Thursday, August 30, 2012

SEINFELD - Season 6, Episode 16 - The Kiss Hello

“The Kiss Hello”

First Script Read: Wednesday, January 4, 1995
Filmed: Tuesday, January 10, 195
Aired: February 16, 1995
Nielsen rating: 22.2
Audience share: 33
Directed: Andy Ackerman
Writers: Larry David and Jerry Seinfeld

This is the penultimate episode Jerry Seinfeld shared a writing credit for, the last episode being season seven's "The Cadillac." It epitomizes the worldview he and Larry David embedded in the characters of Jerry, George, and Elaine.
KRAMER: Yeah. Hey listen, I, uh, I need a picture of you, buddy.
JERRY: What for?
KRAMER: Well, I'm, uh, I'm putting everybody's picture up in the lobby of our building.
JERRY: Why?
KRAMER: So everyone will know everybody's name. See, people are gonna be a lot friendlier.
JERRY: I, I don't want my picture plastered up in the lobby.
KRAMER: Imagine walking by someone on the floor, and you say "Hey, Carl!" and he says, "Hey, Jerry!" You see, that's the kind of society I wanna live in.
JERRY: Kramer, I don't wanna stop and talk with everyone every time I go in the building. I just wanna nod and be on my way.
Seinfeld had survived on Cheers' coattails in its first years before eventually building its own success. But the society depicted in Seinfeld was not like the society in Cheers. A place "where everybody knows your name" is a sort of nightmare to Jerry. He prefers a private life with only a couple close friends. Every once in a while on the show Jerry even complains about the frequent visits of Kramer, George, and Elaine. Neighborliness is a cause for discomfort and anxiety as opposed to the comfort and satisfaction Kramer envisions. 

Jerry refuses to let Kramer take his photo but Kramer won't give up. Later, Jerry catches Kramer rummaging around his apartment looking for a picture:
KRAMER: Oh, come on, Jerry. If everybody knew everybody we wouldn't have the problems we have in the world today. Well, you don't rob somebody if you know their name!
JERRY: You're robbing me.
Kramer's idealism rests on a familiar cliché that Jerry correctly dismisses. The value a person gets from knowing one's neighbor is more complex than Kramer sees it. Knowing a person's name is the first step towards building a relationship, and relationships are the foundation of so many fulfilling aspects of life. 

But relationships also take work, as Jerry knows all too well from his existing relationships. His senile grandmother revealed that his Uncle Leo was supposed to give his mother $50 after their father won $100 at the track decades ago, but Leo denies the charge. Meanwhile, Jerry is also annoyed by Elaine's friend, Wendy, who has a habit of kissing him hello every time they meet. Jerry doesn't like the kiss hello. Alas, when Kramer does get his photo up in the lobby, Jerry runs a gauntlet of kisses every time he walks in the building:
JERRY: Ah, well. Thank you very much!
KRAMER: For what?
JERRY: For putting my picture up on that wall! I'm like Richard Dawson down there now. And every person I see engages me in this long, boring, tedious, conversation. I can't even get out of the building!
KRAMER: You should be thanking me for liberating you from your world of loneliness and isolation. Now, you're part of a family.
JERRY: Family?
KRAMER: Yeah.
JERRY: You think I want another family? My father's demanding my uncle pay interest on fifty dollars he was supposed to give my mother in 1941, and my uncle put my Nana in a home to try and shut her up! And I tell you another thing, Cosmo Kramer, whatever you wanna be called. The kissing thing is over. There's no more kissing, and I don't care what the consequences are.
[KRAMER GRABS JERRY'S FACE AND GIVES HIM A LONG KISS ON THE LIPS JUST AS GEORGE ENTERS. WITHOUT A WORD GEORGE PAUSES A MOMENT AND THEN BACKS OUT OF THE ROOM.]
Kramer can't accept that Jerry enjoys his loneliness and isolation, but that is the truth about who he is.

Eventually, Jerry tries to tell the women in his building that he doesn't want to kiss hello anymore. This offends them and the whole building turns on him bitterly. The antagonism is so disagreeable that Jerry asks the women for a kiss, but it is too late. In the final scene, Jerry is on the outside looking in at a big party Kramer is having in his apartment. He regrets turning his back on the community, but if Kramer had never put his photo on the wall, Jerry would have continued to go about his business, nodding to people in his building and never incurring their wrath. There is risk to every relationship, risk that Jerry, who has been in many relationships and has been unsatisfied with most of them, doesn't want to take.

