Seinfeld Reference: The Complete Encyclopedia (4 page)

Nevertheless, they expressed appreciation and gratitude through various gifts and affectionate nicknames.  For instance, after taping their mid-season replacement episodes, Julia Louis-Dreyfus gave her costars answering machines so they could keep them in their dressing rooms (a hopeful presage that the series would return for a full season).  Over the years the ensemble exchanged leather jackets, wine, Barbara Stanwyk tapes, and jewelry.  The creators received electric toothbrushes, Jerry Seinfeld was given the book
Money and the Soul of the World
, and each of the 100 crew members received a $400 mountain bike.  According to Louis-Dreyfus, the cast even has pet names for each other: Jerry is Precious, Jason Alexander is Babycakes, Michael Richards is Chuckles, and Louis-Dreyfus is Little Yum-Yum.

The wrap-up parties provided additional venues for jocularity and collegiality.  After the fourth season, Michael Richards was denied access to the party because the security guards did not recognize him.  Fortunately, the cast vouched for him so he could enter the party.  For Jerry's birthday, Jason Alexander hired a stripper to disrobe and flirt with the series' star.  When Seinfeld's mother appeared on the set, a bathing suit had to be used.  Ironically, afterwards his mother commented that the woman should have been naked! In the 1997 soirée, Julia Louis-Dreyfus and Jerry Seinfeld puffed on cigars and used the boom mikes as fishing poles while hanging from the rafters.

Another indication of the collegiality amongst the cast and crew was the death of producer Marjorie Gross.  The Toronto-born comedian was only 40 years old when she succumbed to ovarian cancer on June 7, 1996.  She entered showbiz as a stand-up comic, gravitated toward script writing for "Newhart," "Alf," and "Square Pegs," and then became a producer of "Seinfeld."  In the final days, Jerry Seinfeld spent time with his friend singing her favorite Beatles tunes.

In addition to cast and crew unity, the "Seinfeld" cast extended their camaraderie to guest actors.  The cast always bent over backwards to make guests feel welcome.  They were generous and giving, frequently shared ideas and suggestions, and offered constructive criticism.  Nearly every actor expressed the same tune: working on "Seinfeld" was abundantly pleasurable and the atmosphere was supreme joy.  The one exception may be Kathy Griffin who created a real-life stand up act to berate Jerry Seinfeld.

Series Cancellation - Early Warning Signs

Even as early as the seventh season, there was speculation that "Seinfeld" would call it quits.  Contemplating its demise, cast members pondered their future without the series.  Jerry Seinfeld considered offering career seminars for young comedians; Jason Alexander was interested in resuming his theatrical and feature film careers; Julia Louis-Dreyfus wanted to spend time with her only child; and Michael Richards discussed a possible one-hour comedy show with a "Rockford Files" twist.

In the middle of the seventh season, however, Seinfeld made a February announcement that the series would return for one more year without Larry David, the mastermind behind the operation.  Despite making repeated claims to depart since the series commenced, David was serious and followed through on his word.  He did not bask in the limelight, and could not handle the pressure of success or swarming media attention.  Moreover, since the press was already clamoring about the show's qualitative demise, David wanted to abandon ship before the vultures claimed the carcass.

Trepidations and reverberations followed in the aftermath of David's departure, and at times there were noticeable lapses in quality, but the series remained the best sitcom on television.  Without David's watchful eye and script-writing prowess, the remaining co-creator expanded the creative brain trust to incorporate more staff writers into the fold.  Ultimately, they commenced the eighth season expecting it to be the last, but the cast was having too much fun (and ratings success) so they contemplated returning for another season.

Series Cancellation - Contract Negotiations

Although Jerry Seinfeld held the purse strings in deciding the series' future, he also championed the costars' cause when they demanded higher salaries.  In the final two seasons, his salary skyrocketed from $200,000 per episode (1995-96), to $500,000 (1996-97), and then $1 million (1997-98).  His $22 million annual salary encompassed fees as an actor, writer, and producer, plus a percentage of the show's profits.

