The best sitcoms are the ones that stand the test of time. Back in the heyday of cable television, sitcoms enjoyed the luxury of lengthy runs. These days, however, it’s much harder for shows to maintain that kind of longevity, particularly in the streaming era, where audiences have countless options and are less likely to commit to shows that require years of investment to keep up with an ongoing story or lore.

That doesn’t mean long-running sitcoms have completely disappeared. Some shows have maintained massive followings since their early heyday and continue to attract audiences today, while newer sitcoms have shown plenty of promise through their continuous renewals. Together, they prove that there is still plenty of life left in the genre. These shows know how to keep the jokes coming without making them feel stale, all while staying true to the core of what made the series work in the first place. From a sitcom about a group of dedicated school staff to an American animated classic, here are long-running sitcoms that never run out of great ideas.

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‘Abbott Elementary’ (2021–2026)

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It still feels like yesterday when Season 1 of Abbott Elementary was trying to find its audience on ABC. Yet, only five years into its run, Abbott is already gearing up for its Season 6 premiere in the fall, putting it on track to become a long-running sitcom. It’s not hard to see why audiences have grown to love the staff and students of Abbott Elementary. Public schools like Abbott are notorious for being underfunded and under-supported, but teachers like Janine Teagues (Quinta Brunson) wholeheartedly believe in the school’s potential and remain determined to make it a better place for their students.

Much of Abbott Elementary’s humor also feels fresh because of how effortlessly it keeps up with current trends. From kids getting into silly and nonsensical TikTok challenges to Gen Z and Gen Alpha slang that leaves the older teachers completely confused, the show captures the generation gap in ways that are painfully funny yet surprisingly true to life. The teachers themselves are also playful caricatures of modern-day stereotypes, from Ava’s (Janelle James) obsession with popularity and influencer culture to Jacob’s (Chris Perfetti) performative progressivism. As the show continues to grow, so does its ability to absorb whatever is happening in online discourse and infuse it into its scripts, making the world of Abbott Elementary feel lived-in and reflective of the moment.

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‘The Simpsons’ (1989–Present)

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America’s favorite animated family will always be an all-time classic. Whether you’ve been watching since the pilot or only tune in from time to time, it’s nearly impossible not to know who The Simpsons are. The pop culture phenomenon popularized the dysfunctional family trope without making it feel bleak, making the show relatable to audiences who don’t necessarily come from perfect families. There’s also a bittersweet comfort in watching a father like Homer Simpson (Dan Castellaneta), who, despite his lack of intellect and questionable behavior, almost always has good intentions when it comes to his family.

The Simpsons initially caught on because of its ability to turn real-life events into sharp satire, and the show has continued that tradition by keeping up with current pop culture. In Season 37 alone, it spoofed the National Treasure film franchise with “Irrational Treasure” and featured a Severance-inspired episode titled “Seperence,” proving that The Simpsons rarely feels out of touch with the times. Still, perhaps the biggest reason the show continues to capture audiences is The Simpsons‘ ability to seemingly predict future events, a gag that has become almost as famous as the series itself.

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‘South Park’ (1997–Present)

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Leave it to South Park to stir up controversy. Nearly three decades and hundreds of episodes into its run, the crude animated series continues to find new generations of fans who appreciate its unhinged sense of humor. Much of South Park’s timelessness comes from embracing shock value and wondering about whose buttons its creators can push next. In its earlier seasons, the show was relentless, bringing up jokes considered deeply inappropriate even at the time, from religious satire involving the portrayal of the Prophet Muhammad to provocative jokes surrounding questionable language.

These days, South Park has toned down some of its more extreme provocations, but its humor remains rooted in controversy, with politics now serving as one of its favorite targets. And the show certainly isn’t subtle about it. Season 27, for instance, features a cutout depiction of Donald Trump sleeping with the Devil, while other storylines tackle cultural anxieties surrounding AI, the controversial actions of ICE, and the Israel-Palestine conflict. To this day, South Park remains willing to tackle uncomfortable subjects that many people wouldn’t dare bring up at the dinner table.

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‘It’s Always Sunny in Philadelphia’ (2005–Present)

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One would think that after 18 seasons, the Paddy’s Pub gang from It’s Always Sunny in Philadelphia would have learned something by now. Judging by the facial wrinkles and graying hair they’ve gained over the years, you’d think they had grown wiser with age. But the truth is, they’ve learned absolutely nothing. The gang remains just as arrogant, self-important, and impulsive as they were in their younger years. Somehow, though, watching their older selves get into the pettiest arguments and most ridiculous situations only proves that age has made them even funnier.

