The Ten Best SEINFELD Episodes of Season Six

Welcome to a new Sitcom Tuesday and the continuation of our series on the best episodes of Seinfeld (1989-1998, NBC), one of the most popular and critically lauded American sitcoms ever produced. I’m happy to report that the entire series has been released on DVD.


Life is strange… and funny. Seinfeld stars JERRY SEINFELD as Jerry Seinfeld, JULIA LOUIS-DREYFUS as Elaine Benes, MICHAEL RICHARDS as Cosmo Kramer, and JASON ALEXANDER as George Costanza.


With past posts extolling the charms of the years I consider part of Seinfeld’s “Golden Age” – Seasons Three, Four, and Five – it was only inevitable that this entry on the sixth would have to contend with some sort of descent in my perception of the series’ base level of quality. The fundamental question is “by how much?” and the answer, of course, is subjective. The reasons for this dip (which we’ll discuss in a figurative moment) have been explored throughout the past few weeks in musings on “warning signs” and “cautionary omens,” and now the time has come for those issues to no longer be just signs and omens. Seinfeld has been headed in this direction since Season Two, and every year thereafter has represented an uptick in elements that would eventually prove destructive to the show’s ability to improve upon itself – or even just maintain the same high standards. But the increased understanding of character and the continual “upping” of the show’s comedic ante with each ensuing season have heretofore rendered null any significant qualms, for Seinfeld has always been able to rise to the challenge and deliver worthwhile returns, improving upon its laughs in the process. The placement of this rhetorical line where the previously discussed (and mostly identity-rooted) problems officially handicap the show from either improving (or even plateauing) will always be debated – some fans won’t draw it until after Larry David’s departure at the end of Season Seven, while some already consider Five less stellar than Four. Personally, as discussed last week, I find Four and Five commensurate – we trade Four’s premise-undermining serialization for Five’s complicated episodic narratives, and while Four is more show-defining, Five does more for character. Plus, I think the show continued its comedic and character-building ascent from the first three seasons throughout both Four and Five – creating a trackable build. That all stops in Season Six, which, simply, isn’t funnier than its predecessor (despite trying harder) and represents the first time Seinfeld, because its quality isn’t enhanced, finally finds its mounting problems ready to inflict damage.


Before we get into more specifics on quality and identity and yada yada, I want to mention two other things (tangential to merit) that help suggest Seasons Five and Six as being part of different eras. First, Andy Ackerman joins the company at the start of this season as the show’s new resident director (replacing the departed Tom Cherones, who’d been around since Season One), making for a clear-cut personnel change. Does this impact quality though? Not really. While the year opens with a weird energy that could perhaps be ascribed to this shift, the transition likely appears seamless to the casual viewer. In fact, Ackerman does what all great TV directors should – he trusts his cast – and so, pretty quickly fits right into their ensemble, never distracting from their good work. Any changes in Season Six with the way the show is visually telling its stories has less to do with Ackerman than with the on-going evolution of the storytelling, which is becoming more ambitious, more cinematic, and therefore less rooted in the characters and premise. (Hold that thought…) Second, I think there’s an attitude pivot between Seasons Five and Six that separates the two – and it corresponds to one of the elements that clouds the show’s reputation: its pride, which borders on smugness. Yes, this is the year in which the show officially embraces its newly received reputation for greatness and in turn reflects a (perhaps) smug self-satisfaction that can sometimes be alienating. In Season Five, the show was on top, but the self-love hadn’t quite permeated the scripts; here, it does and it’s difficult to ignore just how much confidence Seinfeld has. Not that there’s anything wrong with confidence, mind you, although, it is easier to like a humble show: an underdog. That noted, the degree to which this pride affects the product is nebulous – more likely, the aggrandized attitude invites enhanced criticism, forcing skeptical audience members to notice growing missteps.

