As Netflix becomes a spot for television binge-watching, ventures into the world of original content with House of Cards, and prepares to make a lot of people really, really happy by finally bringing back Arrested Development, it can be hard to remember what Netflix was originally there for — flix for the Net! Right?

The website is constantly adding a ton of new titles that can often slip by unnoticed if they don’t make it into your homepage recommendations. Amid the weird knock-off movies and forgettable television that is forever at everyone’s fingertips, there is also a pretty good amount of quality comedy on the streaming service.

Here are 82 of the best comedies currently available to stream on Netflix. Try not to watch them all at once. Or do, that doesn’t even sound that bad!

Contrary to what you might think, it takes a lot of talent to portray idiocy. It takes genius to do so week in and week out on one of the funniest shows on TV. The guys behind Workaholics, a team of four best friends, created, write, direct, produce, and star in the hit show on Comedy Central which is returning tonight for the second half of its third season. The show has just been picked up for a 4th and 5th season, so expect the idiocy to continue for quite some time. Here, we sit down with the gang and talk to them about their history, the show, and what we can expect in the coming seasons.

Kyle and Blake, how did you guys meet?

Blake: We first met each other in 3rd grade. We wrote comic books together called the Funyun Protectors. It was about Funyun the chip.

Kyle: We would write it, and I would draw it. We would come up with stories about basically giant Funyuns with a ring of power, kind of like the stone protectors.

What were the big plots?

Kyle: Well there were two main bad guys, fungus and moldy cheese. That’s all I can remember.

And despite everything you guys remained friends till now?

Blake: Well, actually lovers and friends.

Kyle: Brothers and friends and mothers, and lovers.

One of the longest-serving SNL writers of all-time, Paula Pell has been writing for the show since 1995. The past couple years have seen her splitting her time between the seminal sketch series and a burgeoning career as a movie writer, working on scripts for Judd Apatow and Tina Fey and pitching jokes on Apatow-produced projects like Bridesmaids and This Is 40 (which she also produced and helped rewrite). I recently had the chance to talk to Pell about her decade-plus experiences at SNL , what it’s been like transition from sketch to features, and how writing for Tina Fey and Judd Apatow has changed her writing habits.

What’s it been like transitioning from SNL to movies?

It’s been really fun. I started about two and a half years ago. I always wrote a lot of recurring characters on SNL, and I always enjoyed being able to sort of think ‘What’s the next thing for this character?’ which you don’t really do in sketches because you’re just going from 10-page sketch to 10-page sketch and it’s just a moment and just a little blip of comedy. But when I’ve been writing the movie stuff, it’s fun that you can really let your comedic brain expand with a person. If you create a character that makes you laugh and has a lot of potential for comedy, you can do so many things within that because it’s such a long script. You can also have poignant moments, which, you know, we’ve done occasionally on SNL, especially on Christmas shows. Lorne always likes to have a few sweet things on the Christmas show. I always love if I got the green light on being able to end the sketch with a little bit of sweetness or just emotion – not any heavy emotion, not a very special episode of SNL, but just something sweet. So, it’s been fun to do that.

Lost Roles is a weekly column exploring “what might have been” in movie and TV comedy as we take a different actor, writer, or comedian each week and examine the parts they turned down, wanted but didn’t get, and the projects that fell apart altogether. This week, we turn our attention to Chris Farley, the beloved comedy actor who took Second City, Saturday Night Live, and the movie industry by storm before dying a tragic death at the hands of drugs at the age of 33 in 1997. Throughout his career, Farley was tied to some pretty big movie projects that he didn’t get to follow through on, including starring in a sunnier version of The Cable Guy, portraying Ignatius J. Reilly in the “cursed” movie version of the novel A Confederacy of Dunces, and voicing the titular talking ogre in Shrek.  It’s heartbreaking that Chris Farley was taken from us when he was so young, but by examining the projects he was working on just prior to his death, we can get a feel for where his career might have taken him, had tragedy not struck.

Teddy Wayne is the author of the new comic literary novel The Love Song of Jonny Valentine, out today, featuring the titular 11-year-old pop star as he makes his way across America on his “Valentine Days” tour. The book has received stellar advance reviews from a host of outlets, including Michiko Kakutani at the New York Times, who says it’s “sad-funny, sometimes cutting…more than a scabrous sendup of American celebrity culture.” Wayne’s debut, Kapitoil, won a 2011 Whiting Writers’ Award; Jonathan Franzen wrote in The Daily Beast that the novel’s main character, Karim Issar, was a type “that we’re all familiar with but that no other writer, as far as I know, has invented such a funny and compelling voice and story for.”

Wayne regularly writes humor for The New Yorker, the New York Times, Vanity Fair, and elsewhere, and he has the distinction of being the most frequent contributor of all time to McSweeney’s, where he writes the column “Teddy Wayne’s Unpopular Proverbs” (which is, as he pointed out to me, one of the site’s consistently least-popular features).

