But Seinfeld used its guest stars to play characters like any other. Oh, and the Marisa Tomei storyline was fantastic — her fame and beauty paired with her presumably fictional fetish for short, stocky, bald men were used to present an exaggerated version of men in relationships being tempted by other women. Friends always went for the cheapest laughs. The writers always took the easiest route by having the characters insult each other by hitting the easiest targets or say something sarcastic.
However, in Seinfeld , all of the jokes serve a story. The humor is smarter and more sophisticated in Seinfeld. Seinfeld has its own distinctive style of dialogue that evokes the likes of Abbott and Costello and Neil Simon. Everyone remembers how conversations in Seinfeld go: a snappy back-and-forth among the group with wit and a fast pace.
The writers of Seinfeld relish the art and beauty of language. Certainly, compared to Friends , Seinfeld has incredible dialogue. Jason Alexander, Julia Louis-Dreyfus, and Michael Richards are three of the finest comic actors who have ever lived and they fit into their roles perfectly.
The list is long, but anyone can easily distinguish these themes from those of comedy. No tragedy has ever been written about the sale of a van, mail delivery, or non-fat yogurt. And the same can be said about the characters of the play. In matters of sadness, we generally deal with heroes and villains, with victims and ogres. The aim of a tragedy is not to underscore the significance of an event or character.
This is assumed and evident. Too much literary criticism takes for granted that this is in fact what tragedies are aimed to do. The sad makes us see precisely that what we regard as significant and important is in some ways insignificant. Our will, our love, our cruelty, are, in the general scheme of things, unimportant. The gods have more momentous matters with which to concern themselves. In tragedy, then, as in comedy, our world is turned upside down.
The order of our values and priorities is reversed. We learn that our beliefs do not hold, and a revision of them, a correction in our under standing of the way things are, must take place. But in tragedy, unlike in comedy, we do not laugh, because this realization involves the shattering of what we hold dear. Whereas comedy reveals to us the relevance of much in our lives to which we pay no attention, tragedy shows us that what we regard as important is not really so.
The first teaches us a lesson without pain; the second makes us learn a shattering truth. Comedy, unlike tragedy, focuses on what we ordinarily regard as insignificant because it is in this that the follies, absurdities, and idiosyncrasies of cultures are revealed.
In death, suffering, catastrophes, great vices and virtues, crimes, and the like — which are the stuff out of which tragedy is made — the core of human nature is made evident. Whoever is first to do something isn't likely to be the best at it, simply because everyone that comes after is building on their predecessors' work. Named after Seinfeld , which many people won't watch any more because everything about it has been copied. To be clear, we mean Seinfeld the series, not Seinfeld the person —Jerry's stand-up segments were, even at the time, generally the least funny part of the episode; this may have been intentional, or it may just be that Jerry's brand of humor, while fresh and new for a sitcom, was pretty old hat for a stand-up comedian even then.
This can also occur in countries that get the shows years after they originally come out. When someone attempts to make "Seinfeld" funny again in this time and age, see Reconstruction.
Contrast Vindicated by History. The same principle applied to ethical or cultural issues is Fair for Its Day.
But not entirely untrue, either. Nowadays we have dimmer-switches and voice-commanded light-bulbs, but the outstanding question remains: why do lamps need shades? Jerry has a painfully truthful nugget of comedy regarding sweatpants that everyone can probably relate to. This just in, nothing is safe when Jerry starts riffing! During an episode, Jerry declares "you know the message you're sending out to the world with sweatpants?
You're telling the world: I give up. I can't compete in normal society. I'm miserable, so I might as well be comfortable.
The funniest part is, since the line was mentioned on the show, leisure-wear and designer sweatpants have become in vogue. Go figure! One of the most brilliant pieces of observational humor found in the show is when Jerry realizes he cannot date someone like himself!
When dating someone with too many similar sensibilities, Jerry muses that "I can't be with someone like me. I hate myself.
If anything, I need to get the exact opposite of me. Seinfeld once made a hilarious joke about sleeping that is so honest and universal that anyone can relate to it. Nope, no bed-wetting jokes, I'm afraid. After waking up from bed in a state of intense thirst, Jerry wonders "what is it about sleep that makes you so thirsty?
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