However, with this pride comes that unwieldy and oft-mentioned ambition. For Seinfeld, this drive for bigger and better is almost single-handedly confined to its storytelling (although the super-objective is still to get bigger laughs through these complicated narratives). We’ve ruminated on the troublesome relationship between the storytelling and the series’ premise at length in past commentaries, for this has been a consistent theme – and one that, therefore, can’t solely be attributed to Season Six. That is, the year doesn’t bear the total responsibility for these issues; rather, because the show doesn’t (or maybe even can’t) become any better within this ever-emboldened narrative trend, this is the year where it becomes routinely bothersome (in ways that past seasons weren’t). So what exactly is happening? Well, the series branded itself a few years back as a “show about nothing” (although it never was), which rather than motivating the series to simplify its use of story, instead has served as an excuse to continue, what I call, “fetishizing the trivial.” I use this to refer to the way the show fixates on trivial ideas to the extent that the ideas build and no longer remain simple or trivial, but instead become as big, as broad, and as claustrophobic as a high-concept premise-driven story that we might find on any other series. What begins as a funny, relatable episodic idea is then pumped with so much showmanship adrenaline, and forced to intertwine with other funny, relatable, adrenaline-pumped ideas (sometimes strained or haphazardly), to create a string of absurd events that are so unbelievably manufactured that the wonderful, relatable comedic ideas used as foundation are buried in the process – along with reality. Through this storytelling, we lose the low-concept premise and the connectable realism-based humanity that made the show stand out in the beginning – the latter being a harder loss to justify than the “where does a comedian get his material?” premise, whose irrelevance has become increasingly obvious.


As a result of said changes, I think it’s finally time to say an official goodbye to that first premise. If the show won’t be honest about itself, then it’s up to us to do it. In fact, maybe in admitting that the premise has changed, we’ll be freer to accept the show’s failure to continue delivering on its promise. After all, with the stand-up set pieces reduced to the opening credits only — gone are the closing credits’ (and the season finale is the first installment to actually feature NO standup: a sign of things to come) — the show can no longer pretend to be about a comedian getting his material. Now it’s simply about the comedian and his group of friends, who, like a lot of fictional characters, endure a lot of surreally tragic (and dark) consequences as a result of choices made in everyday, initially relatable scenarios. This format isn’t particularly unique – when boasting its stand-up premise, the show could actually claim some originality – but this new direction certainly broadens the storytelling scope (which, by the way, is the reason that the premise evolved in the first place), and helps to rationalize why the show puts so much stock in the way it plots and tells its stories: these complicated narrative jumbles are how the show is now choosing to differentiate itself. I have no problem with storytelling becoming the show’s new source of originality, and I understand why it’s happened. But I do have a problem when the episodic storytelling – or even the singular comedic idea upon which the hijinks are situated – is given precedence over the characters, as the utilization of character in story must always – say it with me now – be the paramount concern; stories work for character, not the reverse. In this new era, Seinfeld seems perfectly happy to contort its players for the good story idea – not necessarily the good joke (as they’d often charge lesser sitcoms), but the good story idea, which means that characters aren’t changing through story (as happens when they evolve organically), but are changing for story. That’s not character-driven, that’s writer-driven. However, nothing’s false yet… only forced.


One of the elements that alienates many Seinfeld lovers is the seemingly unmotivated character shifts, which tend to occur alongside unspoken tonal changes that also have a bearing on the show’s premise (and the inability to ensure that our perception of its thesis is aligned with what it’s actually delivering). While this season finds Jerry and Kramer essentially staying the same — although, when they’re put in more absurd stories (as Kramer is), they subtly adapt — it’s George and Elaine who are actively changing. George’s new job reduces some of his tragedy, and while he remains a loser, the stable employment anchors his neuroses in a way that better intimates genuine evolution. New conflicts are thus explored for George, one of them being an arc in which his parents separate – a wonderful excuse to see more of Stiller and Harris, who always bring the comedic heat! Surprisingly, he has another good season — I have no problems with his depiction here. Elaine, on the other hand… well, I noted weeks ago that her character can be used as a barometer for the show’s overall health. Now, she’s in flux, as the choice to put her in a subservient position to the buffoonishly dictatorial Mr. Pitt allows the show to further destroy her character’s sanity to make her more fit for the scripts’ emerging sensibilities. Elaine’s prime flaw – her sanctimoniousness — is now starting to be supplanted with a warped integrity that rescinds her moral high ground and allows her to be as socially stunted and emotionally maladjusted as her friends. (This moral decay is a theme throughout the rest of the series – reflected through everyone, but oddly positioned within the supposedly relatable premise.) It turns her into a more comedically ripe being, and this is a great season for Louis-Dreyfus, the comedienne. But for Elaine, the character, she’s losing her believability in favor of broader, less connectable traits – a trend that parallels what’s going on in the season itself… Now, as for quality, there are still a lot of terrific episodes here in spite of the descent, and while the show will grow to better support its commitment to this new form of storytelling next year (and thus better justify the changes), we’ve not totally forsaken Seinfeld‘s credibility regarding character… So, I have picked ten episodes that I think exemplify this season’s strongest.


