Is it a Sitcom? Or Five Rules to Tell if You're Watching (or Writing) Counts as One
The term "sitcom" gets thrown around a lot. These days, any comedy series is at risk of being labelled a sitcom. But true situation comedy follows some very specific rules.
Does it matter? Not if you’re not writing one. But hey, you’re here now — may as well keep reading.
1. There’s a Fixed Situation
At the heart of every sitcom is, well... a situation. A consistent one. A workplace, a flat-share, a family home - the setting is steady, and it shapes the comedy.
Yes, characters might go clubbing or out to a quiz night (The Office), but we’re still firmly rooted in the world of Wernham Hogg. The setting gives sitcoms their shape.
You mean the “situation” in situation comedy actually means something? Wild, right?
As an aside, it’s often argued that all sitcoms are about family, even the ones set in offices. But that’s a different debate.
2. Recurring Core Characters
The same group shows up every week. Imagine an episode of Absolutely Fabulous without Edina or Patsy. Sure, in Jennifer Saunders' hands Gran at the garden centre might still work... but wouldn’t we feel a bit cheated?
Supporting characters return too. Think Gunther, Chris Finch (bloody good bloke), Jean-Ralphio — they’re part of the fabric.
And characters don’t really change. At least, not quickly. They can learn something at the end of an episode, but by next week, they’re usually reset to factory settings. Phil Dunphy, Homer Simpson, anyone?
3. They’re Trapped Together (and It’s Glorious)
Characters in sitcoms clash. That’s the point. They’re stuck in the same space - physically or emotionally - and can’t escape.
Even if they love each other (Frasier and Niles), their dynamics spark conflict. Even if they insult others, they’re not going anywhere (Dina in Superstore, looking at you).
Unlike sketch shows, sitcom humour isn’t just about punchlines — it’s about character-driven conflict.
4. Self-Contained Episodes
Sitcoms tend to wrap things up neatly each week. You can have double or triple episodes, sure, but typically you get a full story per episode.
Ross buys a sofa. Ross refuses delivery. Ross ropes in friends. No amount of ‘pivoting’ can get the sofa upstairs. Ross cuts it in half. Ross can’t return it.
(Friends, obviously.)
(Friends, obviously.)
Next episode? Rachel buys a cat. Dear reader, we never talk about the sofa, or that cat, again.
Yes, there can be long-term arcs (Ross & Rachel one-and-off), but the week-to-week plots are standalone.
5. The Tone is Light and Consistent
Sitcoms are usually feel-good. Common sense (or chaos) prevails, and there's closure by the end.
That’s not to say they can’t have heavy moments. Mac Finds His Pride in It’s Always Sunny in Philadelphia was unexpectedly moving, but the tone overall stays in the light-to-heartwarming lane.
And What About Format?
Multi-cam, single-cam, filmed in front of a live audience or shot on an iPhone - doesn’t matter. The format isn’t what makes a sitcom. It’s the fixed situation, the recurring characters, the self-contained stories.
Is the Sitcom Dead?
The media loves to ask. A recent BBC audience survey lumped ‘comedy’ and ‘entertainment’ together. They asked if we wanted more Gavin & Stacey and Strictly Come Dancing... in the same sentence. Meanwhile, factual and documentary had their own categories. Hmm.
Let’s be honest, though - this isn’t just a BBC issue.
I tried hard to name British sitcoms from the last 20 years and came up empty. If sitcom isn’t dead, it’s at least in a coma, and someone’s debating whether to pull the plug.
That said, the enduring popularity of Mrs Brown’s Boys shows people are still hungry for a laugh, even if critics aren’t.
Maybe now, with everything going on in the world, the time’s right for a sitcom comeback.
Couldn't we all do with a laugh?
Any comments or thoughts, let me know below
Thank you!
