The Short Answer: It couldn't
2012, The Day After Tomorrow, The Matrix. All titles of films that withstood the testaments of their cultural time, while viewers today flounder at the idea of it coming true.
One could say the same for the arcs of Jerry, Elaine, George, and Kramer. The idolized situation comedy characters gain a new iconic definition every so often, its running gags reinstated upon every stretch of its irregular cable reruns and Netflix residency. A new fleet of fans adds to the already-there interface of stubborn members of society that vie for confirmation that their logic on behavior is correct, despite the social climate intensifying extremes mostly curable by satire in the first place.
Except, a new generation of ‘Seinfeldians’ are incompatible with their current obsession. The intellect is admired, not like minded, while internet funny suffices for a laugh and a nation lives on in bare minimalism with a tinge of still-there censorship. How could an institution such as Seinfeld survive such palpable social fragility if it premiered in a time like 2023?
The Short Answer: It Couldn’t
The ignorance, the chaotic neutrality, the dissection of the mundane. And my God, the heat. Seinfeld categorically would not survive more than two seasons today. An audience in 2023 would not comprehend a neighbor barging in unannounced as people do not even know who their neighbors are.
This universal evasiveness is a bit like driving around the area in rush hour traffic just to arrive home after the evening surge of people who lived around were already indoors. Some say social avoidance, Seinfeld says social calculation. But that’s just a new demographic today: the twenty-something’s that are calculated yet not analytical; socially inept yet vying to be politically correct.
Upon intrusion, Kramer would have been sprayed with mace, then called a 6’4 daddy as he stumbled out of frame. George would be canceled for that time he hired a Black exterminator to pose as his friend to prove he isn’t racist, then deemed a short king by a widespread female audience. Jerry is already in a Reddit thread for a sociopathic moment of cake impotence, and Elaine would be ironically comparable to Selina Meyer as her grievances are mostly a result of those around her.
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.
Jerry Seinfeld Reveals He Made A Movie About Poptarts
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