Here are my picks for the ten best episodes of Season Six. (As always, they are in AIRING ORDER.) Note that 23 of the 24 episodes this year are directed by Andy Ackerman. (The sole dissenter is not highlighted below.) Also, installments that originally aired as one-hour are considered two separate entries (as they would in syndication).


01) Episode 88: “The Big Salad” (Aired: 09/29/94)

A big salad puts a wedge in George’s relationship.

Written by Larry David


Following an overblown and unsatisfying season premiere, this episode is a return to a more simpler form, while pointing towards what we can expect throughout the rest of the season. What works especially well about this outing is that the stories — well, two of the three main stories (the Kramer O.J-inspired plot is too lofty) — are rooted in fundamentally small and digestible ideas. The first, of Jerry’s disgust when he learns that his girlfriend once dated and was dumped by Newman, is completely rooted in character (and thus, sublimely employed). The second is ideal for the now money-making George, as he becomes fixated on the notion that his girlfriend was attempting to take credit for the big salad that he himself bought for Elaine. It’s trivial, it’s absurd — but it’s utterly George Costanza. My favorite entry from the fall of 1994.

02) Episode 93: “The Soup” (Aired: 11/10/94)

Jerry owes an obnoxious comic a meal.

Written by Fred Stoller


Most of the episodes from the first half of the season only save themselves from total disappointment by utilizing one or (at best) two initial ideas that are comedic and worthy of exploration (with said explorations sometimes complicating enjoyment). This one stands out as better because the intentions are less ambitious — no O.J. references or abortion parallels — and the results remain more uncomplicatedly rendered. (I’m sure you’re by now noticing a pattern in how I feel this show best operates.) The introduction of Kenny Bania, a humorous recurring nuisance for Jerry, is even less exciting than the completely conversational debate (and heretofore unexplored fodder for situation comedy) about whether or not a soup qualifies as a meal. This has always been what Seinfeld does best, and this solid episode reinforces its strengths.

03) Episode 96: “The Race” (Aired: 12/15/94)

Jerry agrees to race an old high school rival.

Story by Tom Gammill & Max Pross and Larry David & Sam Kass | Teleplay by Tom Gammill & Max Pross and Larry David


A popular entry, this is one of those episodes than I find significantly better than the sum of its parts. This is, of course, because I find the parts so uneven. I love the Jerry storyline, for it utilizes his history with George, his love for Superman (which the show gets to parody), and just generally works well for his character. But I am decidedly less amused by the communist subplot(s), which attempt to be irreverent, but just like the abortion parallels in “The Couch,” become ham-fisted and heavy-handed partly by virtue of the fact that the show feels capable and compelled to incorporate such subject matter (instead of, you know, prioritizing the characters over the gimmickly gray themes). It represents an overabundance of ambition, which stifles both character and comedy, and stands as territory that the show could only cover when it was still a less pompous underdog. But, although uneven, it’s an ultimately worthwhile showing.

04) Episode 97: “The Switch” (Aired: 01/05/95)

Jerry schemes to date his girlfriend’s roommate.

Written by Bruce Kirschbaum and Sam Kass


As with the above, this episode isn’t uniformly strong — which is often the case with shows that frequently employ multiple narratives — but because the disparity between the stories is smaller, it feels less uneven. I’ll only mention what I like, and why this episode was an easy choice to include here. First, I like the strong Jerry story of his wanting to dump a woman because she never laughs at his jokes (great — connected to premise), and the idea of a “switch” feels very in-keeping with the David/Seinfeld sensibilities that launched the show. And secondly, this is an important Kramer episode; not only do we learn that his first name is Cosmo, but we also get to meet his mother, played by the delicious Sheree North, whose unique comedic presence would have earned this one mention here no matter what. Fortunately, she’s well-served too!

05) Episode 98: “The Label Maker” (Aired: 01/19/95)

Jerry thinks Tim Whatley is a re-gifter.

Written by Alec Berg & Jeff Schaffer


Bryan Cranston, whose Q-score has elevated exponentially since his Seinfeld days, makes the second of three appearances this season as Dr. Tim Whatley, D.D.S., a figure who grows increasingly darker as his episodes progress — in tandem with the series’ own identity. He’s at the crux of this memorable outing when he’s labeled a “re-gifter” by Jerry, who is convinced that Whatley gave away the Label Baby, Jr. that Elaine had given the dentist before they became an item. It’s another case of the show creating expressions that break through into the popular culture, and thankfully, it’s not all hype, because there’s a strong teleplay in support. The Kramer/Newman subplot, along with the George subplot, aren’t as delightful, but they do manage to hold their figurative own, making for a much more solid excursion.

