.action_button.action_button:active.action_button:hover.action_button:focus,.action_button:hover.action_button:focus .count,.action_button:hover .count.action_button:focus .count:before,.action_button:hover .count:bullet. Error Banner.fade_out.modal_overlay.modal_overlay .modal_wrapper.modal_overlay [email protected](max-width:630px)@media(max-width:630px).modal_overlay .modal_fixed_close.modal_overlay .modal_fixed_close:before.modal_overlay .modal_fixed_close:before.modal_overlay .modal_fixed_close:before.modal_overlay .modal_fixed_close:hover:before. In "The Letter", Kramer tells two art patrons that he ran away from home at age seventeen and stowed away aboard a steamer bound for Sweden.
In the interest of both helping novices prioritize and reminding veterans about forgotten jewels, we’ve ranked every episode in the series from worst to best. An episode so racially offensive that NBC had to apologize upon its airing, the second-greatest crime that “The Puerto Rican Day Parade” commits is simply not being funny enough. After four seasons spent using George’s homophobia as a character flaw, the show wholeheartedly embraces gay panic as a plot device to a nonsensical, largely unfunny degree. “The Deal” packs at least one comedic punch — Jerry’s birthday gift of $182 cash to Elaine — but this brief rom-com digression (which includes a seemingly out-of-character coffee-shop convo between Jerry and George about Elaine’s sexual prowess) disrupts the considerable creative gains made at this point in the series. The introduction of the story arc where George’s parents consider getting a divorce — complete with a cameo from a cape-wearing Larry David, as Frank Costanza’s lawyer — provides more laughs than the titular woman. This is mostly a comedown episode following George’s rushed engagement to Susan. Elaine singing “Witchy Woman” to her unamused boyfriend Brett is an inspired moment. What begins with George bungling a pilot deal with NBC after staring at the cleavage of the network honcho’s daughter ends with Elaine using her cleavage to manipulate that same boss into resurrecting the deal.
The ratings are based less on cultural significance — you’ll find many recognizable episodes fairly low on the list — and more on the density and quality of jokes, the inclusion of multiple strong narrative arcs, and, to a lesser extent, how well the comedy and stories have aged. It’s the loosest version of a bottle episode to come out of the writers’ room — and of all the bottle episodes in Seinfeld’s run, it’s the dullest, full stop. The phrase “Not that there’s anything wrong with that” ascends to pop-culture permanency after a practical joke played by Elaine causes a college newspaper reporter to mistake George and Jerry as lovers. Talk of cunnilingus and faking orgasms on a single episode of network TV that aired in 1993 is groundbreaking stuff — but Jerry’s incessant needling of Elaine after she admits she “faked it” during their relationship grows tiresome. The many battles involving the pastry — who has it, who wants it, and, in a fasting Elaine’s case, whom she has to attack to get a bite of it herself — overshadow the episode’s lackluster main plot, which involves Jerry, a neighbor’s suicide attempt, and the neighbor’s amorous girlfriend. Elaine’s entanglement with a blabby rabbi provides some laughs but is beset by a plot that’s a little too convoluted even for Seinfeld’s notoriously all-over-the-place later seasons. Less so is Kramer’s treatment of the Japanese tourists staying with him, even if the plot is more a commentary on Kramer’s ignorance than it is on Japanese culture. So, yeah, an episode of Girls this is not — but Bob Balaban sneering in George’s ear, “Get a good look, Costanza?
Meanwhile, Kramer’s fruit-obsessed subplot feels like a stale reprise of previous episode “The Ex-Girlfriend,” with the aphrodisiac qualities of mangoes standing in for the Mackinaw peaches.
All you need to know about this late-period episode is that most of the characters end up in the dump, and they deserve to be there. Lippman selling muffin tops and donating the bottoms to food banks, Jerry shaving his chest, Kramer’s ultra-meta “J. An episode that builds to one specific punch line: A woman Jerry’s seeing doesn’t want to sleep with him because she doesn’t think he’s a funny comedian — and not much else. The only episode in the series without the in the title and, arguably of more importance, the introduction of Elaine — even though the episode doesn’t give her much to do. Seinfeld mined some dark material over its run, but the central plot of “The Strong Box” — Kramer and Jerry dig up a neighbor’s dead parrot to retrieve a key that had been fed to the bird — is impossibly, joylessly grim. Following several episodes where George and Elaine successfully scheme together, it made no sense to build a story around their inability to hang out when Jerry isn’t present. A fairly inconsequential episode about parallel parking and a weird noise in Jerry’s car, “The Parking Space” is memorable for its staging: two cars, owned by George and Jerry’s friend Mike, respectively, in a diagonal standoff over a spot. George’s horrified reaction to his girlfriend Audrey’s plastic surgery — which he talked her into — speaks to his despicable core, but there’s something ultimately dissatisfying about seeing Kramer end up with her.
Peterman Reality Tour”: a bunch of half-formed ideas crammed into an episode where the only notable element is George finally — finally — getting fired from the Yankees. It’s also notable as the first episode where George explicitly acknowledges his homophobia: “You’re a little homophobic, aren’t you? The dynamic between George and perpetual nemesis Lloyd Braun is always a treat, but other episodes explore it better than “The Gum,” which largely and improbably focuses on Elaine accidentally exposing herself multiple times due to a faulty button. Kramer’s first get-rich-quick scheme — a make-your-own-pizza restaurant — is the highlight of this otherwise-inconsequential early episode. Proof that, even in Seinfeld’s universe, there’s such a thing as too dark. That flawed premise led to 22 minutes with little more than frictionless dialogue. Jerry’s weekend away with new flame Vanessa ends up being a sedate affair for him, Vanessa, and the viewers at home. It was tempting to call Seinfeld’s first episode its worst: The pacing is molasses-slow, the dialogue is stiff, and the singular focus on Jerry’s romantic life doesn’t prove very interesting. Kramer’s negligence — which leads to Jerry’s apartment getting robbed — has implications for later seasons, but the gang’s real-estate squabbling drags down the episode’s momentum and doesn’t make for much of a plot. If only the rest of the episode delivered on this visual punch.
” Elaine asks, to which he replies, “Is it that obvious? There was some decent physical comedy between Jerry and the offscreen canine Farfel, though. Meanwhile, George’s success in the stock market serves as a reminder that it’s more enjoyable to see him lose than win. But the first-ever scene between Jerry and Kramer in the former’s apartment is compelling enough to see why NBC brass decided to take a chance on the show.
Bagel Shop Worker (aka "Bagel Technician") Raincoat Salesman Entrepreneur (Kramerica Industries) Non-fiction Author Mall Santa Tennis Ball Boy Actor/Stand-in Tony Awards Seat-filler Personal Beauty Consultant Underwear model Rickshaw Puller Cosmo Kramer, usually referred to as simply "Kramer", is a fictional character on the American television sitcom Seinfeld (1989–1998), played by Michael Richards.
The character is loosely based on comedian Kenny Kramer, Larry David's ex-neighbor across the hall.
I'm gonna be a short bald guy with glasses who suddenly doesn't seem so funny." "Well, birthdays are merely symbolic of how another year's gone by and how little we've grown.