15 Best Modern Family Episodes Ranked

In an age of sitcom reboots and sequels, is it too much to ask for one more season of "Modern Family" at some point? The hit ABC sitcom with a stellar ensemble cast ran for 11 seasons between 2009 and 2020, and it will likely be remembered as the last family sitcom to dominate broadcast television before streaming gobbled everything up. It explored the love lives, parenting styles, and relationships of three couples within the same non-traditional (at least by 2009 standards) family tree.

Sadly, unless that rumored Rob Riggle spin-off somehow presents co-creator Steven Levitan with his golden opportunity to write the next great multi-cam sitcom, we've likely seen all we ever will of the Pritchett-Dunphy-Tucker-Marshall family. But before you rush off to watch one of the many great shows that followed in its footsteps, let's revisit the 15 best "Modern Family" episodes — ranked by humor, heart, and how much they made us wish this was our family too.

"I just had to plug him in. It's a nice reversal from when I had to pull the plug on my dad in the hospital."

Season 6 of "Modern Family" is mostly remembered by fans for starting to show the series' unavoidable growing pains as its once novel premise struggled to carry it much further (especially as sitcoms with non-traditional families became the new standard). With "American Skyper," however, it managed to have a little classic Pritchett family fun before getting totally bogged down in predictable overarching storylines.

The episode takes place at Alex Dunphy's (Ariel Winter) graduation party, during which Phil is only able to be present via a tablet strapped to a remote-controlled stand. The meat of the story concerns his involvement in Haley Dunphy's (Sarah Hyland) love-triangle with her adorkable crush Andy (Adam DeVine) and his longtime girlfriend Beth (Laura Ashley Samuels).

"They didn't press, it was glancing."

Admittedly, "Moon Landing" shares a problem with much of the first batch of "Modern Family" episodes, in that it over-relies on the sort of played-out cultural stereotypes that dragged down the sitcoms "Modern Family" was apparently trying to subvert. Grumpy old patriarch Jay Pritchett (Ed O'Neill) is distraught that he had accidental physical contact with his gay son-in-law Cameron (Eric Stonestreet). Meanwhile, Jay's second, much younger wife Gloria (Sofia Vergara) needs legal advice from Cameron's husband Mitchell (Jesse Tyler Ferguson) because her poor driving caused an accident. Finally, beleaguered, type-A stay-at-home mom Claire (Julie Bowen) is trying to overcome insecurities about not having a career.

But while "Moon Landing" starts in a place that's a bit too familiar, it more than makes up for this by taking these tropes in new directions that — to varying degrees — start to interrogate why they exist in the first place. Like the titular historical event, this episode is quietly "one small step" for the series and for the sitcom genre as a whole toward something new, showcasing how "Modern Family" worked as a transitional work that paved the way for more openly subversive sitcoms down the road.

"Listen, I know that you're concerned, but I'm designing t-shirts now, and they're going to be huge. Also medium and small."

The best episodes of "Modern Family" are as funny as they are moving, and there are few examples of this as memorable as the season 3 finale "Baby on Board." The episode largely focuses on Mitchell and Cam as they abscond with Gloria to another city to witness the birth of a baby they plan to adopt. Their unique dynamic as a trio is more amusing than ever here, even as the culmination of this season-long journey leads to an unexpected end and a startling cliffhanger.

"Baby on Board" is a turning point for the series as a whole, fully committing to storylines that irreversibly change characters. It's poetic that this episode gets to serve this purpose, as it's broadly about how the various, seemingly world-changing milestones you experience growing up may unfold in imperfect ways — when your dads miss your first recital, your grandad and your step-uncle may step up to save the day; maybe your first prom is with someone who trusts you rather than a future boyfriend; and graduating high school doesn't always leave a clear path ahead. The episode earned Steven Levitan and Ed O'Neill Emmy nominations, with Levitan winning in the directing category.

"What people do in the privacy of their own sports arena should be their own business!"

Speaking of season finales, the first season of "Modern Family" ended with "Family Portrait," a perfect cap to its premiere outing that also confidently states and affirms everything the series overall aimed to be. The episode uses the framing device of an impending family portrait (painstakingly planned by Claire) to really emphasize how dysfunctional this family is.

Mitchell skips out on Cameron's wedding performance because he's afraid of small talk, and winds up destroying their home fighting with a bird; Phil (Claire's husband, played by Ty Burrell) and Gloria take their children to a Lakers game and wind up embarrassing themselves on the jumbotron; and as all this unfolds, Jay is trying to make his younger years sound even remotely interesting to his grandson Luke (Nolan Gould).

As this very dysfunction threatens to ruin the portrait and the day entirely, Jay (and the rest of his family) slowly realize it's also what actually makes their lives interesting and beautiful. Jesse Tyler Ferguson earned an Emmy Award nomination for this episode.

"Did you guys notice that Dad had the same look on his face as when he smells a new car?"