06) Episode 102: “The Beard” (Aired: 02/09/95)

Elaine tries to turn a gay man straight.

Written by Carol Leifer


Carol Leifer is one of my favorite Seinfeld writers for she seems to have a strong understanding of how to take casual observations or occurrences and make them funny without going overboard — at least, that’s the case in the A-story involving Elaine and the gay man for whom she’s serving as a “beard.” Less ordinary and more heightened is the episode’s comedic centerpiece — in which Jerry dates a cop who makes him undergo a lie detector test to prove whether or not he’s indeed seen Melrose Place. It’s a story we’ll never see anywhere else, for it’s something that would likely never happen in the real world in which the series was once set. But because it consequently proves to be so amusing, we excuse the leaps in logic. Leaping logistical hurdles is pleasurable to do on occasionespecially when writers like Leifer can justify it. (Also, there’s both a toupee-clad George and his disdain for a bald woman — need I say more?)

07) Episode 103: “The Kiss Hello” (Aired: 02/16/95)

Jerry’s aversion to a “kiss hello” makes him disliked.

Written by Larry David & Jerry Seinfeld


Wendie Malick guest stars in this episode as Elaine’s big-haired physical therapist friend who seems to have a hand in all the stories — she allows the show to address Jerry’s disfavor for the “kiss hello,” she refuses to give George a refund for an appointment she missed, she gets Elaine injured by deciding not to drop her off in front of her apartment, and she encounters an expectations-eschewing Kramer. The way the script utilizes her is brilliant and it’s enough to make this episode a winner, although I also appreciate the primary story of Jerry’s disgust for the “kiss hello” and the problems it causes within his own building; it’s perfect for his character and also indicates the way the show can make him suffer as a result of personality failings without condemning him in the ways it does George (and soon enough, Elaine).

08) Episode 104: “The Doorman” (Aired: 02/23/95)

Jerry is addled by Mr. Pitt’s doorman.

Written by Tom Gammill & Max Pross


Seinfeld’s real-life friend plays the eponymous Doorman in this well-liked episode that, like the entry directly above, stands among the season’s better examples of the show being able to handle its complicated plotting (not surprisingly, because again, they’ll get better at this next year too). I’m actually less drawn to the Jerry/Doorman story — and I’d wager that most people feel the same — because it’s dwarfed in hilarity by the Kramer/Frank Costanza subplot (already a comedically lethal combination) of them trying to manufacture a bra for men, called either the “bro” or the “manssiere.” It expectedly delivers stratospheric laughs, especially when Estelle gets in on the action and enters George’s apartment to find Kramer putting a bra on her estranged husband. Some of the series’ best laughs are housed in this memorable storyline.

09) Episode 105: “The Jimmy” (Aired: 03/16/95)

Kramer is mistaken for a mentally disabled man.

Written by Gregg Kavet & Andy Robin


Were I to pick the single funniest episode of the season, it would likely be this entry, which I seriously considered making my MVE. The A-story of the gang having encounters with “The Jimmy,” a man who refers to himself only in the third person is ingeniously comedic, particularly because it allows the peripheral character to supply the absurdity, while the other regulars can play it fairly relatable. (George does go a little over-the-top here, but I digress…) What really takes this installment into excellent territory — it’s not the twisted and go-nowehere Tim Whatley story, over which I have mixed feelings — is the circumstances used to have Kramer mistaken for a mentally disabled man, and then chosen to be the guest of honor at a benefit hosted by Mel Tormé. It’s shocking that the show could get away with material that might be charged as un-PC today, and my goodness, it’s truly hilarious; Richards is supreme!

10) Episode 107: “The Fusilli Jerry” (Aired: 04/27/95)

Jerry feuds with his mechanic over a stolen sexual move.

