Animation isn't just for kids. Honestly, if you still think cartoons are just for the Saturday morning cereal crowd, you’re missing out on some of the sharpest writing in television history. We’ve moved way past the simple slapstick of the 1940s. Today, funny animated tv series are often where the most daring, experimental, and genuinely hilarious social commentary happens. Think about it. You can do things with a drawing that would cost $200 million in a live-action Marvel movie, or things that would look deeply unsettling if a real human actor tried to pull them off.
Adult animation has exploded. It’s everywhere.
The charm lies in the flexibility. One minute you're watching a horse-man deal with generational trauma in Los Angeles, and the next, you're witnessing a mad scientist turn himself into a pickle just to avoid family therapy. It’s absurd. It’s brilliant. And it’s arguably the most "human" genre on TV right now, despite the characters often having four fingers and yellow skin.
The Evolution of the Sitcom through Animation
The landscape changed forever in 1989. Before The Simpsons, animation was largely seen as a toy commercial or a way to keep toddlers quiet. Matt Groening changed the DNA of the American family. Homer Simpson wasn't just a bumbling dad; he was a mirror for a specific kind of American mediocrity that we all secretly recognized.
But it wasn't just about the jokes. It was about the staying power.
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The Simpsons proved that an animated series could tackle politics, religion, and the existential dread of a dead-end job at a nuclear power plant, all while maintaining a "floating timeline" that keeps characters forever young. This paved the way for the "Golden Age" of the 90s. We got Beavis and Butt-Head on MTV, which captured a very specific, grimy teenage apathy. Then came South Park.
Trey Parker and Matt Stone changed the speed of comedy. Because they use a simplified cutout animation style (now digital, but originally actual paper), they can produce an episode in six days. This allows them to react to news cycles almost in real-time. If a major political scandal happens on a Tuesday, South Park can lampoon it by Wednesday night. No live-action show can compete with that kind of turnaround.
Why the "Ugly" Style Works
Have you noticed how many funny animated tv series lately look kind of... gross?
Big Mouth is a perfect example. The characters are awkward, disproportional, and sweaty. But that’s the point. It’s a show about puberty. Puberty is disgusting. By using an art style that isn't traditionally "pretty," the creators can Lean into the visceral discomfort of growing up. Nick Kroll and Andrew Goldberg aren't trying to make a Disney movie. They're trying to show you what it feels like to have your hormones turn into a literal monster that follows you to school.
The Rise of the "Sad-Com"
There is a sub-genre of funny animated tv series that some critics call the "Sad-Com." These shows are hilarious, sure, but they’ll also leave you staring at a wall for twenty minutes questioning your life choices.
Bojack Horseman is the gold standard here.
On paper, it sounds ridiculous: a washed-up sitcom star who is also a horse. But over six seasons, it became a definitive study on depression, addiction, and the toxicity of fame. Creator Raphael Bob-Waksberg used the medium to explore mental states that live-action struggles to visualize. When a character feels like they’re underwater, the show literally takes us underwater.
- Rick and Morty: It balances nihilism with high-concept sci-fi. It’s funny because Rick is an invincible genius, but it’s tragic because he’s also deeply miserable and lonely.
- Tuca & Bertie: This one focuses on female friendship and anxiety, using surrealist animation—like a character’s breast literally flying away—to represent emotional detachment.
Breaking the 22-Minute Formula
We used to have a standard. You’d get 22 minutes of content, a few commercial breaks, and a "status quo" ending where everything returns to normal. Animation loves the status quo because you don't have to worry about child actors hitting puberty or sets being struck.
But modern shows are breaking those rules.
Bob’s Burgers is a masterclass in this. While the Belcher family doesn't really age, their relationships evolve. Loren Bouchard’s creation succeeded because it replaced the "mean-spirited" vibe of many 2000s comedies with "aggressive niceness." The Belchers actually like each other. That’s a radical concept in adult animation. The humor comes from their shared eccentricities rather than them constantly putting each other down. It’s comforting. It’s like a warm blanket made of burger puns and Tina’s rhythmic groaning.
