This chapter zeroes in on Horrible White People shows’ generic structures, aesthetic innovations, and relationship to sitcom history, focusing particularly on how the sitcom has historically perpetuated an idealized form of aspirational white domesticity and contained, incorporated, or appropriated racial and ethnic diversity. This chapter traces the significant ways Horrible White People shows break from sitcom conventions and highlight how rather than celebrate or romanticize kinship and solidarity as the genre’s traditional focus on idealized nuclear families does, this cycle of bleakly comic, white-cast rom-com sitcoms wallows in the anxieties and neuroses of contemporary alternative family structures and relationships. These failed white subjects disrupt the utopic family sitcom and romantic comedy’s generic structures with serialized plots and replace the fantasy of familial unity and heterosexual coupling with self-destructive narcissism. The darker lighting, isolating single-camera cinematography, and grimmer aesthetics of these shows centralize families that are unable to protect members from the outside world. So, by delving into the high-production-value aesthetics and the usually bleak affects of the cycle, the focus is on the ways in which these dystopian white couples and families function to either justify or come to grips with the failures of contemporary white political and social liberalism. Horrible White People shows challenge the conventions and histories of the sitcom genre to appear progressive, self-critical, antiracist, inclusive, and feminist, but they ultimately recentralize white suffering under the seemingly protective guise of liberal social critique. The disillusion with family and lack of narrative closure in these shows leaves the white protagonists suspended in a space of precarity, unable to fulfill their neoliberal capacity without the safety of family, jobs, or often even ambition.