Story by Marjorie Gross & Jonathan Gross and Ron Hauge & Charlie Rubin | Teleplay by Marjorie Gross


This is my choice for the year’s best episode because it’s the most universally hilarious. In other words, there’s an inflated sense of comedy that permeates every single story, making it the most collectively laudable installment of the season. Also, it represents one of the most masterful interweaving of stories in the series’ history — as always, it works because our qualms are allayed by the bounteous laughs — when Kramer’s swapped license plate (he gets one meant for a proctologist, with the tag ASSMAN) is connected to the story of a “Fusilli Jerry” (a Jerry made out of pasta) that gets lodged up Frank Costanza’s rectum. It’s as bizarrely uproarious as it reads here. Of course, Frank only enters the picture when he believes that Kramer has stolen his “move” of stopping short in the car and groping a female passenger (in this case, Estelle) and comes to confront Kramer. This “move stealing” plot has substance because it’s also the subject of the A-story, when Jerry accuses his mechanic, David Puddy (Patrick Warburton) — in his first appearance — of stealing Jerry’s favorite sexual “move” and using it on Elaine, whom Puddy is now seeing. (And, of course, George begs to learn the move too, which gets him involved in the action.) It’s particularly well-plotted, uses everyone divinely — including David Puddy, who’ll always be a welcome addition — and claims ginormous laughs. The year’s best.


Other notable episodes that merit mention here include: the uneven “The Couch,” which was nevertheless the closest to making the above list, featuring a memorable sight gag (a pee stain) and a terrific George subplot (the book club), but suffering from engaging a topical story (abortion) that, despite actually having something to say about a character (Elaine and her over-performed virtuousness), is ruined by contrived narrative-driven parallels, “The Mom And Pop Store,” which introduces Whatley and delivers its laughs, “The Doodle,” a solid excursion for George, and “The Understudy,” which features a game appearance by Bette Midler, a hilarious story with Elaine and Frank Costanza, and the debut of J. Peterman.



*** The MVE Award for the Best Episode from Season Six of Seinfeld goes to…

“The Fusilli Jerry”




Come back next Tuesday for the best from the seventh season! And tune in tomorrow for a new Wildcard Wednesday!

26 thoughts on “The Ten Best SEINFELD Episodes of Season Six

  1. My fav is “The Jimmys” but I luv “The big salad” and “The fusilli jerry” 2. what is ur least fav episode this yr?

    • Hi, BB! Thanks for reading and commenting.

      My least favorite entry this season is “The Chaperone,” which poises the year for a story-driven, and less comedically satisfying, collection of episodes.

  2. YAY! “The Fusilli Jerry” is my favorite too. Great list. There’s more mediocrity this season than in the past few weeks IMO. Lots of okay episodes; only a couple of great ones. I’m so glad you included “The Soup” though – that one’s really underrated.

    BTW I too have major issues with “The Couch” – the Poppy pee story is funny, but so gimmicky and the Elaine abortion stuff, aside from not being funny, becomes very story-driven with the contrived pizza pie parallels. Ridiculously smug and self-loving storytelling—not nearly good for character or as amusing as it needs to be. To me, it’s a perfect example of all those story issues you’ve been discussing!!

    • Hi, Michael! Thanks for reading and commenting.

      I agree with you about the contrived story-driven nature of “The Couch,” although I don’t think it’s completely without laughs (even in the Elaine story).

  3. I’m glad you included The Soup and The Kiss Hello, both of which are highly underrated. I understand why you didn’t put The Couch in the top ten, but it would in mine. I also would have included The Gymnast as an honorable mention for the George storyline alone.

    • Hi, Charlie! Thanks for reading and commenting.

      I like all the stories in “The Gymnast” – especially the memorable one with George – but I think the script suffers from the year’s crushing narrative structure, which more than anything else, zaps the execution of its competitive comedic quotient and encroaches upon its character-rooted core. It’s proof that the good idea, alone, is not enough. I don’t dislike the entry, but find it comparatively middling; I think “The Couch,” for all its flaws, finds more victories.

  4. I knew we would disagree about Six because I still consider it a part of the Golden Age. I will concede that both Seasons Five and Seven are funnier and more gem-filled, but I think the year deserves to be lumped within the show’s best because the emerging storytelling style with which you, understandably, have issues here, is *part* of the show’s developing identity. Embracing that, as you suggested is easier for you to do in Season Seven when the results are better, makes it easier for me to to enjoy Season Six too. So the biggest problem here IMO is only that this truly good year is overshadowed by its great neighbors. I draw that line of descent later than you do, but I understand why you draw it here!

    Anyway, I agree with your MVE and your selections – I like “The Couch” okay (in spite of its issues), but I love “The Soup” and “The Beard” (both underrated offerings). Only episodes I dislike here are “The Chaperone” and “The Gymnast” which I just find relatively laugh-light in comparison to others. As usual, though, can’t wait for next week!

    • Hi, Nat! Thanks for reading and commenting.

