The continuing misadventures of neurotic New York stand-up comedian Jerry Seinfeld and his equally neurotic New York friends.
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Airs Sun. Oct. 22, 11:00 PM on CW

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1998   1997   1996   1995   1994   1993   … See all »
Top Rated TV #41 | Won 3 Golden Globes. Another 69 wins & 182 nominations. See more awards »

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Cast

Complete series cast summary:
...
 Jerry Seinfeld (173 episodes, 1989-1998)
...
 Kramer / ... (173 episodes, 1989-1998)
...
 George Costanza / ... (173 episodes, 1989-1998)
...
 Elaine Benes (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>

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Genres:

Comedy

Certificate:

TV-PG | See all certifications »

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Details

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Release Date:

5 July 1989 (USA)  »

Also Known As:

Good News, Bad News  »

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4:3
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Did You Know?

Trivia

The character of Cosmo Kramer is based on Kenny Kramer, a man who worked across the hall from co-creator Larry David. In a self-confessed move to cash-in on the sitcom's popularity, Kenny Kramer formed the "Kramer Reality Tour", an officially-recognized New York City tour which visits the real-life locations often featured in the sitcom. In the 1997 season of "Seinfeld", Cosmo Kramer's memoirs are published by J. Peterman as his own. Wanting to make the most of the situation, Cosmo Kramer starts a "Peterman Reality Tour", offering a tour of the real-life locations featured in the memoirs. See more »

Goofs

In two episodes, the makeup Michael Richards is wearing comes off on another surface. In "The Pick" when he falls against the wall in Calvin Klein's office there is an obvious dark mark left on the wall. In "The Butter Shave" the makeup is clearly seen on the stick on butter after he smears it on his face. See more »

Quotes

George Costanza: So, did you get your new plates?
Cosmo Kramer: Oh... yeah. I got my new plates. But they mixed them up. Somebody got mine and I got their vanity plates.
George Costanza: What do they say?
Cosmo Kramer: Assman.
Jerry: Assman?
Cosmo Kramer: Yeah. Assman, Jerry. I'm Cosmo Kramer, the Assman!
Jerry: Who would order a license plate that says "Assman"?
George Costanza: Maybe they're Wilt Chamberlain's.
Jerry: It doesn't have to be someone who gets a lot of women. It could be just some guy with a big ass.
Cosmo Kramer: Yeah, or it could be a proctologist.
[...]
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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 Mike & Mike: Episode dated 31 January 2014 (2014) See more »

Soundtracks

Seinfeld Theme Song
Written by Jonathan Wolff
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Frequently Asked Questions

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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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