In recent years, It’s Always Sunny in Philadelphia has tried to maintain a nice balance between its old shticks and newer hijinks, making it both familiar and fresh for different generations of fans. Season 17 kicked things off by collaborating with its Philly counterpart, the kid-friendly Abbott Elementary, bringing two complete opposites together in a bizarre situation where the Paddy’s gang volunteers at the school. Always Sunny Season 18 sees more tributes to old jokes, like Dennis (Glenn Howerton) and Dee’s (Kaitlin Olson) ADHD diagnosis, as well as another Gilligan’s Island parody.

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‘King of the Hill’ (1997–Present)

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King of the Hill ended its original run in 2010, but the beloved sitcom returned in 2025 with Season 14. Rather than simply picking up where it left off, the revival makes the smart choice to fast-forward several years in the lives of the Hills. After returning from Saudi Arabia, where Hank had been working, Hank (Mike Judge) and Peggy (Kathy Najimy) settle back into Arlen, Texas, as Hank prepares to enjoy retirement. Meanwhile, Bobby (Pamela Adlon) is no longer the timid and painfully awkward tween audiences remember. He’s all grown up and has finally found his calling in life: cooking.

Both the original series and its revival are equally entertaining, largely because they understand how to evolve the Hill family without losing what made them so interesting in the first place. The original run often centered on Hank and Bobby struggling to understand one another, particularly because they are almost complete opposites. The revival, although still early in its run, offers a much-needed continuation that shows just how much the family has changed. Hank and Bobby still find themselves disagreeing, but their conflicts now carry a different weight because they’re both adults.

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‘Bob’s Burgers’ (2011–Present)

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On paper, a middle-class family doesn’t sound like the most exciting premise for a sitcom. But Bob’s Burgers takes The Simpsons’ dysfunctional family formula and turns it into something much more wholesome while keeping all the wackiness intact. There’s nothing particularly extraordinary about the Belcher family, except that its patriarch, Bob Belcher (H. Jon Benjamin), runs a struggling burger restaurant for a living. Yet, it’s this sense of ordinary, working-class life that makes the show feel surprisingly relevant even today.

Much of the Belchers’ struggles are also things that ordinary audiences can relate to. Bob’s biggest concerns are keeping his restaurant afloat, paying the rent, and providing for his family, all of which inevitably pull the entire family into one ridiculous situation after another. In this economy, Bob’s struggles feel more relevant than ever. The difference is that Bob’s Burgers reminds us that you don’t have to face those challenges alone. With his outgoing wife and three eccentric children by his side, Bob has a family that genuinely cares about one another. That wholesome dynamic gives the show’s humor a more layered quality, finding humor in the mundane and stressful moments that make up everyday life.

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Release Date

January 9, 2011

Network

FOX

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Showrunner

Loren Bouchard

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Directors

Tyree Dillihay, Anthony Chun, Jennifer Coyle, Wes Archer, Ian Hamilton, Tom Riggin, Bernard Derriman, Don MacKinnon, Kevin Wotton, John Rice, Simon Chong

Writers

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Lizzie Molyneux-Logelin, Wendy Molyneux, Kelvin Yu, Scott Jacobson, Greg Thompson, Katie Crown, Aron Abrams

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Brad Paisley struggled to contain his emotions while honoring Dolly Parton just a few days after her death at age 80. During his concert in Bridgeport, Connecticut, the country singer reflected on their 2005 duet, “When I Get Where I’m Going,” and admitted that the song about death and heaven now carries a heartbreaking significance he never imagined when they recorded it more than 20 years ago. As Paisley became visibly choked up, the audience at Hartford HealthCare Amphitheater responded with loud cheers.

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Paisley performed “When I Get Where I’m Going” during his Thursday, August 27, concert before sharing the story behind Parton’s involvement in the song. “When I recorded that song and sent it to Dolly, I said, ‘A couple of people in my life I’ve lost, and I didn’t know if this would relate to you.’”

Parton immediately recognized the emotions contained in the song and agreed to lend her voice to it. “And she immediately said, ‘Yes, let me sing on that,’ and did,” Paisley recalled.

The 53-year-old singer then became visibly emotional as he considered how the duet’s message had changed following Parton’s death on Tuesday, August 25. “I never thought it would be about her, but it is,” he told the crowd. “It’s everything she believed, and we will always love you, Dolly.”

