10 Modern Sitcoms Like ‘Malcolm in the Middle’

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In 2000, the television show “Malcolm in the Middle” broke the mold of typical network sitcoms. Unlike traditional shows, it didn’t use a laugh track or multiple cameras. Instead, it employed a handheld camera that moved like a documentary crew on steroids, giving a raw and intense feel. The main character directly addressed the audience with a weary, world-weary gaze, reminiscent of a war correspondent. The show was like punk rock in the realm of family life — a chaotic orchestra led by a brilliant child, a mother who was like a military officer, and a father on the brink of becoming a cult leader due to his anxiety. It didn’t just suggest that the traditional family was falling apart — it handed you a slingshot and told you to target the garage.

As discussions about a potential revival heat up and you’ve undoubtedly revisited every season (let’s be honest, you shed tears during the Francis storyline), the dilemma arises: what other shows share that distinctive anarchic flavor? Here are ten contemporary series that embody the spirit of ‘Malcolm’ in various key aspects – be it rebellious storytelling, teenage perspectives, economic irrationality, or households reminiscent of small, struggling democracies. While not all fall under the traditional sitcom category, just like ‘Malcolm in the Middle’ wasn’t either.

10
‘Better Things’ (2016)

As a devoted cinema enthusiast, I can’t help but express my admiration for Pamela Adlon’s Better Things. This series seems to have been carved directly from the lived experiences of a real-life single mother, as if it was scraped off someone’s actual kitchen table. In the role of Sam Fox, Adlon portrays a working actress and former child star navigating the challenges of raising three daughters – the verbose and blunt Max (Anora’s Mikey Madison delivers an exceptionally grating performance), the mysteriously reserved Frankie (Hannah Alligood), and the youngest, Duke (Olivia Edward), whose tender sensitivity serves as a poignant counterpoint to a world designed for jaded souls.

The show’s genius lies in its resistance to oversimplification; scenes unfold with the casual pace of eavesdropped conversations, allowing the raw beauty and absurdity of womanhood to surface organically without the need for a grand philosophical explanation. It’s a messy, humorous, and deeply intimate exploration – a remarkable feat of tonal balance, skillfully guided by Adlon’s fearless, central performance.

The Maternal Meltdown as Art Form

In the realm of television, where “Malcolm in the Middle” transformed household strife into comedic grand opera, “Better Things” exchanges cymbals for cellos – yet the discord remains as symphonic. Similar to Lois, the character Sam is perpetually on the brink of collapse, but she fights with subtlety rather than loudness, and her composure is always precariously poised on the edge of dissolution. Both series share an insightful understanding of family as a performance: although the audience may vary, the chaos remains scripted. The handheld cinematography and non-linear editing lend “Better Things” a sense of elliptical realism that echoes the single-camera verité style of “Malcolm,” replacing physical battle wounds with emotional scars.

9
‘Everything Sucks!’ (2018)

In the small town of Boring, Oregon (yes, it’s named as such), the brief but brilliant series “Everything Sucks!” unfolds in 1996. The story revolves around Luke O’Neil (Jahi Di’Allo Winston), a member of the AV club who’s more nerdy than cool, and Kate Messner (Peyton Kennedy), an outsider in the drama club. They stumble through the complexities of friendship, sexuality, and a risky joint venture to direct a student film. The cast is endearing, but Sydney Sweeney as Emaline Addario steals the show. Emaline, a theater kid with a knack for chaos, embodies the hilarious and raw emotional turmoil of adolescence so authentically that her emotional outbursts seem like a form of art itself. Sweeney’s portrayal, reminiscent of a precursor to “Euphoria”, perfectly captures the high-wire act of hormonal teenage life. The show’s style, featuring camcorder filters, grunge tracks, and analog flaws, gives a tangible texture to its exploration of growing up.

Malcolm’s Gen Z Spirit Animal in a Nirvana Hoodie

In simpler terms, the show “Everything Sucks!” delves into the complex emotions and struggles of teenagers figuring out their identities, much like how “Malcolm” explores a working-class household. The characters’ inner thoughts and romantic mishaps, as well as Luke’s voiceovers, remind us of Malcolm’s attempts to understand his own puberty. Both main characters are emotionally mature beyond their years but often misread situations. The show’s use of personal monologues and low-fi visuals mirrors the documentary style of “Malcolm,” portraying adolescence not as a predictable journey but as a series of uncertain, intensely emotional performances. It’s more about taking control of one’s life rather than just growing up.

