Custom image of Jerry Seinfeld and Julia Louis-Dreyfus
In the constant evolution of television, no show has remained as timeless as Seinfeld. The aptly described 'show about nothing' became the thing in the 90s: A critical darling, a top 2 ratings ranking in seasons 6 through 9, and one of only 3 shows ending their run at the top of the Nielsen ratings . Often imitated but never duplicated, Seinfeld's influence remains in sitcoms.
Airing 4 days after the patriotic telecast of Super Bowl XXV, the episode's sharp and mordant take on guilt was not only hysterical, but also a taste of the future. Jerry's fear of social niceties expanding into death added a subtle macabre tone to the show, turning it into one of the actor's best episodes. Louis-Dreyfus's outward portrayal of Elaine's self-centeredness was rare for a network sitcom character at the time.
Staff writers Larry Charles and Elaine Pope nailed the dichotomy between men and women's actions in relationships. They masterfully use cross conversation to highlight the difference in language and tone between genders. Their ability to weave the 'A' and 'B' plots together into coherence set a narrative blueprint for David's next show, Curb Your Enthusiasm.
The result is an episode that is equal parts funny, existential, and satirical. All three characters' narratives are elongated to its maximum point without true closure. This is a subtle critique of sitcom episodes with implied moral lessons, or the "very special episodes" that are advertised.
Staff writers Mehlman and Jill Franklyn must've had an ear because the dialogue is sharp and witty, punching up a routine story to the next level. Cranston and Cryer's performances became one of the best guest spots in the show's history. But of course, the phrase of "yada-yada-yada" grew in popularity, even though Kramer coining the term "anti-denite" is just as hilarious.
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