Country Singer’s Dolly Parton Tribute Moves The Crowd

Paisley’s words were followed by an on-screen tribute to his longtime friend and collaborator. A smiling photograph of Parton appeared behind him alongside the message, “We Love You, Dolly.”

Several additional images of Parton, including pictures of her with Paisley, were shown throughout the performance.

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Kimberly Williams-Paisley Recalls The ‘Dolly Effect’

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Paisley’s wife, actress Kimberly Williams-Paisley, also shared her own memories of working with Parton. The “Father of the Bride” star appeared in an episode of the Netflix anthology series “Dolly Parton’s Heartstrings,” which transformed the stories behind Parton’s music into individual episodes.

Williams-Paisley worked with Parton on “Jolene” and recalled battling difficult weather while filming a scene outside. “Years later, I got to work with her on her Heartstrings series for @netflix. We had a scene together in ‘Jolene’ outside in a bandstand,” she explained.

“On the day we filmed, there were crazy winds and sideways rain,” she continued. “We were trying to keep a strict schedule, and so we soldiered on in the storm. My hair, my wardrobe, my script pages were flying every which way as we got ready to shoot.”

However, the conditions appeared to have little effect on Parton when she arrived. “When Dolly arrived, it was like the storm stopped, but only around her,” Williams-Paisley wrote. “She glided across the stage, looking gorgeous and prepared as always, with not ONE HAIR out of place. It must have been the Dolly effect.”

She concluded her tribute with a message that echoed her husband’s words from the stage. “Dolly will always live on in her music and in our hearts,” she said. “And we will always love her.”

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Dolly Parton Died After A Brief Cancer Battle

Parton died on August 25 at age 80. A representative for the “Jolene” singer confirmed that she died following a “brief battle with cancer.” The specific type of cancer was not disclosed.

News of her death came only days after Parton spoke publicly about the health problems she had been experiencing following the death of her husband, Carl Dean. “As I’ve shared in video messages throughout the past year, I am dealing with some health issues that I just didn’t pay attention to when I was watching over Carl,” Parton told PEOPLE on August 21.

She explained that she had endured serious medical struggles before and recalled being sidelined for several months during the early 1980s. “You know, this isn’t the first time I’ve had to manage something like this,” she said.

“Back in the early ‘80s, I was down for several months with female issues, and I was struggling with my weight at the time too, so it’s not like I haven’t been through hard times with my health,” Parton added.

Country Icon Continued Working Through Health Problems

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Despite the concerns surrounding her condition, Parton remained focused on completing the projects she still hoped to bring to life. She acknowledged that social media had magnified public interest in her health but maintained that she was continuing to heal and work.

Earlier in the month, Parton appeared virtually at the grand opening of Dollywood’s newest attraction. The singer had initially been expected to travel from Nashville to Pigeon Forge, Tennessee, for the event. However, she explained during her video appearance that she had been experiencing dizziness and dehydration, and her doctors ultimately advised her not to make the trip.

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The virtual appearance would become one of Parton’s final public engagements.

The screen has always been enamored with Agatha Christie. One would imagine nothing less than a rapturous reception for the trailblazer whose 55-year career spanned over 70 novels, short stories, plays, and not one, but two of the world’s most famous amateur detectives. Only four of Christie’s fiction books have yet to make the jump to film or television: Death Comes as the End, Destination Unknown, Passenger to Frankfurt, and Postern of Fate. In 2019, the BBC announced an upcoming Death Comes as the End miniseries helmed by award-winning screenwriter Gwyneth Hughes. They described the project as “a very different proposition from the recent BBC Agatha Christie adaptations,” like the channel’s acclaimed And Then There Were None miniseries from 2015. Although the BBC never officially cancelled their plans, seven years without an update isn’t an encouraging sign.

The Queen of Crime’s prolific oeuvre isn’t just confined to the mystery genre, but Death Comes as the End would indeed be unexpected for anyone unfamiliar with her deep cuts. For one, it’s the only Christie title not set in the 20th century. Generally considered to be literature’s first historical mystery, the standalone takes place around 2000 BC in the Egyptian city of Thebes. Death Comes as the End‘s fully Egyptian ensemble — no quirky Belgium-born investigators here — also makes it an outlier within the Christie canon. With these eye-catching selling points in its favor, why hasn’t this overlooked gem gotten the adaptation it deserves?

What Is ‘Death Comes as the End’ About?