      I understand your position. There’ll be cause to draw another figurative line between Seven and Eight as well. But I think another key area in which we disagree is that, while I enjoy Season Seven more than its predecessor, I don’t enjoy it more than Three, Four, or Five; stay tuned…

  5. Yeah, this is the season where all the complicated story stuff really starts to drown the show and the characters especially. Elaine endures quite a bit of a nasty transition (going against how she was originally presented and how the show was constructed, as you so astutely point out)– and although its even worse next year, the whole show is slightly funnier in Season Seven. Six, I would agree with you, is a dip. Not as many hits as last year – which was filled with them – or as the following. Anyway – great work as usual and can’t wait for next week! OH – and “The Fusilli Jerry” is 100% my favorite episode too; I LOVE LOVE LOVE Puddy. (His return is one of the wisest decisions of the post-David era I think!)

  6. In the past, I’ve named “The Gymnast” my favorite SEINFELD episode, just because all the stories climax so well together at the end of Act 2. Jackson, do you like this one less for the wildness in it, and stretches in logic? I thought it was hilarious in any case.

    My least favorite episode of this season is “The Diplomat’s Club”, which like “The Visa” in Season 4 has the characters end up in bad situations for reasons that IMO aren’t their fault. I guess this helps serve the comedy, but for me, as I care for them a bit as people, I think it’s unfair to them.

    • Hi, Jon! Thanks for reading and commenting.

      No, as mentioned above in response to Charlie, I’m not so much bothered by any leaps in logic with regard to “The Gymnast” as I am by its script and structure, which I think hamper its comedic standing. (It’s especially noticeable because the ideas are each fairly solid.) However, I do think it’s a great representation of the season and its shortcomings!

  7. Since you’ve mentioned Carol Leifer, do you have any plans to cover her sitcom, Alright Already, for a Wildcard Wednesday? It’s much more in tune with the Seinfeld sensibility than the post-Seinfeld projects you’re discussing, like Watching Ellie.

    • Hi, Adambr! Thanks for reading and commenting.

      Yes, you will see ALRIGHT ALREADY on this blog during our survey of ‘90s sitcoms, but I don’t know when. I currently have 18 of the 21 broadcast episodes and I’d like to complete my collection before crafting coverage. (If you have any leads, let me know!) Stay tuned for WATCHING ELLIE next Wednesday…

  8. Great list. “Fusili Jerry” is my favorite this season too, with “Big Salad” and “The Jimmy” the runner-ups. I love all your selections and “The Understudy” with the terrific callback to “Rochelle, Rochelle”

    I agree with Nate about my least favorites. “The Gymnast” suffers from too much Mr. Pitt (I never liked him) and a a reliance on something I think u talked about weeks ago (or maybe it was in a MURPHY BROWN post): the reliance on comedic idea over anythig else… like how it actually utilizes character. IDK It’s not a terrible episode. But it’s no classic. Interesting to see another reader cite it as a favorite.

    Anyways,, can’t wait for next week!

    • Hi, GaryK328! Thanks for reading and commenting.

      While I do concur that “The Gymnast” is idea-driven, one of the interesting things about SEINFELD is that every single viewer has their own favorites and least favorites. As mentioned in past weeks, it’s a testament to both the series’ comparatively high base level of quality and its relative (key word: relative) consistency. I love that this episode is Jon’s favorite because it speaks to the show’s superiority (if not, as far as I’m concerned, the episode’s).

  9. I love The Doorman also. The Frank and Kramer scenes are hilarious. I laugh every time I see this episode. And the look on Estelle’s face is priceless when she walks into the room. I love the Costanza’s. Thanks again Jackson for the great reviews. Seinfeld is one of the best.

  10. Although I am not a big fan of this season as a whole, yes, there certainly are some spectacularly funny high points: “The Fusilli Jerry” deserves its soaring popularity, the Mel Torme climax to “The Jimmy” might be Michael Richards’ last truly great moment in the series, and Jerry failing the lie detector test on MELROSE PLACE is as funny as Seinfeld the performer (actor??) gets here.

  11. Definitely agree, it’s not the best season but it’s still has its funny moments. Too many complicated stories. Can’t wait for next week

  12. Nice to see you include “The Kiss Hello”, it’s long been a favorite of mine, hilarious in every way. It’s also, in my experience, one that others who like the show don’t seem to remember when I mention it. Really enjoying your comments and analysis

    • Hi, Jay! Thanks for reading and commenting.

      I agree — its construction services the character-driven comedy, instead of counteracting it.

  13. Will you do JUST SHOOT ME! now that the complete series coming out on DVD?

    Thanks for these posts BTW. Your analysis is always sharp!

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