Seinfeld (1989–1998)
5 user 2 critic

The Pilot 

"Jerry," the television pilot, gets cast and finally airs. Elaine tries to discourage Dalrymple's romantic pursuit.


Tom Cherones


Larry David (created by), Jerry Seinfeld (created by) | 2 more credits »

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Episode cast overview, first billed only:
Jerry Seinfeld ... Jerry Seinfeld
Julia Louis-Dreyfus ... Elaine Benes
Michael Richards ... Kramer
Jason Alexander ... George Costanza
Bob Balaban ... Russell Dalrymple
Anne Twomey Anne Twomey ... Rita
Gina Hecht ... Dana Foley
Peter Crombie Peter Crombie ... Joe Davola
Jeremy Piven ... Michael Barth (George)
Larry Hankin ... Tom Pepper (Kramer)
Kevin Page ... Stu Chermack
Mariska Hargitay ... Melissa
Laura Waterbury ... Casting Director
Elena Wohl ... Sandi Robbins (Elaine)
Bruce Jarchow ... Doctor


In the fourth season finale, Jerry and George's pilot is finally a go. But before the taping, Elaine desperately tries to avoid NBC president Russell Dalrymple after an awkward date, while Kramer comes face to face with his TV show counterpart. Before the pilot airs, Crazy Joe Davola (see episode "The Opera") shows up to put a damper in the gang's plans. As the pilot is finally finished and ready for airtime, the executives at NBC aren't impressed with the result. Written by halo1k

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Release Date:

20 May 1993 (USA) See more »

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Did You Know?


The series may not have an opening credits sequence, but in the episode "The Pilot" the series "Jerry" does. See more »


During the airing of the pilot we see Drake (Rick Overton) and Drakette (Elizabeth Dennehy) watching on TV, but in an episode 4.22, Seinfeld: The Handicap Spot, the couple broke up. See more »


George Costanza: What if the pilot gets picked up, and it becomes a series?
Dana Foley: That would be wonderful, George. You'll be rich and successful.
George Costanza: Yeah, that's exactly what I'm worried about. God would never let me be successful. He'd kill me first. He'd never let me be happy.
Dana Foley: I thought you didn't believe in God.
George Costanza: I do for the bad things.
Dana Foley: Do you hear what you're saying? God isn't out to get you, George. What... What is that on your lip?
George Costanza: What?
Dana Foley: It's like a discoloration. It's white.
George Costanza: [looks in a mirror] Yes. Yes, it's ...
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Featured in Seinfeld: The Chronicle (1998) See more »


Seinfeld Theme Song
Written by Jonathan Wolff
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User Reviews

there's the show..
30 June 2019 | by Arth_JoshiSee all my reviews


Larry David and Jerry Seinfeld, the creators, of the dream sitcom for every stand up artist is the milestone set as an example on how to use your humor as a part of narrative. The series was clearly ahead of its time and fixated within that time limit when it was aired- or maybe not even then. This is how the series both remains timeless and also fails to test against time. The concept of the series- in fact there is an episode, where the series takes an almost meta turn, whispering the secretive meeting held within the confound of NBC walls about the pitch- is to just joke, just talk, analyse with a mockery tone, bombing brutally on a subject from the most privileged position under that circumstances. There is no storyline, no character development, no arc, no rhythm to follow. Usually, a film like such becomes more than a film with such an idea; take the Life Of Brian series. And similarly the series refuses to participate in the expected or not even expected aspects of the storytelling.

There is no end, no beginning, it captures a brief period with an agenda in mind that you will have the time of your life. But this is where this coherent plan backfires. First the runtime itself. Something so monotonous cannot withhold its audience for nine years. It is simply preposterous. For the style of the joke, the humor, the vocab of these characters, if as-planned is intended to be the same, will grow natural or normal to the viewers. This makes the relationship between the viewers and the characters, similar to what the viewers have in the outer world, maybe a friend or a family member.

Basically it would never be interesting, sure some cases would come up, just as chapters does in here, but that too will carry the momentum of just that brief period of screentime. Another major challenge it faces is, in order to stay far away from the textbook sitcom structure, the character has to and does deny on getting on or blending in with the society. Now that's fine. But in order to last longer they had to create an unfair world that takes uncalled detours just for the laughs, ignoring both emotional and ethical aspect of it, resulting into a physical distance that you, as an audience, carry for the rest of the series. By the end, it gets difficult to survive and something so beloved, something so smart, Seinfeld is left under a dry heap of jokes.

The Pilot

It has been a long long day. And one would assume that after walking that far away, you'd get something delightful. This effortful overlong experience goes exactly like it starts, flat. Not completely opposite to Norm Macdonald's routine, but definitely is on the other side of the coin.

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