In 2025, television finally gave us too much of everything. Prestige dramas multiplied like rabbits, true crime refused to die, and even cooking shows arrived with emotional arcs. But through the glut, comedy stood tall—and loud.

This year’s best TV comedies didn’t lean on spectacle or cynicism. They thrived on talk. The dialogue snapped, the banter ricocheted, and conversations cut sharper than any special effect. From revived classics to chaotic newcomers, each show found a new way to weaponise small talk.

Because if 2025 taught us anything, it’s this: the funniest moments on TV still come from people trying—and failing—to say the right thing.

Read on to find out which shows made the cut for us.

10. Only Murders In The Building (Season 5, JioHotstar)

If true crime podcasts have turned us all into armchair detectives, Only Murders in the Building remains the funniest version of that obsession. Steve Martin, Martin Short and Selena Gomez play three Upper West Siders who turn their shared fixation on a local murder—and their building’s endless gossip—into a wildly successful podcast. Across five seasons, the show has perfected a blend of cosy mystery and character-driven comedy, where punchlines arrive as fast as clues and every elevator ride feels like an interrogation.

The magic has always been in the rhythm of the show: Charles’ anxious sincerity, Oliver’s theatrical narcissism and Mabel’s dry (bordering on arid) detachment bounce off each other in discourse so quick and layered that it feels improvised. On paper, it’s a show about murder, but what it really unpacks is the complexity of loneliness, aging and unusual friendships. It’s not perfect by any measure. Only Murders in the Building is a worthy inclusion because even if the narrative falters, the dialogue and performances still deliver.

9. The Paper (Season 1, JioHotstar)

The crew that documented the death of paper companies in The Office showed up in Toledo this year, to chronicle the demise of print itself in The Paper. Created by Greg Daniels and Michael Koman, the familiar mockumentary-style series follows the loud newsroom of a dying Midwestern newspaper, where idealism and cynicism clash daily over bad coffee and worse headlines. Domhnall Gleeson’s Ned—ex-toilet paper salesman turned editor—begs for substance while his staff churns out “Ben Affleck’s Epic Tip.”

What makes The Paper so sharply funny is how unforced it feels. The show doesn’t build toward big comic set pieces. Instead, the humour lives in the rhythm of everyday panic—editors juggling PR disasters, reporters over-explaining their bad ideas and interns trying too hard to go viral. The dialogue overlaps, trails off and often circles nowhere, but that’s where its magic lies. It’s a show about people talking themselves in circles—and in those circles, finding something painfully and hilariously true about what happens when work, ego and delusion collide.

8. Adults (Season 1, JioHotstar)

Adults captures the chaos of your twenties, especially for a generation that grew up online and still hasn’t figured out how to leave the group chat. Just like F.R.I.E.N.D.S and Broad City, this FX comedy is set in New York. It chronicles the lives of Samir (Malik Elassal) and his friends Billie (Lucy Freyer), Issa (Amita Rao), Paul Baker (Jack Innanen) and Anton (Owen Thiele) as they drift through jobs, dating and existential dread while sharing Samir’s childhood home in Queens.

Fast, awkward and deeply self-aware conversations unravel over takeout containers and job interviews, and every scene hums with that familiar 20-something’s tension between ambition and inertia; people say the wrong thing, double down and somehow that’s just… funnier. What makes Adults one of 2025’s standout comedies is it never punches down; it lets its characters talk themselves into corners until they find something honest hiding in the discomfort. Sometimes adulting is all about laughing while your life falls apart, who knew?

7. Hacks (Season 4, JioHotstar)

Hacks continues to yank gold from the sharp-elbowed world of comedy and late-night TV. At its core, it remains a story about Deborah Vance (Jean Smart), a veteran standup comedian trying to stay relevant, and her protégé-turned-rival Ava Daniels (Hannah Einbinder), a younger writer with ambition and bite. This latest season shifts them into a new arena… and that’s all we can say without spoilers.

The banter is still brutal and brilliantly written—think one-two comedic punches where Deborah’s old-school cynicism meets Ava’s millennial swagger. It’s in the one-liners (“Blackmail on day one–not good!”) and the long silences when someone realises they’ve been played. The dialogue shines because the show trusts the characters to speak and bleed in the same breath.

The jokes have heart, the characters still bite and the show delivers despite expanding beyond the sharp, close-quarters banter that once defined it.

6. King of the Hill (Season 14, JioHotstar)

After a 15-year hiatus, King of the Hill returns with Hank and Peggy Hill stepping off the propane ladder and into a changed Arlen, Texas, while their son Bobby has grown up and become a chef in Dallas. The revival doesn’t reinvent the wheel—it sticks to its quiet, sharp-observed humour and the weirdly comforting rhythm of suburban life, ageing and friendship.