Even in the 21st century, it isn't uncommon for family sitcoms to avoid the fact that, shockingly, the parents have sex sometimes. "Modern Family" not only rejects this prudish and unrealistic trope, but better yet, it confronts it in the most uncomfortable way possible.

On the morning of their anniversary, all three of the surprisingly well-meaning Dunphy kids (having put aside their usual bickering to prepare breakfast in bed for their parents) experience the horror of walking in on their parents "in the act." The other families also deal with potentially mortifying events as well, with Gloria and Jay trying to prevent Claire from seeing an inflammatory email, while Mitchell and Cam struggle to save face with a mom they want to impress.

In addition to creating a sex-positive yet realistic moment for TV, "Caught in the Act" sees "Modern Family" try its hand at cringe comedy with satisfying results. For writing the episode, Jeffrey Richman ("Frasier," "Uncoupled") won an Emmy.

"Does he have a mallet?"

From Halloween and Christmas to a very special day we'll get to a bit further down, nobody does a holiday episode quite like "Modern Family." In the context of the series' overarching themes of changing times, social progression, and tradition, each one is usually used to explore how new and maybe uncomfortable celebrations remind us of why we celebrate holidays in the first place.

In "My Funky Valentine," all of the series' three major couples are struggling. Phil and Claire try to rekindle their younger, sexier selves only to land themselves in a humiliating situation. Jay drags Gloria to see one of his favorite comedians perform at a hotel (guest star David Brenner, playing himself), but bails when he gets insecure about their age-difference. Finally, Cam and a depressed Mitchell are stuck babysitting a heartbroken Manny (Rico Rodriguez). The episode stands out for us among the holiday episodes of "Modern Family" specifically, not only because it's one of the series' funniest episodes overall, but because it finds something refreshing in the midst of familiar romantic anxiety.

"And he's gonna get that from his weird gay clown uncle?"

If there's a single episode that could crown Cameron Tucker as one of the greatest sitcom dads/husbands, it would be "Fizbo." In the episode (which earned Eric Stonestreet a well-deserved Emmy Award for Outstanding Supporting Actor in a Comedy Series), Cam adopts his iconic clown alter ego in defiance of his husband Mitchell, who doesn't want to be embarrassed by him in front of the family at Luke's birthday party. The entire Dunphy family is hard at work to make sure the day is entertaining enough for their oft-overlooked son, but as the episode's clever framing reveals early on, the event is destined for disaster.

Though Stonestreet's performance is the real centerpiece here (buoyed by an unending string of blithe observations from his husband, each brilliantly delivered by Jesse Tyler Ferguson), the episode is surprisingly riveting from start to finish thanks to its non-linear structure. There's a constant sense of tension that gets intensified by each new element introduced to the plot.

"It's gonna make me cry isn't it, you beautiful, corn-fed son of a b****?"

It may be cheating, but the final two episodes of "Modern Family" are really a single story — one about how everything changes, and everything doesn't. (As much as we've tried to avoid spoilers so far, there are a few unavoidable plot points we want to touch on here, for those who have yet to finish the series). While the entire series has been anchored by the Pritchett family tree, the finale wisely brings the show to a natural conclusion by reversing this dynamic, sending everyone in different directions like leaves in the wind as they chase down new lives.

Mitchell's choice that kicks off the episode in earnest is the most momentous, as he selflessly decides to move their family to Missouri, so Cam can accept his dream job after years of (mostly) being a stay-at-home dad. Similarly, Jay is preparing for a trip to Colombia, so he can finally spend time in Gloria's world, while the kid-oriented Dunphys prepare for an unexpectedly empty nest. After a few uneven seasons, this resolution returns to the series' roots with ease, and it leaves "Modern Family" on a surprisingly triumphant note.

"Son of a b****, I'm Phil."

Gloria's pregnancy at the end of season 3 was a perfectly disruptive evolution for "Modern Family," setting the stage for a season full of unpredictable stories for the series' steadiest couple. The best of these is, of course, "Fulgencio."

At the christening of the newborn son he had with Gloria (for whom the episode is titled), Jay is finally forced to contend with her family head-on. Through guest stars Elizabeth Peña and Stephanie Beatriz, he experiences the same kind of discomfort he wields over the likes of Phil and Cameron, allowing the audience to see a side of Jay we hadn't up until that point. With Phil specifically serving such a key role in the background (in terms of his relationship with Jay driving home some of the episode's central themes), it's hilariously fitting to watch him parody "The Godfather" and one of cinema's greatest puppet masters in a bizarrely organic way.

"There's no easy way to say this... Mitch and Cam have a whole thing they want to do."

"A Year of Birthdays" proves that, even when it doesn't seem to make perfect sense, a strong concept can do wonders in the hands of the "Modern Family" writing team. The episode revolves around the framing device of Haley's labor, preparing to give birth to the twins with her longtime, on-again-off-again boyfriend Dylan (Reid Ewing). As the entire Pritchett family waits in suspense, they reminisce about their most recent birthdays.