NBC's generosity, however, did not extend to the costars.  In contrast, during the same time frame the triumvirate only earned $125,000, $160,000 and $600,000, respectively.  During the 1997 negotiations, the ensemble insisted upon equal pay to the series' star but NBC held firm at $300,000 because it nearly doubled their salaries.  After protracted negotiations, the costars eventually signed a two-year deal worth $600,000 per episode.  With the settlement, each costar earned approximately $1,300 per word.

The costars had only one serious concern--public backlash that would tarnish the goodwill of each actor or societal interest in the show.  The cast rationalized that they were worthy of a pay increase because of the overwhelming success of the show.  Considering the projected syndicated revenue, NBC profit, and commercial advertising incomes, everyone associated with the series was becoming rich, except them.  The ensemble did not share in any of the revenue, so they wanted their slice of the pie before it was too late.

Series Cancellation - No More "Nothing"

The creators both agreed that the best time to cancel "Seinfeld" was at its apex.  The only disagreement was when that time would arrive.  In the episode "The Maid," Jerry Seinfeld gives George Costanza a lesson in showmanship--to leave keeping the audience wanting more--and followed his own advice when axing the series.  He always wanted to go out on top.  According to Seinfeld, in the life of a performer, the best time to exit is when the audience wants more; if you stay too long, they will be disappointed.

Although true in theory, and Seinfeld's decision to terminate the series was based primarily on this philosophical belief, other factors were at play.  First and foremost, there was abundant media criticism that the show was lagging in creativity and laughs.  Seinfeld feared interminable condemnation and an inevitable snowballing effect of negative perceptions.  Second, there was concern over his ability to conceptualize 22 original episodes that could never fulfill personal, critical or audience expectations.  Finally, the easiest decision was following Larry David's lead two years prior, by leaving the stage with a standing ovation--to end on a high-note and bow out gracefully.

During the winter break, NBC executives attempted to persuade Seinfeld to return for one more season.  Besides appealing to his financial concerns--offering an unprecedented $5 million per episode--the network appealed to his ego.  In mid-December 1997 NBC gave a formal presentation, "Seinfeld: A Broadcast Phenomenon," to illustrate his dominance over every other sitcom or comedian.  After two contemplative days, Seinfeld called NBC to decline the offer.  On December 17, 1997 he personally met with the costars to discuss their fate.  Finally, the day after Christmas, Seinfeld announced the demise of the coveted series.

With the impending "Seinfeld" epilogue, there was speculation about various potential spin-offs of the series.  Although viewer polls suggested Kramer as the best solo artist, the creators considered each of the principal characters before reaching a final decision.  In the end, there was skepticism whether any character standing alone would be strong enough to sustain an audience or a series, so they decided to avoid any "Seinfeld" spin-off that may ultimately tarnish the image of its parent-series.

Series Finale Secrecy

After months of anticipation, the "Seinfeld" series finale was taped over an eight-day period commencing March 31, 1998 and ending with a tear-filled oration on April 8, 1998.  The select constituency of 300 dignitaries--family, friends, network executives, former writers, directors, technical staff members and guest actors--was present by invitation only.  The congregation entered at 6:30 p.m., received an emotional introduction by the cast, and departed at 2:30 a.m.  Since the taping lasted over a week, the audience was shown clips of previously taped parts and only saw a few new scenes performed live.

Unlike the series finale of other mega-hit sitcoms, the "Seinfeld" swan song discouraged a media circus by banning reporters.  The secrecy of the finale equaled the tight lips inherent in the "Cheers" departure a half-decade earlier.  Everyone had to sign confidentiality agreements--audience members, cast, staff, producers, actors, NBC executives--and no one was allowed to see an entire script (even guest actors were denied information regarding motivation for speaking their lines).  The final ending was taped privately without an audience present, multiple endings were taped, and the scripts shredded.

Besides guarded secrets, "Seinfeld" zealously protected its image and copyright interests.  Paul McGuire, NBC's vice president of entertainment publicity, was fired for allegedly releasing "Seinfeld" photographs for a book, and the following month Jerry Seinfeld withdrew his $6,000 per month account with longtime publicist Lori Jonas after a dispute involving his appearance on the May 1998 cover of
Vanity Fair
.