Renisenb, the recently widowed daughter of a wealthy Ka-priest, returns to her family home and reunites with her brothers, sisters-in-law, grandmother, and other close ties. Her father’s welcome isn’t as congenial, since Imhotep unexpectedly brings a young, beautiful concubine named Nofret back with him. Nofret’s power-play manipulations swiftly become the catalyst for the household’s undoing; their guaranteed inheritances, their routines, and their masks of civility slip in her presence. When her corpse is found at the bottom of a cliff, anyone could’ve done the deed — except the suspects also die one by one. Renisenb and her loved ones aren’t cursed by the gods or haunted by Nofret’s vengeful ghost, but at the mercy of a serial killer’s human hands.

Although the setting and timeframe differentiate Death Comes as the End from the rest of her catalog, Christie shifting from contemporary to historical isn’t out of left field. Death Comes at the End was published in 1944, 14 years after Christie married archeologist Sir Max Mallowan. She frequently accompanied her husband on his expeditions and derived inspiration from their experiences, “real Egyptian letters from a man named Heqanakhte,” and extensive research consultations with her Egyptologist friend, Stephen Glanville.

Death Comes as the End‘s unique framework never once feels like an inauthentic gimmick plastered atop Christie’s hallmarks. This is a seamless union. It’s as top-notch as readers expect from a writer with a piercingly thorough understanding of narrative structure, reader expectations, and human psychology — a psychological thriller rife with blood-curdling claustrophobia and vicious moral deviancy by way of organic character studies. Christie’s prevailing thematic thread posits that anyone, no matter their good intentions, class standing, or formative circumstances, is capable of violence. Death Comes as the End doubles down by implying that time doesn’t matter. Human nature’s insecurities, fears, jealousies, vendettas, and corrupting desires are the same, even 4,000 years apart.

Accordingly, Christie dissects Renisenb’s dysfunctional relatives to their bones. Although no one is fully evil, Nofret included, the family’s repressed spite melts away their pleasant exteriors like acid once she disrupts their equilibrium. Christie’s heroine feels less textured in comparison, but Renisenb’s naivety does emphasize her situation’s horrifying tension. She’s an unconventional investigator because she takes it upon herself to understand why her family keeps dropping like flies, and avoid the same lethal fate. She must also go without the reassuring conveniences of an experienced detective or forensic evidence. Renisenb only has her instincts and her insightful allies.

‘Death Comes as the End’ Deserves the Same Prestige Adaptation Treatment as Agatha Christie’s Most Famous Titles

Since the numerous murders rival Christie’s brutal masterpiece And Then There Were None, Renisenb discovers the culprit more through a process of elimination than by assembling decipherable-in-retrospect clues and formulating theories. Depending on who you ask, that distinction either makes Death Comes as the End an enjoyable change of pace or a less effective misdirection than the Christie default. It’s still a tightly paced and emotionally satisfying novel buoyed by a descriptive exploration — albeit one penned by an Englishwoman — of Egyptian history, mythology, and culture, specifically the 11th dynasty’s perspective on death.

Take one glance at how many recent and upcoming Christie adaptations exist, and it’s clear her name carries enough singular prestige to intrigue audiences. Hercule Poirot and Miss Marple grab extra eyeballs, but they aren’t necessary. This reception alone justifies investing in adaptations of Christie’s lesser-known projects. Where Death Comes as the End is concerned, the budget required to either mimic or film on location may have given executives pause. The Egyptian characters might’ve caused the same reaction, although there’s no direct evidence to support this specific speculation.

Even though Western viewers have mostly engaged with Hollywood’s versions of Egyptian stories, the general public’s consistent interest indicates they might be quite receptive to a Christie tale that’s divorced from the cozy, 1930s-era English village aesthetic. As long as it’s presented accurately and without exotification, bringing Death Comes as the End to the screen is long overdue.

In its century-long existence, NBC has dished out some of the most iconic shows and series of all time on American broadcast television. Across dramas, sitcoms, procedurals, live events, and more, the first and oldest major broadcast network has proudly remained a home to titles that have not only shaped American pop culture but have also become global cultural landmarks. Especially during the late ’80s and through the ’90s, primetime shows, dubbed as Must-See TV, drew large audiences. Dramas like ER and sitcoms like Cheers and Seinfeld raked in massive viewership for the network, a trend which continued with Friends.

