Liminality, and the Comedy of Almost Being Okay

The series “Feel Good” effortlessly transitions between lighthearted humor involving vintage leather jackets and serious topics such as past abuse, addiction relapses, and gender dysphoria, showcasing a unique blend of sensitivity and wit. Star Martin exhibits an extraordinary range, seamlessly shifting from sharp sarcasm to vulnerable emotional vulnerability within a single sentence. The show respectfully portrays Martin’s gender fluidity as an integral part of their character, rather than sensationalizing it.

One of the standout aspects of “Feel Good” is its remarkable ability to switch between tones swiftly. Regrettably, despite its exceptional qualities, it remains relatively under-discussed. The show also presents one of the most authentic queer love stories on television, not because it’s perfect or idealized, but because it portrays love as complex, uneven, and challenging.

Amidst an ocean of polished, superficial content on streaming platforms like Netflix, “Feel Good” is a rare gem that truly delivers.

4
‘Beef’ (2023 – Present)

At first glance, “Beef” appears to be a revenge comedy centered around a road rage incident escalating into psychological conflict between two troubled individuals. However, Lee Sung Jin has crafted something much more intricate – a sophisticated, genre-blending character analysis masked as an exploration of anxiety. Starring Steven Yeun and Ali Wong in their finest roles to date, the series delves into themes such as anger, social class, embarrassment, and multigenerational trauma in a way that is both reminiscent of Shakespearean tragedy and modern-day humor on platforms like Vine. It’s not traditionally “funny”; instead, it dives deeper, gets weirder, and becomes more explosive, seamlessly shifting between the absurd and heart-wrenching emotional breakdowns with remarkable skill.

Anger, Alienation, and the Spectacle of the Spiraling Self

What sets Beef apart – with its unique charm and intensity – is its ingenious employment of comedy as a means to convey existential unease. Each episode builds up in a manner reminiscent of a panic attack cloaked in high-end television production, yet beneath the sophisticated cinematography and skilled direction lies an underlying sense of desolation. Characters Danny and Amy are both attempting, and failing, to comprehend their void – a struggle that the series portrays with empathy, allowing them to be grotesque, hilarious, and poignantly moving. The fact that such a daring production emerged from Netflix feels like an anomaly in the system. That it struck a chord? Evidence that viewers are eager for narratives that touch on deep emotions.

3
‘Murderville’ (2022)

Murderville presents itself as an eccentric comedy concept initially, but it proves surprisingly effective. In each episode, a different guest star such as Kumail Nanjiani or Annie Murphy teams up with the weary detective Terry Seattle, portrayed by Will Arnett, to unravel a murder mystery. The unique aspect lies in the fact that the guests are not provided with a script; they must ad-lib their way through each bizarre interrogation, maintaining a straight face amidst planted evidence, shifting plotlines, and progressively erratic characters. It’s a blend of whodunit, improv challenge, and sociological study – somewhat similar to “Whose Line Is It Anyway?” but with a fatal tally.

Corpses, Chaos, and the Comedy of Breaking Character

In “Murderville,” Arnett masterfully portrays the straight man amidst a chaotic universe, where the humor lies in watching other characters struggle to maintain their composure. The unique charm of the show stems not only from its innovative format but also from its unabashed embrace of absurdity. Unlike typical sitcoms, “Murderville” doesn’t strive for perfection; instead, it thrives on mistakes, discomfort, and unexpected moments. This comedic approach feels like a refreshing contrast to overly rehearsed, formulaic sitcoms, offering an enjoyable alternative. The show is spontaneous, quirky, and contagiously entertaining, serving as a reminder that allowing the structure to unravel can sometimes result in the funniest outcomes.

2
‘Aunty Donna’s Big Ol’ House of Fun’ (2020)

If you’ve ever pondered about how Monty Python might be reimagined with a chaotic, modern Australian spirit infused by internet absurdism, then “Aunty Donna’s Big Ol’ House of Fun” is your solution. This sketch comedy troupe – Mark Samual Bonanno, Broden Kelly, and Zach Ruane – translate their popular stage persona into a Netflix series that challenges the boundaries of what sketch TV can offer. Each episode is an over-the-top spectacle filled with recurring jokes, self-referential humor, wild musical performances, and wholehearted silliness. It’s raw, rebellious, and frequently mind-boggling – precisely as intended.

Loud Boys, Soft Gags, and the Genius of Gleeful Nonsense

The reason Aunty Donna stands out as captivating and worthy of cult classic status is its wholehearted dedication to every aspect of its comedy. Nothing is too absurd, no character too over-the-top, and no idea too bizarre that it can’t be transformed into a catchy 90-second tune or a recurring joke across multiple episodes. Beneath the organized chaos lies a profound appreciation for comedic form and structure – these are comedians who not only grasp comedy principles at an almost scholarly level, but also delight in subverting them. It’s unusual to find something this boldly strange on a major platform, even more so when it maintains its unique identity. People either connect with it or they don’t – and that’s precisely why it’s genius.

1
‘I Think You Should Leave with Tim Robinson’ (2019 – Present)

You’re likely familiar with memes featuring unusual situations like the hot dog costume, the bizarre coffin dance, or a man yearning for solitude amidst his loaded nachos. However, dismissing “I Think You Should Leave” as just another internet trend overlooks its significance as one of the most creatively innovative and emotionally impactful comedies in recent times. Crafted by Tim Robinson and Zach Kanin, this sketch series revolves around a straightforward concept – a character refusing to acknowledge a social blunder – and transforms it into something profoundly existential, chaotic, and strangely poignant. The tone is wild, the pace unpredictable, and the dedication to absurdity absolute.

Shame Spirals, Social Collapse, and the High Art of Meltdown Comedy

Robinson’s performance style combines elements of a toddler’s tantrum and a clown’s tragedy, yet beneath the disorder lies a clear depiction of contemporary alienation. His humor often touches upon the millennial (and distinctly American) fear of not fitting in, falling short, and being excessively over-the-top. What sets I Think You Should Leave apart from a mere meme generator is its emotional structure: each sketch serves as a miniature panic attack about being judged. This comedy is about confrontation rather than comfort – which is precisely what makes it so memorable. The fact that it found its way onto Netflix seems almost surreal, like a charming anomaly in the system.

Read More

2025-03-30 04:33