Top 20 Funniest Superhero Parodies Ever Made

“The Venture Brothers” (2003-18)
Marvel’s first family - the Fantastic Four - proved fertile ground for ridicule in the form of Team Impossible from “The Venture Brothers.” The Impossibles are a flamboyant family of villains led by the dashing yet overconfident Impossible Man. Their dramatic, heroic personas and outlandish antics poke fun at Reed and Sue Richards. Where the Richards are confident, the Impossibles are ridiculous. Despite their grandiose self-image, their actions often reveal a lack of competence. They are a supremely dysfunctional family that are more often self-sabotaged than defeated.

DC Comics (1997-)
Comic book legend Garth Ennis created Section 8, his brilliant satire of superhero teams, for DC Comics in 1997. Unlike D.C.s shining Justice League, Section 8 is a ragtag group of absolute lunatics. These heroes are pure misfits, whose catastrophic errors provide some of DC’s funniest moments. It features members like Dogwelder, who welds dogs to villains, and the Defenestrator, a 'hero' who throws people out of windows. They are less heroes who have adventures, and more maniacs on capers. Section 8’s shenanigans provide a refreshingly irreverent take on superhero storytelling.

“Captain Underpants: The First Epic Movie” (2017)
Captain Underpants is a straight up off-the-walls spoof of superheroes, created by Dav Pilkey. Mr. Krupp is a mean elementary school principal. When George and Harold - a pair of his students - hypnotize him, Krupp transforms into the titular hero. Clad only in tighty whiteys and a red cape, Captain Underpants is a defender of justice. His "powers" tend to lead to more chaos than heroism, poking fun at the overly serious and infallible nature of traditional superheroes. The 2017 movie adaptation, "Captain Underpants: The First Epic Movie," captures the spirit of the books with its playful animation style and sense of humor.

“SpongeBob SquarePants” (1999-)
Gen Zers will be the most familiar with the International Justice League of Super Acquaintances from SpongeBob SquarePants. Our favorite underwater denizens don superhero costumes to fight the forces of E.V.I.L. SpongeBob becomes the superfast Quickster; Patrick is the stretchy Elastic Waistband; Squidward is Captain Magma and can shoot lava; and Sandy is Miss Appear, who can become invisible. Despite these new personas, the characters lose none of their absurdity, making their super squad a team of chuckleheads. Their trademark combination of childlike enthusiasm and awkward ineptitude are more whimsical than action-packed.

“Darkwing Duck” (1991-92)
In the 1990s Disney put forward a number of duck-centered cartoons. A millennial favorite is “Darkwing Duck,” an absolutely brilliant superhero spoof. He is a direct parody of classic pulp heroes like The Shadow or Dick Tracy. The series follows Drake Mallard, an ordinary suburban dad by day and the self-proclaimed "terror that flaps in the night." As Darkwing Duck, he lampoons classic superhero tropes: his exaggerated bravado, catchphrases, and a penchant for dramatic entrances all often lead to hilarious misadventures. With his sidekick, Launchpad McQuack, and his adopted daughter, Gosalyn by his side, Darkwing fights an entire rogues' gallery reminiscent of classic DC and Marvel baddies.

“Hancock” (2008)
Hancock provides a refreshing take on the superhero genre. Its version of a Superman-like character is a disconnected, depressed, and solitary person with alcohol use disorder. He's seemingly immortal but has amnesia, which is disconcerting. Will Smith plays the troubled superhero who has little regard for the consequences of his actions. He's incredibly abrasive as a successful means of isolating himself from others. Hancock’s first connection in decades comes from the unlikeliest source: a PR specialist. His struggles with his powers are in full view of the public, and his new friend tries to reform his image. It's one of the most nuanced and relatable versions of Superman we've ever seen.

“Dexter’s Laboratory” (1996-2003)
“Dexter’s Laboratory” answered a very funny question that someone should have asked: What if someone like Johnny Bravo were an Avenger? The Justice Friends were a slapstick pastiche of Earth’s Mightiest Heroes that was a regular feature of “Dexter’s Laboratory.” Comic fans could recognize farcical versions of their favorite heroes lurking just beneath the surface. Major Glory, the Infraggable Krunk, and Valhallen are versions of the Avengers in everyday life. We discover that superheroes are the worst possible roommates as we see them deal with the mundane problems of everyday-life. They were noted for being a mainstream parody that showed superheroes as dysfunctional as they are bigger than life.