All of these NBC productions have since remained television legends with massive followings, amassing fans from around the world and breaking records for television networks. While many of these shows, or parts of them, might not seem as culturally relevant today, at their time, they were definitive of their genre. With viewership of millions in many episodes, these shows played an undeniable part in ushering in the Second Golden Age of American television. Now, without further ado, here’s a look at some of the most-watched episodes in NBC history.

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“Stress Relief” (Season 5, Episodes 14 and 15)

‘The Office’ (2005–2013)

Image via NBC

A cult hit turned pop culture sensation, Greg Daniels’ The Office boasts some of the greatest episodes seen in the history of American sitcoms that changed workplace comedy forever. While the workplace misadventures of the staff of The Dunder Mifflin Paper Company continued for nine years, the show’s most-watched episode came halfway through, in Season 5. The two-parter season finale features a fire drill in which Dwight (Rainn Wilson) fakes an office fire to test his coworkers’ preparedness, Stanley (Leslie David Baker) suffers a heart attack, and Michael (Steve Carell) plans ways to relieve stress in the office. The episode also stars Jack Black, Jessica Alba, and Cloris Leachman as guest stars.

“Stress Relief” arguably features the most chaotic cold open of The Office and perhaps of sitcom history, and is also the most high-energy episode of the show. Airing immediately following Super Bowl XLIII, the season finale garnered 22.5 million views and earned the highest rating of the show’s entire run. Packed with meme-worthy, self-contained gags that resonate even with first-time viewers, “Stress Relief” is often considered the peak of The Office.

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“Goodnight, Seattle” (Season 11, Episodes 23 and 24)

‘Frasier’ (1993–2004)

Image via NBC

Created as a spin-off of Cheers by David Angell, Peter Casey, and David Lee, Frasier grew to become much more than just an offshoot of its legendary parent show. The endeavors of psychiatrist Dr. Frasier Crane (Kelsey Grammer) in helping troubled people in Seattle as the host of a call-in psychiatry radio show while he struggled with his personal life were both humorous and heartfelt at the same time. The critically hit sitcom ended with its two-part, 264th episode, “Goodnight, Seattle,” where the titular therapist signs off from the radio station, quoting Alfred Lord Tennyson’s “Ulysses,” bidding farewell not only to the city he helped for over a decade but also to those who watched him from across the screen.

Frasier was an important hit for NBC, arguably just as much as Cheers, garnering widespread acclaim and often surpassing the accolades of its parent. Episodes 23 and 24 of Season 11 garnered over 25 million views and became one of the most-watched series finales in television history. A very emotional goodbye for fans, “Goodnight, Seattle” overturned the typical sitcom status quo and set a new benchmark for how to successfully conclude a long-running sitcom.

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“Hell and High Water” (Season 2, Episode 7)

‘ER’ (1994–2009)

Image via NBC

An iconic NBC drama and one of the network’s longest-running shows, Michael Crichton’s ER reached its peak in the earlier seasons, even though the show ran for 15 years. The second season’s seventh episode, “Hell and High Water,” became a phenomenal success and a cultural milestone for the overall series. Directed by Christopher Chulack, the episode follows the fan-favorite Dr. Doug Ross (George Clooney), who, following his final shift at the County General Hospital, performs a dangerous, televised rescue of a young boy trapped in a flooded storm drain.

“Hell and High Water” attracted a massive 48 million viewers and became critically acclaimed for transforming the popular medical drama into a high-stakes, cinematic thriller. The episode arrived at a time when the medical drama was dominating the television ratings and capitalized on that popularity. Considered a must-watch, the second-season episode of ER marked a new turning point for Dr. Ross, carving a new path for the character and thrusting Clooney to national stardom.

4

“The Last One” (Season 10, Episodes 17 and 18)

‘Friends’ (1994–2004)

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After 10 years and 236 episodes, Marta Kauffman and David Crane’s decade-long television phenomenon ended with its two-part finale, “The Last One.” The final chapter of Friends closed all the long-running storylines, making it worth the wait for fans. Episodes 17 and 18 of Season 10 gave closure to Ross (David Schwimmer) and Rachel’s (Jennifer Aniston) love story as they confess their love for each other, while Monica (Courteney Cox) and Chandler (Matthew Perry) move to the suburbs with their adopted twins. As all of them close the door to Monica’s beloved apartment one last time and head out towards their respective futures, it not only marked the end of an era but became the most emotional moment of the show.

A culture-defining sitcom that is still popular today (well, mostly), Friends forever changed how people viewed comedy, turning its characters into beloved and instantly recognizable icons. And that is why it was no surprise when the series finale drew a whopping 52.5 million viewers. Ranking fifth among the most-watched television finales in U.S. history, “The Last One” remains a major viewership milestone for NBC.

