Twenty years ago, one of the most iconic, envelope-pushing sitcoms of all time premiered on FX. It’s Always Sunny in Philadelphia has been revered for its ridiculously hilarious humor, its lovably horrible characters, and its consistently sharp writing. But after running for over a decade, even the best shows would begin feeling stale. True to form, seasons 13 through 15 clearly dipped in quality, even if they contain immaculate episodes and are still solid overall. Season 16 began clawing back to the greatness we have come to revere this show for, but it has less knockout episodes than your average It’s Always Sunny in Philadelphia season. So going into season 17, I was expecting nothing more than a very fun season of television. Yet somehow, the latest season of It’s Always Sunny in Philadelphia manages to capture the same energy as the glory days of the show. 

What was immediately striking about this season was its continuity. Though this show has always been episodic, this season references events in previous and future episodes seamlessly and actually has a throughline: its takedown of television tropes. From The Bear to Succession to generic high school dramas to Is It Cake?, no show on television is safe from the most unapologetic show on television. But though this could easily have felt like a cheesy gimmick, what makes each episode’s unique commentary on the state of television compelling is how tied it is to the characters. When the gang’s likability gets evaluated by a test audience, it is clearly satirizing the different ways people perceive It’s Always Sunny in Philadelphia, but it is also extremely in character for Dennis to crave validation from others regarding his own deluded self-image. By rooting the messaging in character writing, it not only becomes more fleshed out but also much funnier. Because of course the gang would cling onto meaningless jargon and nonsensical graphs in an attempt to feign class and intellect, only to have it fall apart when Charlie tries to join in! The jabs at prestige television are made, but they never sacrifice the characters in order to craft them. Truly, the writing for this season is on par with the best seasons of the show, even if it is an entirely different beast in terms of its structure and what it aims to tackle.

The other core feature of what makes this season so glorious is how excellent this ensemble is across the board. Every actor receives outrageous material and gets time to shine, especially since the show switches up the character dynamics and pairs up different characters for every storyline. The Dennis (Glenn Howerton) and Dee (Kaitlin Olson) dynamic in particular is glorious this season, as it is delightful to watch the twins desperately cling onto their own perceived superiority as they sink further and further into depravity. Dennis also shares hilarious scenes with his partner-in-crime Mac (Rob Mac) as their bond comes under further scrutiny. The show is undeniably at its best, however, when its entire cast gets to interact with one another. Episodes like “Thought Leadership: A Corporate Convention” and “The Gang Gets Ready for Prime Time” shine because of how naturally the banter between these characters still flows. And while the entire ensemble is firing on all cylinders, Glenn Howerton is the clear MVP of this season with his uncomfortably slipping façade. He has a monologue this season that is as chaotically unhinged as it is heartbreakingly pathetic, and it is the show’s best scene in years. Kaitlin Olson is also fantastic as always this season, with her physicality remaining unmatched. Danny DeVito is largely missing from three episodes this season, but his absence is capitalized on for great character moments with each member of the gang. Unlike in season 13, where Dennis’s notable departure for half of the show dragged down the entire season, the lack of Frank is milked to give more depth to his relationships with the rest of the cast. But of course, when DeVito is on-screen, he steals scenes with his maniacal line delivery. And though no one would dare doubt his comedic prowess, he still more than carries the final episode of the season on his own and manages to find new layers to Frank seventeen seasons in.

What ultimately sets this season apart is how it balances genuine introspection about the legacy of the show with humor no other show on television could touch. Not every single episode is a slam dunk—”Overage Drinking: A National Concern” was entertaining but built to a punch line that the season exploited heavily in its marketing—but the risks in each one are admirable nonetheless. As a whole, it serves as a collection of loving digs at the state of television that demonstrates how vital this series still is. Though a defining feature of It’s Always Sunny in Philadelphia is that its characters do not change, season 17 proves that the show has matured over time. It is not quite the same series that it was in its prime. It never will be again. But this season is evidence that by experimenting with its storylines and its structure, the freewheeling spirit of the best seasons of the show remains intact. 

9/10