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The Weird Stuff You Might Have Missed
If you’ve only seen the big hits, you’re missing the fringes. Smiling Friends on Adult Swim is a chaotic, fever-dream experience. It blends 2D animation, 3D models, and even live-action segments. It feels like the internet in show form—unpredictable, slightly threatening, and undeniably funny.
Then there’s Archer. It started as a James Bond parody but devolved into a workplace comedy where everyone happens to be a world-class spy (or a mad scientist named Krieger). The dialogue is dense. It’s fast. If you blink, you’ll miss three literary references and a joke about an obscure 1970s Burt Reynolds movie.
What Most People Get Wrong About Voice Acting
There’s this misconception that voice acting for funny animated tv series is just "talking into a mic."
It’s actually grueling.
Think about H. Jon Benjamin. He voices both Sterling Archer and Bob Belcher. He uses roughly the same voice for both, yet the cadence and the "energy" are completely different. One is a narcissistic alcoholic; the other is a tired dad who just wants to pay his rent. The comedy isn't just in the words; it's in the sighs, the stammers, and the way a character's voice cracks when they’re lying.
Furthermore, many of these shows use "retroscripting" or heavy improvisation. On Curb Your Enthusiasm, they do it with live actors. In animation, like on Home Movies, it creates a naturalistic, mumbly flow that feels more real than a tightly polished script.
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Why We Need These Shows Now
The world is heavy.
Animation provides a buffer. It allows us to process the absurdity of modern life through a stylized lens. We can laugh at a giant floating head demanding "Show me what you got" because it’s a cartoon, but the underlying themes of global panic and religious fanaticism are very real.
It’s a safe space for dangerous ideas.
When South Park tackles a controversial topic, they aren't just being "edgy." They’re stripping away the pretense of polite society. Animation allows for a level of hyperbole that live-action simply can't sustain without becoming a caricature of itself.
How to Find Your Next Favorite Series
Stop looking at the "Top 10" lists on Netflix for a second. They’re skewed by algorithms. Instead, look at the creative teams.
If you like the dry, observational humor of King of the Hill, you might find a similar soul in Bless the Harts. If you want something that feels like a psychedelic trip, seek out The Midnight Gospel. Duncan Trussell’s podcast-turned-animated-epic is one of the most unique things ever put to screen. It’s literally animated conversations about death, magic, and meditation set against the backdrop of a dying multiverse.
- Check the studio: Studios like Titmouse or Bento Box usually have a specific "vibe" that carries across their projects.
- Look for writers, not just stars: Follow the writers of your favorite episodes. Mike McMahan went from Rick and Morty to creating Solar Opposites and Star Trek: Lower Decks.
- Give it three episodes: Animation often needs a "pilot period" to find its visual and comedic rhythm. Even The Simpsons looked and felt weird in its first season.
Actionable Steps for the Aspiring Viewer
If you're ready to dive deeper into the world of funny animated tv series, don't just graze. Be intentional about it.
Start by identifying what kind of humor resonates with you. Do you want fast-paced, reference-heavy jokes like Family Guy? Or do you prefer character-driven, slow-burn storytelling like King of the Hill?
Next, pay attention to the "B-plots." The mark of a truly great animated comedy is how much care they put into the background. In BoJack Horseman, there are visual gags in the background of almost every frame that you won’t catch on the first watch. It rewards repeat viewing.
Finally, support the creators. Animation is incredibly expensive and time-consuming. Shows often get canceled just as they’re finding their footing because the "numbers" aren't there immediately. If you love a show, talk about it. Buy the merch. The more we prove there is an audience for weird, specific, and "niche" animation, the more these creators get to push the boundaries of what’s possible on a television screen.
Go watch something weird tonight. Turn off the news, pick a show with a strange art style, and let the absurdity take over for a bit. You might find that a cartoon horse or a cynical scientist has more to say about your life than any "serious" prestige drama.