Complainers are Naturally Born to Lead

This is why characters that are annoying are the best to dislike, most giving us the platform to be the greatest at something bad. This is, of course, better than being the worst at something good, giving proof of how no one seems to enjoy things poorly.

After all, human choice is something that is themed with less affirmative action and more progression. Time and invention have afforded the opportunity for procrastination, so one cannot stay in the present but can be exactly late or early. 

With all of this consideration of human nature: the formula of Seinfeld as a series would not survive today’s analytically opposite world. People are fascinated by the expression of the future through characters and shows that aren’t in all spans of time before a certain time, and there can only be so many premiers and projects ahead of present-day that it may become a period piece, despite its best efforts to capture one overall behavior or another general experience rather than document history. 

Did Seinfeld already dissect all of the human tendencies or annoyances left for the rest of time?

Seinfeld is a Fantasy, 34 Years Later

Seinfeld’s first audience was that of a yuppie-type renaissance from comics becoming instant classics when deprecating the likes of those around them and not just themselves. The business of comedians in syndication began taking a new route for situational awareness: their own reality.

Film and all of its genres are our relation to the main concept of it. There’s hope that the fantasy of someone else’s characters and stories are of the same embellishments one would personally make. It is fanatical in demonstrating how one’s wishes to compose themselves with others in barely-there grace will not. So, the collective lives vicariously through the devices that will.

In similar themes birthed by George Carlin in the decades before 1989: human democracy and decency are ever-changing and effervescent. This liveliness of collective discourse seems extinct now. There is little to agree on and the utmost immediacy to induce tyranny at any given turn. So how could a show explaining the escalation of extremes be understood by an audience that makes a run for it during intermission?

When faced with all the intrusive-to-stasis dynamics of Seinfeld, a modern audience couldn’t stand to be faced with themselves today. Humans like to see the mascot in themselves, but would find it terrifying if the head was taken off before them. Essentially, this is a show about terribly discontent and neurotic individuals with a vendetta for normal people: a mirage for some that wouldn’t dare to see a reflection in it.

Crafting a generation that is impatient to the bit, we can now scroll past opinion and fast forward to goodness. In Seinfeld, most moments of goodness are captured in themes of revenge and comeuppance. A future public was never meant to recreate what they idolized in order to recapture its greatness but to identify its importance alongside the neighboring timeshares of its humanity.

Likely in Florida with no air conditioning, Seinfeld is that perpetual timeshare in television. Hopefully, Newman isn’t down the hall.

To accent 47 years in show business, Jerry Seinfeld is far from finished divulging the world in his expansive theories about civilian life and its nostalgic accessories.

Set to make his quadruple-title debut of directing, co-writing, producing, and starring in the upcoming Netflix film Unfrosted: The Pop-Tart Story with an all-star cast of Amy Schumer, Melissa McCarthy, Hugh Grant, and more seek to comedically relay the 1963 competitive birth of the iconic breakfast pastry.