Series Finale - Promotion

The "Seinfeld" finale was the most-hyped television event of the decade, and also the most secretive.  The creators kept a tight lip on the script content and NBC promotional segments had to be approved by Seinfeld prior to airing.  Everything was secretive.  Even NBC president Warren Littlefield was not privy to the final ending (though he appeared in the final episode as an extra in Monk's Café).

The media was banned from the information loop to encourage speculation and fuel viewership interest.  Speculation ran rampant on predicting the script finale, but only the
Boston Herald
newspaper foresaw the ending one day prior to its airing.  Unfortunately, because so many bogus scripts were previously publicized, the prognostication was lost amongst the media soothsayers who cried wolf once too often.  Although in theory this may seem logical, in actuality, it resulted in overexposure.  Television viewers were inundated with "Seinfeld" promotions and by series end many were eager for the show to depart.

Across the country, everyone was paying homage to the highest-rated sitcom in their own special way.  New York City's Times Square broadcast the finale; Tom's Restaurant was reserved by
Maxim
magazine and invited special guests for a private viewing; in St. Louis the episode was broadcast on the side of a seven-story building so 5,000 fans could watch; and the Cannes Film Festival sold tickets to view the satellite transmission in the American Pavilion.

Other television and cable networks paid respect and offered unique tributes.  Nick at Nite TV Land went off the air for two hours and merely broadcast a placard on the office door informing viewers that they were watching the "Seinfeld" series finale.  Opposite "Seinfeld," ABC aired Clint Eastwood's "The Unforgiven" and promoted the western by using a computer-generated clip of Eastwood shooting a "Seinfeld" logo.  "Dharma & Greg" incorporated the finale into their script by engaging in a tantalizing Thursday night public fornicating that was less risqué because everyone else was home watching "Seinfeld."  The Home Shopping Network sold the Soup Nazi's bisques; "Judge Judy" aired the Kenny Kramer small claims case; Court TV aired the sexual harassment/wrongful termination trial of a brewery executive fired for discussing "The Junior Mint" episode; Sci-Fi Channel had Estelle Harris host a double feature of
Psycho
movies; MTV had a claymation deathmatch between Jerry Seinfeld and Tim Allen; and UPN had a special with children impersonating Jerry Seinfeld.

The Internet had daily contests, promotional events, never-ending discussions and speculation about the final script.  By series end there were more than 200 web sites, created by laypersons as well as official affiliates, offering anything from senseless inaccurate information to factual intrigues about the cast and show.  Local clubs across the country had Kramer look-alike contests and Elaine danceathons.  Everyone, from other networks to pseudo-affiliates of the show, was capitalizing on the hoopla.  Kenny Kramer devised a one-man farewell road show across America, the "Seinfeld Send-Off," to profit one last time on his ties to the famous show.  To capitalize on the finale, he embarked on a road tour, selling his name to radio stations that could offer the highest bid, and participated in various celebratory events.

Ratings - Nine Seasons

As the top sitcom of the 1990s, "Seinfeld" was relocated to three different time slots to increase its marginal Wednesday night audience.  NBC executives were committed to the show, but their decisions were unsuccessful in expanding the cult following.  It was solely the benefit of Thursday night broadcasts that provided the necessary exposure and increased viewership.  Inevitably, the permanent switch to Thursday night marked the day "Seinfeld" metamorphosed from a critically-acclaimed cult phenomenon to mass popular appeal.

Early Years.
When "Seinfeld" made its debut on Wednesday, July 5, 1989, few expected the series to see another day.  Despite surprisingly aloft ratings for a summertime pilot, ranked 21st out of 79 shows, the test-audiences unilaterally rejected the concept and critics were rightfully caustic.

After nearly a one-year hiatus from its rather precarious inception, "Seinfeld" returned to prime time television on May 31, 1990 with four original Thursday night episodes.  The short-run series was an unprecedented success.  "Seinfeld" commanded its highest ratings, which sparked reverberations of its future hit potential.  However, the reason for its success was the time slot because every show on Thursday night was a top-10 hit.