Seinfeld Reference: The Complete Encyclopedia
Read Seinfeld Reference: The Complete Encyclopedia Online
Authors: Dennis Bjorklund
Seinfeld
Reference
The Complete Encyclopedia
With Biographies, Character Profiles
& Episode Summaries
Author
Dennis Bjorklund
Published by Praetorian Publishing
Copyright 2012 Dennis Bjorklund
Amazon Edition, License Notes
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Discover other “Cheers” and “Seinfeld” titles by Dennis Bjorklund at Amazon.com:
Toasting “Cheers”: An Episode Guide to the 1982-1993 Series
“Cheers” TV Show: A Comprehensive Reference
“Cheers” Trivia: It’s A Little Known Fact. . .
“Seinfeld” Reference: The Complete Encyclopedia
“Seinfeld” Trivia: Everything About Nothing
TABLE OF CONTENTS
I.
Seinfeld: Concept to Epilogue
III.
Recurring Regulars
IV. The Cast
V. The Characters
VI. Seinfeld Episode Summaries
* * * * *
In the annals of television history, "Seinfeld" will be forever remembered as the perennial, symbolic situation comedy of its decade. Its groundbreaking series format redefined plot-driven scripts and became a model for innumerable copycat sitcoms that hoped to capitalize on the new formula for success. Although the series may appear to have been unfailing and destined for immortality, there was a distinct possibility that "Seinfeld" would suffer a quick, painless extinction, and remain forgotten in the perpetual list of short-run series. Fortunately, NBC was committed to the project, and ordained "Seinfeld" with the best time slot in prime time programming. Without either, the show would have been history, instead of making it.
Creators
Larry David.
The mastermind behind the show, Larry David, was born in 1947 and lived in Sheepshead Bay where his father was a menswear salesman. David's childhood consisted of rambunctiousness in a synagogue and an appreciation for “Abbott and Costello.” As an adult he moved to Brooklyn, New York to concentrate on a stand-up comedy career, but the audience never accepted his esoteric, sullen humor. His style of comedy was angst-driven, bitter and angry. David inevitably bombed at clubs because he heckled the crowd for not understanding his jokes, which were more cerebral, dark and brooding.
David honed his comedy skills by writing for the multi-dimensional late-night shows. He was an actor/writer on "Fridays" (1980-82), and a writer for "Saturday Night Live" (1984-85) where only one of his skits aired during the yearlong tenure. It was David's connections to both shows that provided invaluable contacts with two "Seinfeld" costars, Michael Richards from "Fridays" and Julia Louis-Dreyfus in "SNL."
In 1993 David married Laurie Lennard, a Fox network executive, and they have two children.
Sour Grapes
, in 1998, marked his debut as a feature film writer and director. The movie is an elongated "Seinfeld" episode with interweaving subplots and deconstructive comedy with a dark edge. Finally, an interesting tidbit for "Seinfeld" buffs, the fictional movie
Prognosis Negative
, mentioned in "The Dog" episode, is actually one of Larry David's unproduced screenplays.
Jerry Seinfeld.
The other invaluable co-creator, Jerry Seinfeld, worked tirelessly on the series--16 hours per day, seven days a week. He awoke at 6:00 a.m., spent the entire day at the studio, returned home by 10:00 p.m., and was in bed 30 minutes later. In the early years, he would spend the late evenings performing at a local comedy club to test new material for the show. However, with the pressure of success and the time commitments necessary to ensure quality, Seinfeld had to eliminate comedy bits to concentrate on script writing.
The commitment and dedication to his career transcends any interest in a personal life or romantic relationships. Seinfeld openly admits to being more passionate about his career, which inevitably caused friction in romantic relationships. Besides acting, script revising, directing some segments, and producing the series, Seinfeld also functioned as the syndicated editor to trim 60 seconds of the show before packaging it to stations for rerun airings.
As a performer, Seinfeld is generous and selfless. He did not hoard jokes, and distributed them conscientiously and equally to each costar. Seinfeld willingly concedes humorous lines to other actors, especially if he believes that they would better deliver the witticism. Off-stage, he is equally gracious and charitable. Seinfeld shares the success and wealth of his endeavors, and truly appreciates the input of everyone who helped generate his good fortune.
Initial Negotiations
In 1988 Rick Ludwin, NBC senior vice president of specials, prime-time series and late night, was instructed to find the next Jay Leno. When reviewing the list of possible candidates, Jerry Seinfeld had several marketable characteristics--he was highly praised by Johnny Carson and his comedic successor, received an American Comedy Award, and garnered mass public appeal with straight-laced routines. When Seinfeld's comedy act appeared in New York City's Town Hall, Ludwin made a point to attend the performance.
When NBC executives approached Seinfeld about appearing in a television special, he was at the pinnacle of his comedic career. Although the terms were vague and possibilities infinite, at the first meeting on November 2, 1988 Seinfeld initially considered a talk show or comedy special. After discussing the options with long-time friend Larry David, they thought a sitcom would be a unique means of conveying their comic humor in a forum outside the realm of a comedy club. A situation comedy offered more panache than a run-of-the-mill talk show or blasé showcase of comedians performing stand-up acts.