“The Toxic Avenger” franchise (1984-)
Most superheroes tend to have a tragic origin story and/or a bizarre source of their super powers. “The Toxic Avenger” utilizes both, albeit taken to a hilarious and campy extreme. Melvin is a hapless, nerdy janitor at a health club whose life is made miserable by evil customers who mistreat him. But when a ridiculous accident transforms him into a grotesque, muscle-bound hero, he gets his revenge. Unlike Captain America or Superman, The Toxic Avenger's super abilities come with the cost of physical ugliness, which is matched only by the ugliness of his tactics. The only thing separating him from a slasher like Freddy Krueger is the vileness of his victims.

“South Park” (1997-)
The beauty of a long-running satirical show like “South Park” is that sooner or later almost every aspect of our culture gets targeted. The children of “South Park” love to imitate what they see in pop culture, including superheroes. Led by Eric Cartman as the egotistical Coon, the boys of South Park call attention to the exaggerated self-importance and flawed motivations of superheroes. Their antics are rife with somewhat skewed childish imagination, utilizing both bizarre costumes and convoluted plots. Unsurprisingly, this group is totally dysfunctional and lacks any genuine heroism. They thirst for recognition above all else, absolutely roasting more self-serious works from mainstream comic book heroes in the process.

“Super” (2010)
Frank Darbo is an instantly relatable and recognizable guy: he's completely dissatisfied with his life, whose only highlights are his wedding day and once stopping a purse snatcher. In a fit of depression after his wife leaves him, Frank seemingly has a religious vision. This experience leads him to become the Crimson Bolt, a makeshift vigilante out to fight street crime. He has no powers, no training, and criminals see him as utterly ridiculous. He is a costumed hero in a world where that is unbearably stupid. He is too rageful to be heroic in any real sense, unlike the polished comic heroes we're used to. "Super" uses dark comedy and gritty tone to lambaste the genre's often unrealistic and glorified portrayal of crime-fighting.

“Rick and Morty” franchise (2013-)
“Rick and Morty” is a show about the misadventures of the universe’s most dangerous man and his grandson. When the Vindicators - an intergalactic band of superheroes - ask for their help, Morty is indescribably excited. Modeled after the Avengers and Justice League, the Vindicators seem to be powerful, noble heroes. Resentful of Morty's respect for them, Rick creates a series of traps designed to reveal their deep dysfunction. They are a squad rife with inflated egos, petty conflicts, and incredible incompetence. Rick's cynical, irreverent interactions with the Vindicators deflates their self-important swagger. It also exposes the often shallow moral dichotomies we see in everyday superhero stories. The Vindicators' hypocrisy and fragility present a depressing view of what such a team might actually be like.

“One-Punch Man” (2015-)
What if being the world’s most powerful hero was incredibly dull and boring? That’s the premise of “One-Punch Man,” a manga and adult anime. Saitama trains himself - losing his hair in the process - to become powerful enough to defeat virtually any foe with a single punch. This great feat leaves him in a perpetual state of ennui: he has no nemesis, no indomitable foe to conquer. The odds are never against him, so he struggles with finding the point of life as a superhero. Mangas and anime can be melodramatic forms of media, making the anti-climactic nature of “One-Punch Man” truly stand out. Saitama is Superman or Goku living in a state of perpetual existential crisis.

“Megamind” (2010)
Just as the MCU was taking off, DreamWorks released "Megamind," a brilliant animated spoof that flipped the superhero script. It centers on the villain instead of the hero, showing that these terms can really just be a matter of perspective. Megamind, a blue-skinned, super-intelligent alien, may technically be a 'villain.' After all, he is constantly at odds with his square-jawed heroic nemesis, Metro Man. What Megamind really wants, though, is what we all want deep down: recognition and purpose. As such, the movie presents a 'bad guy' who is eminently more interesting and relatable than the 'hero.' The film further satirizes heroes with twists like Metro Man faking his death to escape the superhero life, and Megamind's clumsy attempts to be 'good.'

“Kick-Ass” franchise (2010-13)
The first thing to understand about “Kick-Ass” is that it takes place in a world closer to ours than most other superhero stories. It places ordinary, flawed individuals in the capes and tights typically reserved for larger-than-life heroes. The protagonist, Dave Lizewski, is a regular teenager who decides to become a superhero despite lacking any special powers or training. He is naive and clumsy, quickly getting in over his head. “Kick-Ass” shows that vigilantism is actually kind of dumb in real life. It’s a unique blend of brutal realism mixed with comic book elements. As such, it somehow manages to critique superheroes while delivering a fresh, entertaining take on what it means to be a hero.