Does that connect 100% to the matter at hand on paper? Not really, but "Modern Family" sells it flawlessly as a creative means of tracking the journey toward Haley's delivery, from the first family member she tells to the moment the whole family finds out, all while introducing some fun wrinkles along the way. There are also several sweet callbacks to episodes early in the show's run.

"Am I the only one that sees that these two idiots are high as kites?"

"The Party" is an unfortunately rare example of "Modern Family" recapturing some of that old Pritchett magic post-season 6, delivering an episode that swings for the fences in all of its storylines while also finding a way to wrangle them back together for a naturally chaotic conclusion. With everyone out of the house for the evening, Luke and Manny attempt to throw a party, but they accidentally draw the entire family back home when Manny sets off a smoke alarm lighting a cigar, because of course he does.

"The Party" gets a lot of mileage out of this premise by sending Mitchell and Phil — a delightfully rare pairing for the show already — on their first excursion with weed, forcing them to deal with Luke's transgressions while hiding their own from the rest of the family. It also technically takes place on April 20th (as slyly confirmed by a dark fun-fact Cam brings up about it being a certain historical dictator's birthday), which arguably makes it the most explicit 4/20-holiday episode ever broadcast on ABC.

"Vegas, you have a gambling problem, and her name is Claire."

Probably one of if not the most star-studded episodes of "Modern Family," "Las Vegas" is a winning hand that gives its ensemble of talent so much comedic runway that it almost makes one dizzy. All three couples escape from California to spend a weekend at an upscale resort in Sin City, getting dragged into their own chaotic misadventures once they arrive.

As they run into an old flame during his bachelor party, Mitchell and Cam have some of the episode's best moments — thanks in no small part to Fred Armisen, who plays ex-boyfriend Langham. Meanwhile, "Parks & Recreation" filibuster master Patton Oswalt plays a pompous magician Phil's desperate to impress, and Stephen Merchant plays the hotel's confused butler. As heartwarming and compelling as the show can be psychologically, nothing compares to the singular energy "Modern Family" captures when it lets loose and unleashes itself as a farce.

"What are you looking for? Mona Lisa? McDonald's?"

Just as family trips are treasured for the shared memories they create, the destination episodes of "Modern Family" have a special place in our hearts for how they help each of the characters to bond and grow through similar experiences. "Paris" is no different, though it is significantly funnier than its peers.

The justification for this European excursion is that Jay is receiving some sort of obscure closet industry award in Paris, an A-plot that — while amusing and endearing in its own right, especially with how it revives his nemesis Earl Chambers (the late Jon Polito) one last time — is slightly outshined by the B and C stories. Indeed, the impact of all three is arguably inverted with regard to their prominence, as Phil and Claire's hilarious encounter with French magician (Arnaud Binard of "Emily in Paris") is somehow still upstaged by Mitchell's solo excursion through the city. "There is no reason to attack me" is easily one of the most memorable lines from the show's later seasons.

"Sorry, dude, it's on the calendar."

On one hand, it doesn't feel right to claim that "Modern Family" peaked so early in its run — on the other, it's as hard to overstate this episode's quality as it is to find another episode that matches it in terms of impact. As it introduces the audience to all three interconnected families with perfect pacing and fluidity, it manages to instantly nail the balance of emotional storytelling and irreverent humor that would make it a small screen staple for the next decade.

"Modern Family" set out to upset everything you thought you knew about family sitcoms, and it did so in a way that maintained the comfort, style, and tone that people want from the subgenre. For the pilot, co-creators Steven Levitan and Christopher Lloyd earned an Emmy Award for Outstanding Writing for a Comedy Series.

"Gross, I've been playing Candy Crush with my mother!"

After six seasons, "Modern Family" could've easily continued to coast on its hard-earned success. While some fans may argue that it more or less did, we'd argue that the brilliantly conceived "Connection Lost" is at least some evidence to the contrary. Pre-dating the wide release of Universal's seminal screen life horror movie "Unfriended" (and inspired by the 2013 short film "Noah," the makers of whom were actually invited by Steven Levitan to help with "Connection Lost"), the action of the season 6 episode takes place entirely on Claire's laptop screen as she attempts to find Haley while stranded in an airport. The two had an explosive fight the night before (even by their standards), creating a fissure in their relationship that Claire now worries might've pushed Haley to secretly elope with Andy.

Of course, Claire's fears are rooted in guilt over her own elopement as a young woman, with the episode subtly using its hilarious chaos to examine the beautifully cyclical dynamic between her and Haley. As she's forced to trust her missing daughter, she's also forced to forgive herself for the same youthful transgressions she wants to shield Haley from. Formally subversive, consistently hilarious, and surprisingly touching, "Connection Lost" is a perfect example of everything that made "Modern Family" one of the greatest sitcoms of all time.