10 Best Animated Sitcoms Streaming On Netflix Right Now

Who says cartoons are just for kids? The best animated sitcoms on Netflix make for an ideal binge-watch where you can kick back, relax, and enjoy hours upon hours of colorful characters getting into all sorts of shenanigans, and we have 10 we think you should check out if you haven’t already.

Traditionally, sitcoms didn’t require a massive commitment. Each episode pretty much followed its own story and reverted back to the status quo at the end of 24 minutes. But in the streaming era, it’s not just dramas that have serialized storylines. Many streaming animated comedies have season-long arcs that require you to pay attention and not get distracted so that you’re not confused when a plot point reemerges down the line.

Of course, you won’t want to get distracted anyway out of fear of missing out on some hilarious jokes. While the Netflix library includes many great adventure and science-fiction animated shows, these are the best ones right now that place the most emphasis on comedy — along with occasional moments that will absolutely devastate you.

“BoJack Horseman” may have a silly-sounding title, but make no mistake, the series knows how to hit viewers right in the pathos. It follows a washed-up sitcom star from the ’90s who’s constantly trying to stage a comeback in an effort to get everyone to love him again. But his greatest enemy continues to be himself, as he struggles with numerous self-destructive tendencies, including alcoholism.

If the main character wasn’t an anthropomorphic horse, all of that would have the making of a pretty depressing series, but “BoJack Horseman” is a sitcom through and through. And it uses its zany world filled with animals and humans alike to its fullest advantage. It’s a show that rewards eagle-eyed viewers for paying attention with plenty of background gags. And while BoJack (Will Arnett) may be going through existential crises, his roommate Todd (Aaron Paul) is usually getting into something far sillier in the B-plot. 

“BoJack Horseman” also has one of the best final seasons of a TV show ever, bringing all of its themes full circle as BoJack finally answers for some pretty big screw-ups in past seasons. “BoJack Horseman” is a show that will have you dying laughing in one episode, then questioning whether any of us are truly capable of change in the next. 

Many animated sitcoms, from “The Simpsons” to “Family Guy,” will often have themes related to financial insecurity and losing a job. But those problems reset themselves at the end of every episode. “F is for Family” takes a much starker look at those events, treating them with a gravitas not often seen in comedies. You can feel the stress pile up on Frank Murphy (Bill Burr) one episode after the next, so when he finally loses it and yells at someone, you completely understand why.

“F is for Family” also differentiates itself from other sitcoms by being relatively grounded. Nothing too zany ever happens, which helps make the central family’s perils all the more relatable. And the show uses its 1970s setting to its full advantage; Frank is constantly at odds with changing societal attitudes as more women are entering the workforce, including his own wife, which makes him feel like less of a provider. 

“F is for Family” doesn’t rely on simple nostalgia. If anything, it takes a sledgehammer to the platonic ideal some folks might have about that time period. But maybe that’s what makes the show all the more poignant. Frank has trouble raising his kids and finding steady work, which many can still relate to today. Ultimately, not much has changed, and it’s a shame this is one of many Netflix shows no one really talks about anymore.

If you like “Rick and Morty,” then you’re going to love “Solar Opposites.” Despite being a Hulu original series, it made the leap over to Netflix for subscribers there to enjoy. And it’s just as wild and profane as you would imagine, as each episode follows a new adventure with the Opposites family, a group of aliens stranded on Earth who are waiting for their Pupa to fully mature so that they can terraform the planet. In the meantime, they’ll have to contend with getting their neighbors to like them, an android gone rogue, and all manner of sci-fi gadgetry gone awry.

Unlike the nihilistic nature of “Rick and Morty,” “Solar Opposites” has a far more optimistic tone. Sure, plenty of innocent bystanders usually die as a result of the Opposites’ negligence, but at least the core family likes each other most of the time. Korvo (voiced by Justin Roiland, and later Dan Stevens) and Terry (Thomas Middleditch) genuinely seem to love each other, which is a nice reprieve from the usual bickering couple dynamic so often found on sitcoms.

And it’s impossible to talk about “Solar Opposites” without bringing up “The Wall” storyline. While the aliens get into various misadventures, there’s a colony of miniaturized humans kept within Yumyulack’s (Sean Giambrone) bedroom. That storyline has a grandiosity to rival “Game of Thrones,” but while it tackles themes like war and the potential negative influence of religion, it’s still just as silly as the A-plot. 

On the surface, “Haunted Hotel” has a pretty straightforward comedic premise. A single mom and her two kids move into a haunted hotel where every room has some other horror beyond comprehension lurking inside. This gives the show plenty of opportunities to pay homage to various horror properties, and you’ll find nods to everything from “Invasion of the Body Snatchers” to “Halloween” across various episodes.

It never gets too scary, though, and it has a lot of fun playing with various tropes. And since the show was created by “Rick and Morty” writer Matt Roller, the show also gets into high-concept territory, especially in the Season 1 finale, which offers a poignant meditation on how you can’t always have everything you want in life. 

It seems to be a theme with the best animated sitcoms on Netflix that there has to be a hearty dose of tragedy and seriousness as well. One of the main characters is a ghost, Nathan Freeling (Will Forte), who’s the brother of Katherine (Eliza Coupe), now running the hotel. Initially, this is just played up as a quirky thing, but the show does address the underlying tragedy of Nathan’s death and treats it with the appropriate seriousness.

Matt Groening offered his take on the American nuclear family with “The Simpsons” and then pushed forward with the sci-fi satire “Futurama.” “Disenchantment” is a whole new world, this time tackling fantasy rather than science fiction. And it’s an ideal blending of comedy and adventure to where the jokes help flesh out this unique world even more.