Contrary to popular belief, the idea of a sitcom about "nothing" was never mentioned to NBC executives. This became a media label after the series was established. However, during the meeting Larry David was adamant about artistic integrity, authorial independence, and creative autonomy. Although NBC was not wholeheartedly sold on the project, Ludwin became a loyal ally and an indispensable champion of their cause.
Series Concept
In 1988 Larry David and Jerry Seinfeld were perusing the aisles of a Korean deli pondering various story lines for a series. While walking through the cereal section and making fun of the products, David recounts mentioning the show should come directly from aisle six--the way comedic material is generated. Then, while further discussing the material they refined and broadened the concept to incorporate a series about dialogue. When they pitched the idea to NBC, there was no concept behind the show, nothing intrinsically funny about the situation, no thread, and no high concept.
They rehashed ideas at the Westway Diner at 614 Ninth Avenue, and began writing material at Tom's Restaurant on the corner of 112th Street and Broadway. The goal was to focus on the subtle nuances of life--the minutiae that comprises our existence. After gaining material from Seinfeld's everyday life, the show aired clips of his stand-up routine to illustrate the comedic source from this episodic foible.
"Seinfeld" was originally conceived as a comedy about the daily activities of a stand-up comedian, and how his life during non-working hours becomes the source of material for a comedy routine. It emphasizes the trivialities of life, and unlike other sitcoms, is not premised on a situational problem (teenage pregnancy, disliked boyfriend, mother-in-law visits, etc.); instead, the series is comedy driven from obscure events that cause outlandish conflict (grapefruit juice squirting in the eye, accepting a pen, changing barbers, etc.). The sitcom is considered the successful incarnate of the failed television series "Chicken Soup" starring Jackie Mason.
The series has also been likened to "The Abbott and Costello Show" from 1951-52. Jerry even admits the eerie similarities--his deadpan delivery and comedic rhythm, the bumbling antics of Kramer, and the vengeful neighborhood vendors. Although some critics compare the series to "The Three Stooges" or "Dragnet," the connection is far too strained to draw significant parallels. Although subtle similarities exist, there was no wholesale rip-off of style, technique or delivery.
Unlike most sitcoms predicated upon familial relationships (e.g., "The Cosby Show," "Family Ties," "Home Improvement," and "Roseanne") or locale (e.g., "Cheers," "Taxi," and "The Mary Tyler Moore Show"), the "Seinfeld" characters were united by real-life events. Jerry and George were united by childhood friendship, Jerry and Kramer were united by proximity, Jerry and Elaine were united by past romance, and the remaining triumvirate (George, Kramer and Elaine) were united by association (friends-in-law or friends-by-association). "Seinfeld" stressed the collegiality of friends, despite their selfishness and egocentricity. In a vast departure from any other sitcom, it was a show where the only thing that mattered was themselve.
Moreover, in contrast to other sitcoms, "Seinfeld" was primarily a series about dialogue and human interaction, not punch lines, as opposed to physical comedy (though Michael Richards provided some zaniness). The series was so communication-oriented that "Seinfeld" scripts generally bulged to 75 pages, rather than the typical 45 pages for a 22-minute episode. The scripts were written using the artful discourse between Jerry Seinfeld and Larry David, so the sitcom's appeal relied upon viewer affection toward the principals, not one-liners. Furthermore, "Seinfeld" capitalized on running gags and absurdity, and the episodes were filled with irony, anecdotes and paradox; however, rarely did the script deliver brilliant punch lines.
With polar opposite perspectives on reality, Jerry Seinfeld offers the jovial, devil-may-care attitude, yet a stoic and ambivalent perspective on life. Conversely, Larry David is pessimistic, cynical, and nihilistic about relationships, people, and his existence. His personal philosophy is self-hate and distrustfulness of everyone. The personality contrast creates great dialogue and verbal dissension. However, unlike any other sitcom, the conceptual axiom uses dark humor--the terrible things that happen to people, such as losing a job, relationship breakups, physical flaws, or the inconvenience of death--to convey humor. As David explains, "M*A*S*H" accentuates the horror, atrocity and chaos of war, whereas "Seinfeld" illuminates the horror, atrocity and chaos of being single in New York.
Similar to "Cheers," the key to success was actor delivery and viewer perception of the character's persona--to convey humor through the situation, a facial expression or voice inflection. This is not an easy task to effectuate, and only a few despicable characters have become television icons, such as libidinous Sam Malone from "Cheers," or the self-absorbed psychiatrist Frasier Crane in "Frasier."
To compensate for the star's limited acting abilities, the show was intended to have Jerry Seinfeld portray himself as a comedian. This would allow the scripts to be written using his voice and unique comedic delivery, which contrasts well with David's astringent dialogue. This was especially pleasing to NBC executives because they wanted to capitalize on Seinfeld's popularity.
