Seinfeld (1989–1998)

TV Series  -   -  Comedy
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The continuing misadventures of neurotic New York stand-up comedian Jerry Seinfeld and his equally neurotic New York friends.

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Airs Mon. Feb. 02, 7:00 PM on TBS

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Title: Seinfeld (1989–1998)

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9   8   7   6   5   4   3   2   1  
1998   1997   1996   1995   … See all »
Won 3 Golden Globes. Another 65 wins & 166 nominations. See more awards »

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Cast

Complete series cast summary:
...
 Jerry Seinfeld (172 episodes, 1990-1998)
...
 Elaine Benes (172 episodes, 1990-1998)
...
 Kramer / ... (172 episodes, 1990-1998)
...
 George Costanza (172 episodes, 1990-1998)
Ruth Cohen ...
 Ruthie Cohen / ... (101 episodes, 1992-1998)
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Storyline

Jerry Seinfeld stars in this television comedy series as himself, a comedian. The premise of this sitcom is Jerry and his friends going through everyday life, discussing various quirky situations that we can all relate to (especially if we live in New York). The eccentric personalities of the offbeat characters who make up Jerry's social circle contribute to the fun. Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>

Plot Summary | Add Synopsis

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Comedy

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TV-PG | See all certifications »

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Details

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Release Date:

31 May 1990 (USA)  »

Also Known As:

Good News, Bad News  »

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4:3
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Did You Know?

Trivia

Jerry Seinfeld turned down an offer from NBC that would have made him $110 million for a tenth season of the show. See more »

Goofs

The exterior of Monk's Cafe does not match the interior of Monk's cafe: the number & type of windows is different, the layout of the entrance is architecturally different. See more »

Quotes

Newman: [Newman is sneaking through Jerry's apartment trying to cheat at Kramer's and his "Risk" game when he knocks over some of Jerry's cassette tapes] Damn!
Cosmo Kramer: It's Newman! Quick open the door!
Jerry: [when Newman escapes from the window and up the stairs to his apartment] I see ya Newman, I see ya!
Cosmo Kramer: I'm taking the Congo as a penalty!
See more »

Crazy Credits

The series does not have an opening credits sequence. Instead, the lead actor credits play out over a scene. Now commonplace in sitcoms and drama series, this was considered a novelty in 1990 and sparked a debate over the future of opening credits in TV series. See more »

Connections

Referenced in The Critic: The Pilot (1994) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Seinfeld, a cultural landmark?
26 December 2004 | by (singapore) – See all my reviews

I caught a few episodes of Seinfeld over it's final two seasons run on public channel, and made it a point to catch a lot more of Jerry and friends during it's reruns. I found it very amusing on first viewings, but as time wore on, I began to like it more and more, and to eagerly borrow taped episodes from friends, and to hunt for re-runs on syndicated channels.

Of the two comedy TV series in the history of television, I would choose both Seinfeld and Monty Python as the cultural landmarks of the medium. In Seinfeld, there is not a trace of sentimentality and glib moralizing that plagues the American sitcom genre. Characters do not hug each other on Christmas, fall in love, wax on and on about family and friends, there is no faux-cathartic season ender so favoured by the writers of, say, "Friends".

Instead, we have the narcissistic Jerry, constantly mining the minutiae of everyday detail for every bit of situational comedy; we have the hyper-aggressive Elaine, whose strings of breakups with boyfriends are as impressive as her petty neuroses leading up to the breakups themselves; the ultimate schlub-loser George, who lies to every single woman he dates, sells faulty equipment to the handicapped and muscles off women and children when fleeing an apartment fire; and the impossibly inventive physical comedy of the entrepreneur cum schmooze Kramer.

Over and over again, week in and week out, the quartet discuss trivialities with unbridled zeal, as the non-descript narrative pings from one mundane setting to another. Seldom has such wit been generated by such gargantually pointless human endeavours. That is where the brilliance of Seinfeld lies, in the ability to go to the most bizarre ends to fulfill the potential of a less than hopeful comedic premise; and the endless, pointlessly smug and nihilistic banter that almost invariably escalates into some of TV's classic lines, such as when George shouts triumphantly after winning an argument that "there is no bigger loser than me!".

Surely, we won't find something like this again, for many more years to come.


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