“Disenchantment” offers a deconstruction of various fairy tale tropes, beginning with Princess Bean (Abbi Jacobson). Rather than being a picture-perfect princess, she’s a hard-drinking rebel who hangs out with an elf, Elfo (Nat Faxon), and a demon, Luci (Eric André). While Bean would just like to party most of the time, she gets wrapped up in a conspiracy that sends her across various kingdoms, growing up a bit in the process.

But there’s still the signature satire found in “The Simpsons” and “Futurama.” “Disenchantment” openly mocks governments and religions, and the show questions simplistic fairy tale concepts of good and evil. It’s probably worth noting that the literal demon who hangs out with Bean is sometimes a better person than the show’s kings and queens. 

“Long Story Short” was one of the most underrated TV shows of 2025, but you shouldn’t let it pass you by any longer. Created by Raphael Bob-Waksberg, who also made “BoJack Horseman,” there’s a similar ratio of comedy and drama present here. However, “Long Story Short” is far more rooted in reality, as it hones in on a Jewish family over the years told in a non-linear structure. As such, we’re introduced to characters and concepts out of place and then the gaps get filled in later. 

For example, we learn of a division between Shira (Abbi Jacobson) and her former best friend in the first episode, but we only learn what came between them later in the season. The non-linear structure is far more than a simple gimmick, as it forces viewers to pay attention and see how even the smallest details from the characters’ childhoods continue to influence them into adulthood. But don’t get us wrong, there’s still ample slapstick. Bob-Waksberg has proven time and again that he knows how to ensure that humor shines through without taking anything away from the more maudlin moments. 

Speaking of which, “Long Story Short” is one of the few TV shows to really address COVID-19 in a meaningful way, as the family matriarch Naomi (Lisa Edelstein) passes away from the disease. It lends an air of tragedy to all of the flashback scenes after we know that happens because we know with each passing year, Naomi gets closer to death, completely upending the family dynamic.

“Tuca & Bertie” is basically “BoJack Horseman” meets “Broad City.” The sitcom focuses on the titular best friends as they navigate jobs, relationships, and everything that comes with being an adult — even one who happens to be an animated bird — in the modern world.

Bertie (Ali Wong) is far more career-oriented than her best friend Tuca (Tiffany Haddish), who flutters throughout life without too much care. While they love and support one another, their differing ideologies can sometimes lead to them butting heads. The characters might be anthropomorphic birds, but it’s one of the most honest shows about entering your 30s when you feel behind everyone else. And it has all of the absurdity and sight gags one would imagine in a show with talking animals. 

Sadly, only the first season of “Tuca & Bertie” is available to watch on Netflix. The show was canceled on the platform after just one season, with Adult Swim picking it back up for two more before ending for good. 

Mike Judge has had a lot of success bringing back his old TV shows. The “King of the Hill” revival is an unmitigated success because it focuses first and foremost on characters rather than having Hank Hill (Judge) simply respond to every new app and piece of technology we have now. Similarly, “Beavis and Butt-Head” is also one of the best TV revivals ever because you can put the main duo in any modern situation and they don’t miss a beat. 

Netflix doesn’t have every “Beavis and Butt-Head” episode, which is a shame, but it does have a good mix from the early seasons on MTV to more recent episodes that aired across Paramount+ and Comedy Central. Just don’t expect to see Beavis (Judge) and Butt-Head (also Judge) reacting to music videos from the ’90s. Music licensing rights for streaming platforms are tricky and expensive, but if you want to see the pair lighting things on fire and getting trouble at school, Netflix has your back. 

As far as the newer episodes, Beavis and Butt-Head feel right at home in the 2020s. They still have zero clue what’s happening from one moment to the next and will go to an escape room and get stuck in the bathroom the entire time. Some things never change, and watching these two idiots make fools of themselves never gets old. 

“Big Mouth” is a bit of an odd show. The morals and lessons seem targeted toward teenagers going through puberty, so it could provide useful information for them, but the humor is far more vulgar than any 13-year-old should probably watch. Then again, even adults could use refreshers on how their bodies are perfectly normal, and the show also tackles mental health problems that everyone could stand to learn more about.

The comedy is simultaneously relatable and downright surreal. All the main characters experiences changes in their body and get assigned a hormone monster who follows them around. The monsters want the kids to follow their basest impulses, and while they try to provide guidance, they don’t always have the best advice.

“Big Mouth” also walks the line of having important messages without feeling overly preachy. It helps that any saccharine moments can instantly have a monster show up to say something profane. You come for the absurdity but stay for the surprisingly poignant reflections on growing older.

There are plenty of standard workplace comedies, but setting a sitcom at a paper company or parks and recreation department is small potatoes compared to a government organization in charge of overseeing conspiracy theories, all of which are real in this universe. Yes, “Inside Job” isn’t afraid to tackle everything from the flat Earth theory to how the moon landing was faked all for the sake of a joke.

But “Inside Job” has a lot more going on than just jokes that will appeal to you if you spend too much time on Reddit. The character dynamics feel more fleshed out than you typically see in adult animated sitcoms. Reagan (Lizza Caplan) desperately wants a real connection with her father, which tragically opens her up to emotional manipulation. And while it would be easy for Reagan and the overly happy Brett (Clark Duke) to be antagonistic toward one another, they eventually grow to see things more from each other’s perspectives. 

Sadly, “Inside Job” was canceled after one season, even after previously being renewed for Season 2. With the world gradually becoming more conspiratorial in real life, “Inside Job” could’ve been one of the most relevant shows on the air. But as is the case for so many Netflix shows, it ended well before it had a chance to really get going.