8
‘Reservation Dogs’ (2021)

The television series “Reservation Dogs,” created by Sterlin Harjo and Taika Waititi, showcases an extraordinary balance of tones, featuring a group of fresh faces who portray their characters as if they’ve lived them all their lives, making the performances feel autobiographical. D’Pharaoh Woon-A-Tai plays Bear, the brooding, pseudo-leader of the pack, while Devery Jacobs portrays Elora, a character laden with grief that never veers into sentimentality. Lane Factor brings deadpan humor to his role as Cheese, and Paulina Alexis steals scenes as Willie Jack. Together, they form a quartet reminiscent of real teenagers – aimless, funny, and bonded by shared pain and hidden tenderness. The series takes place in rural Oklahoma on an Indigenous reservation, seamlessly combining magical realism, slapstick comedy, and tales of generational spirits into a mix that feels both effortless and deserved.

Anarchy with Heart — and a Heist Plan

Similar to Malcolm in the Middle, Reservation Dogs focuses on teenagers who find their intelligence to be both an advantage and a challenge. These characters could potentially create a support group for kids with similar backgrounds – children whose parents care for them deeply yet are unable to provide consistent support. Both shows delve into the absurdity of adolescence in challenging circumstances: Malcolm deals with economic hardship and suburban decay, while Reservation Dogs explores cultural erasure and intergenerational sorrow. The use of a single-camera style and moments that verge on breaking the fourth wall (such as conversations with spirits) infuses Reservation Dogs with a similar surreal energy as Malcolm in the Middle, but also layers it with a sense of ancestral responsibility. Essentially, it’s a humorous portrayal of endurance – not just for individuals, but for individual identities.

7
‘Life in Pieces’ (2015)

a show that delves into fragmentation while still feeling like a unified, lovable mess.

Four Rooms, Same House

In contrast to how “Malcolm in the Middle” delves into a family’s daily turmoil in one continuous narrative, “Life in Pieces” dissects domestic disorder into smaller, digestible segments, offering similar dysfunction with a touch more space and versatility. Both shows share an interest in the complexities of love, exploring the challenges of raising children, the peculiarities of being one, and how every family member is both the issue and the remedy within a household that thrives on negotiation and coffee. Unlike “Malcolm,” “Life in Pieces” doesn’t shatter the fourth wall, but it does something more nuanced – it allows each character to create their own narrative, only for them to confront and reconcile those stories during family meals. While the presentation is less rebellious than “Malcolm,” the emotional impact remains just as potent.

6
‘Schitt’s Creek’ (2015)

Initially, Schitt’s Creek might appear to be a stark contrast to Malcolm in the Middle – rich family problems versus small-town setting, infused with Canadian politeness. However, it is its ability to subvert these initial impressions that makes it exceptional. Developed by father-son duo Eugene and Dan Levy, the series starts with the wealthy Rose family’s downfall, leading them to a rural motel in a town they once jokingly purchased. Catherine O’Hara brilliantly portrays Moira, a character marked by flamboyant speech patterns and delusion, while Annie Murphy masterfully transforms Alexis from a potential Paris Hilton caricature into a hilariously evolving character. Dan Levy’s David, who is emotionally guarded, verbose, and allergic to sentimentality, may well be one of the best sitcom characters in recent times. The show manages to be consistently compassionate without compromising its edge, and its gradual emotional rewards feel genuine rather than contrived.

From Class Clowns to Class Collapse

The TV series “Malcolm in the Middle” and “Schitt’s Creek” share a common theme of families dealing with their implosions, albeit in different ways. While “Malcolm in the Middle” delights in chaos and entropy, “Schitt’s Creek” finds growth and development through rebuilding. However, they both share a similar tone, recognizing that disorder can breed intimacy, and humor often arises from uncomfortable situations. Characters like David and Alexis, with their extreme emotional responses and distinct personalities, are reminiscent of Malcolm and Reese dressed in designer clothes, yearning for connection beneath their eccentricities. Moira’s over-the-top denial of reality would find common ground with Hal and Lois after a chaotic PTA meeting. In essence, both families are dysfunctional not because they don’t care, but because they care too much, and sometimes express it in strange ways.