Today’s Lost Roles is brought to you by Childrens Hospital, which has its season premiere on Adult Swim tonight at midnight. If you’re cool, you’ll watch it.

Lost Roles is a weekly column exploring “what might have been” in movie and TV comedy as we take a different actor, writer, or comedian each week and examine the parts they turned down, wanted but didn’t get, and the projects that fell apart altogether. This week, I interviewed Rob Huebel, star of beloved comedy shows like Human Giant and Childrens Hospital (currently kicking off its fourth season) and movies like The Descendants and I Love You, Man. Huebel was nice enough to chat about some of the parts he’s missed out on, including roles in Modern Family, Saturday Night Live, and shockingly, Mad Men:

I had to take a Xanax to write this article. My anxiety makes it hard to start; my depression and self-doubt make it hard to come to any conclusion. And so, in classic neurotic fashion, I begin with skepticism:

“Are you SERIOUS?” Marc Maron asked me, presumably rhetorically, upon hearing my reason for calling him. I don’t think he was trying to be mean. It seemed like genuine disbelief.

I told him that I was. That I believed — in the face of countless evidence to the contrary — that mental illness was an obstacle to good comedy and not a tool for its deployment. That there exists a culture now where 20-something guys use comedy as their only means of therapy, and that this is corrosive. I don’t mention myself — just vague young comedians.

“I’ve seen a lot of miserable guys do pretty amazing stand-up,” Maron said. He’s probably invited them all on his podcast at this point.

That mentally unwell people are drawn to comedy hardly seems controversial. Why wouldn’t a narcissist want to have a spotlight on him in front of a crowd of strangers? Plenty of vulnerable people are drawn to, say, Scientology; why wouldn’t some of them instead be drawn to the equally expensive cult that is the Upright Citizens Brigade?

Mike Scully is living proof that if you just spend your childhood watching TV and have no college degree or any other marketable skills, you can always fall back on show business.

[Full disclosure: the preceding line was Scully’s invention. Hey, sometimes you take an assist from a professional comedy writer, especially one as accomplished as he is.]

Scully is a television writer and producer perhaps best known as the showrunner for The Simpsons Seasons 9 through 12. Since then he’s had stints producing and writing for shows including Everybody Loves Raymond, Parks and Recreation, and The New Normal, where he’s currently a co-executive producer.

Scully’s won 6 Emmys, was a recipient of WGA’s Lifetime Achievement in Animation Writing Award, and was one of the 11 writers who worked on all 166 drafts of The Simpsons Movie. Not bad for a guy who started out writing jokes for Yakov Smirnoff at 25 bucks a pop.

I recently had the opportunity to chat with Scully about writing jokes for Amy Poehler and Tina Fey, his time at The Simpsons, and advice he has for aspiring television writers.

Having guaranteed Dustin Diamond and his management that I would remain “tasteful” in the publication of this interview, I’ll spare you the details of his sordid exposé on time spent as Saved by the Bell’s brainy misfit Samuel “Screech” Powers.

Yes, Diamond did write a book about SBTB (aptly titled Behind the Bell).

He nonetheless assured me during our hour-long tête-à-tête that he had little to do with the final product. Which is a good thing, as no matter how guilty of a pleasure the read might be (check it out immediately), it’s also rife with bafflingly egregious editorial errors, dubious-at-best rumors, racist inferences, and the gratuitous use of the invective “douchenozzle.”

“My close friends knew something was up because they know I never use that word,” Diamond laughed over the phone with me.

But… an editor friend of mine who was on the periphery of Behind the Bell alleges Diamond was indeed as much of a “diva” as one would expect from the book’s contentious depiction of him.

And then there’s Diamond’s notorious reality show persona culled from the likes of Celebrity Fit Club. Not to mention his infamous entry in the celebrity sex tape craze of the early 2000s. Which I’ll not go into here out of respect for his request to remain tasteful.

Twenty-five years ago, millions of Americans gathered around their sets to watch the launch of a show that would transform late-night TV. This show would fuse comedy and news, offering desk pieces, taped dispatches from correspondents, and interviews with political figures. It would instruct as well as entertain. Yes, a quarter-century ago, America got its first glimpse of a program that had many similarities to The Daily Show With Jon Stewart. It was called The Wilton North Report. The Wilton North Re-what? Exactly.

Still, pop culture history was made that night. I was a writer on the show and forgive me for bragging, but as a late-night programming fiasco, I believe The Wilton North Report stacks up against Thicke of the Night, The Magic Hour, and The Pat Sajak Show. Technically, it was the shortest-lived late-night network show of all time. Fox even gave The Chevy Chase Show more of a chance. And yet Wilton North is worth a moment of remembrance.

“So it’s been 25 years since the greatest writing staff made the worst show in TV history,” laughed Wilton North writer Alec Sokolow when we spoke recently. It’s easy to laugh now, since Alec went on to a long career that includes earning an Academy Award nomination for his original screenplay, Toy Story.

Time flies, especially in Los Angeles where there are no seasons to separate the years. Still, when the holidays roll around, I always think about my first Thanksgiving here.