Saturday, August 11, 2012

SEINFELD - Season 6, Episode 15 - The Beard

“The Beard”

Filmed: January 18, 1995
Aired: February 9, 1995
Nielsen rating: 21.7
Audience share: 32
Directed: Andy Ackerman
Writer: Carol Leifer


This episode delves as deeply into attitudes about homosexuality as any show since season 4's "The Outing." Elaine poses as a girlfriend for Robert, a gay man, to help mask his sexuality from his boss. She also talks up his masculinity to his boss when Robert goes to the bathroom:
ELAINE: Well, believe me this didn't happen overnight. Robert's not exactly a one woman man, if you know what I mean. No sirree Bob. Sure, I mean in a lot of ways, he's a typical guy. He likes his sports. But he counters that side with the side you see here tonight at the ballet. Or the pleasure he gets in watching Miss Liza Minelli belt out a few choice numbers. It's those two halves of his personality that just come together to make him the very special guy that he is.

Elaine enjoys playing the part so well she begins to wonder if she might be able to turn Robert straight:
JERRY: Not conversion. You're thinking conversion?
ELAINE: Well, it did occur to me.
JERRY: You think you can get him to just change teams? He's not going to suddenly switch sides. Forget about it.
ELAINE: Why? Is it irrevocable?
JERRY: Because when you join that team it's not a whim. He likes his team. He's set with that team.
ELAINE: We've got a good team.
JERRY: Yeah, we do. We do have a good team.
ELAINE: Why can't he play for us?
JERRY: They're only comfortable with their equipment.
ELAINE: We just got along so great.
JERRY: Of course you did. Everyone gets along great when there's no possibility of sex.
ELAINE: No, no, no, I sensed something. I did sense something. I perceived a possibility Jerry.
JERRY: You realize you're venturing into uncharted waters.
ELAINE: I realize that.
JERRY: Are you that desperate?
ELAINE: Yes, I am.

Baseball is repeatedly used as a metaphor throughout the episode for Elaine's scheme to get Robert to join the heterosexual team. It's silly and leads to a lot of laughs, but it also smooths over one of the key debates in the American culture wars over homosexuality: the question of whether homosexuality is a free will choice or a genetically defined preference. Jerry, pointing out "it's not a whim," believes there is no free will involved. Elaine, by the mere fact that she thinks she can convince Robert to change teams, feels it is a choice. However, this is probably wishful thinking, as Elaine is quite smitten with Robert. She does manage to seduce Robert into her bed, although her conversion is only temporary as Robert quickly returns to his own team.

Seinfeld could be accused, both in this episode with homosexuality and in "The Couch" with abortion, of being too flippant about serious issues. As I discussed in my blog post on "The Couch," I think undermining subjects that are considered serious is one goal for Larry David and other Seinfeld writers, as well as for many comedians in general. However, I think the larger interest when David and Co. begin crafting such a script is to see how much they can get away with. They are entertainers first, and social critics only as long as it services the comedy. "The Beard" and "The Couch" pushed a sitcom farther into controversial subjects than network television had ever seen before. Whats more, they did it hilariously. This wasn't "a very special episode of Blossom." This was writer Carol Leifer taking on the high degree of difficulty of poking fun at the idea of turning a gay man straight and largely succeeding. In the more permissive fold of HBO, David has gone further into controversial subject matter on Curb Your Enthusiasm. Like Seth MacFarlane, part of David's comic genius is his interest in walking the fine line between offensive and funny. Though I would argue that unlike MacFarlane when David uses the offensive and obscene for a joke he does so with an underlying, ever-present interest in social observation and commentary.

"The Beard" does have one misstep that looks unfortunate in retrospect. The episode never addresses Robert's boss's prejudice. The only thing Elaine says on the subject is, "[Robert's] afraid that his boss can't handle his orientation." Jerry doesn't criticize the boss, even with a quick one-liner. Robert never has an opportunity to bemoan his boss's attitudes. And Elaine just plays along with Robert's masquerade, never calling out the boss. In the exchange with Elaine when Robert departs for the bathroom, it's clear the boss already has his suspicions about Robert's sexuality, so perhaps Robert is being overly paranoid. Still, it is unfortunate that the episode never critiques the discrimination that would necessitate a "beard" in the first place.