“The Lego Movie” franchise (2014-19)
Lego Batman is a masterful spoof of the Caped Crusader. He is at once a roast and a celebration of the Dark Knight. By exaggerating Batman's traits—his brooding loneliness, need for control, and obsession with his own legend—the character hilariously deconstructs his persona. He is presented as a vainglorious drama queen who succeeds despite himself. Even while being satirical, “The Lego Batman Movie” delivers an exciting superhero tale. It's funny, heartfelt, and action-packed. The film embraces the genre’s tropes even as it playfully subverts them. This balance allows it to critique and honor Batman at the same time, presenting a refreshing take on the character after most of a century of pop culture.

“Mystery Men” (1999)
The Mystery Men have their origins in the absurdist comic series "Flaming Carrot Comics," which features a man with a giant flaming carrot for a head. This eccentric foundation sets the tone for the movie's hilariously offbeat take on the superhero genre. "Mystery Men'' follows a group of inept, quirky heroes like Mr. Furious, whose power is 'getting mad.' He fights alongside the Shoveler - a man who fights with a shovel - and the Blue Raja, a man who tosses cutlery. These characters, lacking conventional superpowers, highlight the seeming randomness of superpowers as a concept. Thrust into situations as absurd as their powers, the Mystery Men are as earnest and adorable as they are ridiculous.

“Teenage Mutant Ninja Turtles” franchise (1984-)
Forty years of comics, cartoons, and feature films have made the Teenage Mutant Ninja Turtles a staple of American culture. When they were created by Kevin Eastman and Peter Laird, they were meant to be a dark parody of several superhero trends. Raised to be ninja warriors by Splinter, the heroes in a half-shell were mutated - much like Daredevil - by toxic ooze spilled on the streets of Manhattan. And where Daredevil fights The Hand, the Turtles take on The Foot. Teenage Mutant Ninja Turtles parodies superhero tropes by combining the absurd—mutant turtles trained in ninjutsu—with classic superhero elements. The turtles fight crime with iconic catchphrases and powerful ninjitsu. Their playful, pizza-loving personalities mock more traditional superhero stories.

“The Tick” (1986-)
Created by Ben Edlund, The Tick is an over-the-top, blue-suited, nearly indestructible hero. This nigh invincible paragon is also an absolute moron with a penchant for ridiculous catchphrases and a complete lack of self-awareness. The Tick's unrelenting optimism and naivete contrast hilariously with the mundane, often cynical world around him. His sidekick, Arthur, is an accountant who dresses like a giant moth. Arthur grounds the comics and TV shows with his relatable anxieties and reluctance. The Tick mocks superhero tropes by presenting both villains and allies who are all equally eccentric and inept. The Tick excels as a genre spoof by going full-tilt on its silliness. It lowers the stakes to confirm that superheroes are, at their heart, a form of absurdist escapism.

“Invincible” (2021-)
In the world of the “Invincible” comics and TV show, the Guardians of the Globe are Earth's mightiest heroes. Modeled after the Justice League and The Avengers, they defend the world from superpowered threats. Unfortunately, their strongest member isn’t what he appears. Omni-Man is a Viltrumite, an alien race of mustachioed monsters bent on brutal galactic domination. Omni-Man is an obvious parody of Superman: a superhero who is powerful, alien, and protective. His real mission, though, is to conquer the earth on behalf of the Viltrumite Empire. When pushed to action, Omni-Man's power is only matched by his ruthlessness and brutality. He is a dark reflection of the Man of Steel, and is even willing to brutalize his own son.

“The Boys” (2019-)
In “The Boys,” superheroes are managed by a greedy mega-corporation, Vought International. Vought manufactures a culture built around hero-worship. Starting with Soldier Boy - a Captain America parody - and his Avengers-like team, Payback, America gets used to heroes. The next iteration is an immoral parody of the Justice League called The Seven. Homelander, with his Superman-like powers and psychopathic tendencies, epitomizes the dangers of unchecked power. Raised to be desperate for love, Homelander is willing to stoop to any level to fill the emotional hole within. Like Payback, The Seven are corrupt and self-serving, ruled by ego and fear. The excesses of superheroes in "The Boys" are too depraved to mention, epitomizing the famous maxim "absolute power corrupts absolutely."

Did this list hit the target or did we fire blanks? Let us know your favorite superhero parodies in the comments below!