5
‘Pen15’ (2019)

Pen15 takes viewers on a journey through generational time travel, offering a unique blend of the surreal, humorous, and emotionally raw depiction of middle school life in the early 2000s. The creators, Maya Erskine and Anna Konkle, brilliantly portray their 13-year-old selves, with child actors completing the cast. This unusual blend creates an unsettling yet accurate portrayal of adolescence’s absurdity.

The characters, Maya’s erratic behavior and Anna’s craving for approval, serve as the series’ foundation. The actors deliver their performances with such heartfelt authenticity that the humor often transforms into something deeper and more relatable. Each Lisa Frank sticker, AIM away message, and unsuccessful coolness attempt feels like a relic from a hormonal past. Although it may make you cringe, it’s also therapeutic, especially for those who grew up in the era of Abercrombie’s influence.

The Emotional Terror of Being a Smart Kid in a Dumb World

As a fan, I’d rephrase your statement like this: If “Malcolm in the Middle” showcased the unsettling angst of childhood through the lens of a gifted program, “Pen15” delves into the raw anxiety of navigating junior high with nothing but AOL Instant Messenger and questionable fashion choices as your guides. Both series feature characters who are emotionally mature beyond their years but struggle to navigate their lives – Malcolm with his exceptional IQ, and Anna and Maya with their self-awareness. The turmoil may differ in magnitude, but it shares a common essence: “Pen15” replaces parental neglect with the betrayal of peers, science fairs with slam books, but the pain of being overly aware and powerless remains consistent. What makes “Pen15” reminiscent of “Malcolm” isn’t just its tone, but its message: growing up is never easy, seldom fair – yet if you’re fortunate, it can still be funny.

4
‘The Mick’ (2017)

The series titled “The Mick” starts off with an intriguing proposition: A free-spirited swindler named Mickey, portrayed by Kaitlin Olson in her rawest form, finds herself in charge of her estranged sister’s three affluent children. Their parents, caught for fraud and on the run abroad, leave them behind. Olson, famous for her role as Dee from “It’s Always Sunny in Philadelphia“, delivers her signature off-the-wall humor and chilling timing. However, what sets “The Mick” apart is its unflinching exploration of emotional turmoil without losing its hard-edged appeal. Sofia Black-D’Elia plays Sabrina, a seemingly cold teen who may be the family’s most cunning manipulator; Thomas Barbusca’s Chip embodies sheer arrogance in boat shoes; and Jack Stanton’s Ben, the youngest, serves as the show’s hidden gem – an innocent facade hiding a pyromaniacal spirit within. This comedy unfolds with the swiftness and intensity of a wild raccoon scuffle, and Olson shines as the ferocious MVP.

A Beautifully Broken Babysitter

If “Malcolm in the Middle” portrayed a family breaking apart from within, “The Mick” revolves around an attempt to hold together someone else’s troubled family using whatever means necessary (duct tape). Both series delve into the turmoil of unconventional parenting – Lois being the strict disciplinarian and Mickey displaying more of a rebellious attitude. Rather than trying to reform the children, Mickey aims to minimize their corruption further than they’ve already been influenced by society, and in this way, she shares some common ground with Malcolm’s unintentional role models. Similarly to “Malcolm,” “The Mick” finds comfort in dysfunction and recognizes that beneath every temper tantrum and cutting remark lies a primal, desperate longing for love – or at least acceptance.

3
‘No Good Nick’ (2019)

In the realm of mixed genres, No Good Nick is a Netflix series that deceptively conceals deep emotional depth beneath its Disney Channel-like exterior. The story revolves around Nicole (Siena Agudong), a teenager skilled in deceit who infiltrates a suburban family with ulterior motives, yet finds herself caught between seeking vengeance and forming genuine bonds. Sean Astin and Melissa Joan Hart portray the oblivious but caring parents, while Kalama Epstein’s character Jeremy stands out as the character reminiscent of Malcolm, serving as the central figure. The series skillfully combines intense deception with everyday family squabbles, and though it may be inconsistent at times, its daring attempt to blend teen guilt, family dysfunction, and economic hardship into a format resembling Full House is notably unconventional.