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“The One After the Super Bowl” (Season 2, Episodes 12 and 13)

‘Friends’ (1994–2004)

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Even though the series finale of Friends remains its most popular and memorable episode, the credit for the highest-viewed episode by numbers goes to another two-parter, “The One After the Super Bowl.” The episodes follow Ross, who finds out that his former pet monkey, Marcel, has been hired for a film being shot in New York City. As he sets out to see him, Chandler has a chance encounter with an old friend with whom he had a complicated history. The season finale also became noteworthy for featuring guest stars like Julia Roberts, Brooke Shields, and Jean-Claude Van Damme.

NBC’s attempt to schedule such a prominent episode of an existing, semi-new series in the high-profile post-Super Bowl timeslot turned out to be a phenomenal success. Friends’ Season 2 finale garnered a massive viewership of 52.9 million and remains the show’s most-watched episode. It also became the highest-rated scripted episode for a post-Super Bowl broadcast and brought massive exposure to the sitcom, eventually pushing it to the top of the network charts in the following seasons.

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“The Finale” (Season 9, Episodes 22 and 23)

‘Seinfeld’ (1989–1998)

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Larry David and Jerry Seinfeld’s highly influential sitcom classic Seinfeld broke all conventions of comedy television with no emotional sentimentality, no personal growth, and no moral takeaways. Neither did it end with a bang. Seinfeld’s nine-year run ended with the most absurd final episodes people had seen in sitcoms at the time. In “The Finale,” Jerry (Seinfeld), George (Jason Alexander), Elaine (Julia Louis-Dreyfus), and Kramer (Michael Richards) are accused of violating a local Good Samaritan law after mocking a carjacking victim instead of helping him, and a massive trial ensues, where various characters from their past testify to their terrible characters.

“The Finale” was massively polarizing at the time of its release, largely due to its lack of moral theme and the intentionally unsatisfying conclusion. And yet, the two-part final chapter of the NBC comedy behemoth garnered a colossal viewership of 76.3 million. Season 9’s Episodes 22 and 23 ironically abandoned its principle of being “nothing,” becoming a plot-heavy moment about everything. And that is largely what drew such a massive audience for the episode, making the Seinfeld finale the second most-watched episode in NBC’s history.

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“One for the Road” (Season 11, Episode 26)

‘Cheers’ (1982–1993)

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For 11 years, Glen Charles, Les Charles, and James Burrows’s classic sitcom served in style and went out with even more style with its 275th and final episode, “One for the Road.” While Sam Malone (Ted Danson) did not close the doors of his beloved bar to his patrons, the last episode of Cheers marked the end of an era for TV’s favorite bartender and his patrons as they drank, socialized, and escaped their daily problems at the titular Boston bar. The episode remains memorable for the bittersweet reunion of Sam and his on-off love interest, Diane (Shelley Long), who come together only to realize how different their worlds are and part ways again.

“One for the Road” makes for a fitting finale that stays true to the show’s premise and honors its core message, both literally and figuratively, and brings back all the major characters one last time. While the sitcom itself was a pop culture sensation during its 11-season run, the finale became a massive national television event. Season 26, Episode 11 amassed 93.5 million viewers when it aired, making it the second-highest-rated series finale of all time in U.S. television history, surpassed only by the finale of CBS’s M*A*S*H.

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Release Date

1982 – 1993-00-00

Showrunner

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James Burrows, Glen Charles, Les Charles, Ken Estin, Sam Simon, David Angell, Peter Casey, David Lee, Bill Steinkellner, Cheri Steinkellner, Phoef Sutton, Tom Anderson, Dan O’Shannon

Directors

John Ratzenberger, George Wendt, Michael Zinberg, Andy Ackerman, James Burrows, Tim Berry, Tom Moore

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Writers

David Lloyd, Kathy Ann Stumpe, Jonathan Stark, Tracy Newman, Andy Cowan, Janet Leahy, Sue Herring, Tom Leopold, Chris Cluess, David Pollock, Elias Davis, Elliot Shoenman, Jeff Abugov, Daniel Palladino, Katherine Green, Jeffrey Duteil, Michael J. Weithorn, Joanne Pagliaro, Eugene B. Stein, Kimberly Hill

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  Billie Bird

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  Lillian Miller

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  Kirstie Alley

  Rebecca Howe

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