It might be set in a modern world, but Hank’s straight-man sincerity still collides beautifully with Peggy’s misplaced confidence, Dale’s paranoia and Boomhauer’s mumbled wisdom. Every scene hinges on how people talk, and it’s the funniest depiction of small-town life because it never tries to be bigger than that. King of the Hill reminds you why it was great to begin with: the comedy hides somewhere between the eye-rolls and the unspoken affection of people who can’t help but argue.

5. Deli Boys (Season 1, JioHotstar)

Deli Boys takes a familiar setup—a couple of clueless heirs inheriting a crime empire—and makes it feel new by leaning hard into chemistry and conversation. When Mir and Raj realise their dad’s deli business was actually a drug operation, the show doesn’t get bogged down in gangster lore so much as in the brothers’ constant bickering: about money, responsibility, and who’s more useless. Their back-and-forth, plus Poorna Jagannathan’s deadpan, terrifyingly composed demeanour, gives the show its snap.

The humour is big, bloody and often ridiculous—people get mowed down and mangled in ways that feel closer to a cartoon than prestige TV—but it’s also incredibly easy to binge. If there’s a drawback, it’s that the emotional beats don’t always land as hard as the jokes. Deli Boys isn’t here to move you. It’s here to be loud, sharp and wildly entertaining while two brothers talk their way through disaster.

4. The Rehearsal (Season 2, JioHotstar)

Nathan Fielder’s The Rehearsal continues to be one of television’s strangest balancing acts—half social experiment, half deadpan comedy, entirely unlike anything else. In its latest season, Fielder expands his premise of “practicing real life” into something bigger and even more unsettling. What began as small-scale emotional dry runs now unfolds across full environments: airports, classrooms and entire neighbourhoods built to simulate human connection.

The halting exchanges, the polite evasions, the moments when people talk in circles trying to sound sincere–Fielder’s chatter is still engineered awkwardness, stretching everyday conversation until it turns surreal, but this season’s scale threatens to swallow the intimacy that made the previous season so quietly devastating. But even when The Rehearsal overreaches, it remains hypnotic. It’s a show that exposes how absurdly we perform sincerity, love it.

3. Tires (Season 2, Netflix)

Shane Gillis’ standup makes you laugh at things you probably shouldn’t. Tires takes that instinct and stretches it across an entire workplace. What started as a YouTube lark in 2019 (taken down just before its Netflix premiere) hit Netflix in 2024 and locked into gear. Will (Gerben) is the nervous manager desperate to “fix” his family’s struggling auto-repair shop. Cousin Shane (Gillis) is the grinning saboteur whose every “helpful” idea detonates the day. The humour is pure blue-collar improv: rapid-fire, insult-laden banter that escalates from mild ribbing to full-on workplace anarchy, all lathered in a deadpan sauce.

Nothing is sacred—customer complaints, corporate jargon, outlandish marketing schemes, all are mined for laughs. The jokes land in the pauses and the muttered “you’re an idiot” that somehow keeps the chaos affectionate. Season 2 tosses in Vince Vaughn and Thomas Haden Church for extra grease, but the engine still runs on that relentless, sibling-style back-and-forth. It’s both mean and weirdly heartwarming. Tires is proof that the best punchlines hide in plain, stupid conversation.

2. The Studio (Season 1, AppleTV+)

If you ever wondered what happens when the glitz of Hollywood collides with the anxiety of corporate spreadsheets, you’ll find it in The Studio. Created by Seth Rogen and Evan Goldberg, this frenzied Apple TV+ comedy follows Rogen as Matt Remick, an cinephile-turned-studio head desperately trying to make meaningful art in a business obsessed with IPs and franchises. With Catherine O’Hara, Kathryn Hahn, Ike Barinholtz and Chase Sui Wonders rounding out the chaos, the show turns production meetings, press junkets and creative crises into precision-engineered farce.

The show thrives in its dialogue—rapid-fire, ego-bruising banter where every brainstorm sounds like an MBA’s wet dream. Like the scene where Martin Scorsese takes it upon himself to convince Remick to fund his next film. It humanises every film-bro’s messiah and shows us that nobody is above “approvals”. Not even the man who gave us Taxi Driver. And that, to me, is hilarious (depressing).

1. The Chair Company (Season 1, JioHotstar)

When the everyday humiliation of office life collides with full-blown conspiracy, you get The Chair Company. Co-created by Tim Robinson and Zach Kanin, the HBO series stars Robinson as Ron Trosper—a mid-level manager whose life unravels after a chair collapses beneath him in front of the entire company. Yes, it’s exactly the kind of sketch you expect from I Think You Should Leave. But we get eight (!) whole episodes.

What starts as workplace embarrassment morphs into a surreal investigation of the chair-maker, corporate inertia and Ron’s own unraveling. The show nails its niche—absurd, off-kilter, uncomfortably funny. The premise’s spiral is deliberate, meaning the pacing often tip-toes between “thriller” and “sketch show turned long-form”. If you’re looking for tidy jokes, you may feel spun out. Yet that’s the point.