Fraudulent Families, Real Feelings

Similar to “Malcolm in the Middle,” “No Good Nick” explores the tightrope walk of its characters, who are consistently torn between their true selves and the personas they present. Malcolm feigned indifference, while Nick assumes a false identity, but both are too intelligent for their own benefit, too perceptive about the flaws around them, and too emotionally invested to leave unscathed. The show’s home environment – featuring high-achieving children, well-meaning yet distracted parents, and occasional criminal undertones – echoes “Malcolm’s” design of family as a battleground and sanctuary. Additionally, like “Malcolm,” “No Good Nick” skillfully manipulates genre, using the structure of a sitcom to convey a tale about how feigning concern can eventually lead to genuine emotions.

2
‘F Is for Family’ (2015)

Originating from the minds of comedian Bill Burr and “The Simpsons” writer Michael Price, F Is for Family presents an unflinchingly authentic animated sitcom that delves into the harsh realities of 1970s Rust Belt suburban life. Dreams often lead to dead ends, and fathers can be found chain-smoking in the kitchen while voicing their discontent about Vietnam. Bill Burr lends his voice to Frank Murphy, a character who channels his anger as an airport baggage handler, oscillating between simmering resentment and complete despair that might drive him to destroy walls. Laura Dern portrays Sue, a hardworking family linchpin grappling with the slow awakening of feminism while peddling plastic kitchenware. Justin Long voices Kevin, the rebellious teen with voluminous hair and an insatiable thirst for validation, while Haley Reinhart’s Bill — the sensitive middle child — emerges as the show’s emotional core. This series is far from saccharine; it’s boisterous, dismal, and incredibly humorous.

Middle Children, Middle Class, and Middle Fingers

As a cinephile, I’d say it’s fascinating how shows like “Malcolm in the Middle” and “F Is for Family,” despite their differences in time setting and format, share an uncanny resemblance in their narrative DNA. Both series delve into the raw emotional turmoil of growing up intelligent amidst a world that seems indifferent. Malcolm processes his pain through intellectualization, while Bill endures it.

These shows don’t romanticize families; instead, they portray them as volatile environments – filled with neglect, misplaced affection, and heated arguments that serve as catharsis. “F Is for Family” takes the critique of the American dream initiated by “Malcolm” to darker depths: what transpires when the dream isn’t deferred but shatters into bankruptcy.

Yet, similar to “Malcolm,” “F Is for Family” never loses sight of love – the bittersweet, twisted kind that can only be understood when you’re in the thick of it. It’s a love that echoes through walls and resonates with those who have experienced the tumultuous journey of growing up in less-than-perfect families.

1
‘Derry Girls’ (2018)

In the 1990s, during the final phases of The Troubles in Northern Ireland, Derry Girls offers an exceptional blend of tones: it’s a sitcom about adolescence that combines geopolitical turmoil with the wild energy of teenage girls. This series, created by Lisa McGee and inspired by her personal experiences, revolves around Erin (Saoirse-Monica Jackson), her anxious cousin Orla (Louisa Harland), the tense Clare (Nicola Coughlan before Bridgerton), the rebellious Michelle (Jamie-Lee O’Donnell), and James (Dylan Llewellyn), the solitary English boy frequently mistaken for a girl and continuously punished because of it. The show stands out not only due to its witty dialogue or memorable quotes, but also because it brilliantly portrays the intense emotional rollercoaster of girlhood: every crush is a major event, every rumor a significant upheaval. Beneath the humor, there’s genuine sorrow, both personal and political, presented with striking honesty.

History Class as a Food Fight

Similar to how Malcolm in the Middle portrays adolescence as a battlefield, Derry Girls depicts it as a literal war zone, suggesting that maintaining a sense of humor is the best way to navigate through life’s challenges. The characters in Derry Girls, much like Malcolm and his siblings, are intellectually advanced, emotionally raw, and frequently at odds with adult reasoning. Sister Michael, the stern head nun, delivers her lines with the same dry wit as Lois, while family dinner scenes in both shows often straddle the line between farce and counseling. What unites these two series is their tone – the capacity to depict youth as both absurd and meaningful, where a detention slip holds as much weight as a truce. Derry Girls masterfully blends the personal with the political, and the political with humor, all while keeping its emotional core – and its distinctive accent.

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2025-04-20 06:35