I'm feeling a tad out of place here. I guess I misunderstood. When I tuned into the finale tonight, I watched a television show say goodbye by poking vicious fun at the foibles of its own protagonists, just as they had been poking fun at other people for years. I didn't like the NBC pilot part - it seemed a tad self-congratulatory and smug - but I thought the trial brought the four full circle as the world they mocked and screwed turned on them at last in a vicious piece of the same absurdist justice that they have endured for years. And the clips were forgiveable because they actually moved the storyline a bit and validated the outcome. It was also a chance to give some of the most memorable supporting characters a curtain call. I didn't realize I was supposed to hate it because it was crap. I kind of enjoyed it - although I do think the show is slipping and Seinfeld is smart.
Gee, what a reaction! Seinfeld Finale
Viewers debate the finale's merits, with some appreciating its poetic justice and character callbacks while others criticize it for being unfunny and relying too heavily on clips as a writing crutch.
I agree with you.
Claire Abraham wrote in message ...
Everything you say it true as far as it goes. But just one other question you didn't address; did you think the show was FUNNY?
On 15 May 1998 03:30:52 GMT, [email] (Claire Abraham) wrote:
Andy asked me:
Why do I get the idea I will be flamed if I say yes? Yes, I chuckled pretty frequently, especially - believe it or not - during some of the trial scenes, including Jackie's opening argument, the arrival of the Soup Nazi, "they're real and they're spectacular", Newman choking, yada yada yada. Sorry if that offends you - the idea that some people liked this episode sure seems to be offensive to some folks around here! Now, it wasn't the best I've ever seen - I chuckled, I didn't belly laugh, but I can think of much worse ways to spend a Thursday evening.
Um, I don't know how to break this to you, but using clips or flashbacks as a crutch to move your story along is the worst thing you can possibly do in writing for film or TV. It's a dead giveaway for a poorly thought out premise -- and this was obviously poorly thought out. Spend fifteen bucks on a book and see for yourself.
"Up here, I'm already gone!" -- Cosmo Kramer
In article ,
as a
premise
Look, that would be true in any case except a series finale. Look that up in your writing "book."
Don