All the way back in 1998, the funniest sitcom of all time officially went off the air. True, there were exceptional shows that came before and many that would come after, but for my dollar “Seinfeld” sets the bar. I specifically remember watching dozens of episodes with my family, huddled around our little TV on Thursdays nights with the rest of America. Knowing me, I was probably rolling around on the floor in fits of laughter, struck by these absurdly realistic situations pieced together by popping language. Life was and is always hectic, but “Seinfeld” never ceased to fill our house with a sense of calm enjoyment, if only for a half hour every week. Although one could make a case for “Everybody Loves Raymond,” “Seinfeld” was the last great “traditional” series to bow out. When I say “traditional,” I’m referring to comedies that don’t adhere to continuous story lines. Starting with “The Larry Sanders Show,” then “Sports Night,” and now “The Office,” “30 Rock,” “Scrubs,” “Extras,” and “Entourage” — these are all shows that flesh out stories throughout an entire series. “The Simpsons” is the only current sitcom from the last century that “resets” itself after every episode. The characters never learn from their mistakes and plots don’t carry over. Unless the brilliance that is “According to Jim” is still on the air, only the animated comedies on Fox (and possibly Cartoon Network) stick to this age-old format. In my mind, that style is more difficult, as with each episode the writers have to start from scratch, severing any possible avenues their characters might crawl down. It’s the perfect framework for stand-up comedians, and that’s why “Seinfeld” was so perfect.
At their core, Jerrfy Seinfeld and Larry David are gag writers. Often described as “comics’ comics,” they didn’t have a schtick, necessarily — their jokes were just really funny. However, while Jerry was likable, crowds could loathe Larry David. Thus, when the idea of a television show presented itself, Jerry reluctantly ventured on camera while Larry stayed behind the scenes as a writer and executive producer. Of course, Larry’s presence would take shape on screen as the character George Costanza, played by Jason Alexander. Enter Julia Louis-Dreyfus as Jerry’s old girlfriend, Elaine, and Michael Richards as Kramer, the wacky neighbor from across the hall, and the rest is history.
After nine seasons — a unreachable duration for comedies these days — “Seinfeld” ended with a two-part finale. In the closing scenes, the four friends are sentenced to an unspecified amount of jail time, leaving their futures in doubt and a reunion a possibility. Over the next few years, each of the actors would follow their own path. Jerry got back into stand-up and made a poorly received kids movie. After failing with one series, Julia found success with her current “New Adventures of Old Christine.” Jason had two sitcom flops and later turned to the theater. As for Michael, we all know what happened to him. It was an unfortunate incident that happened to a talented man. But what of Larry David?
When “Curb Your Enthusiasm” premiered on HBO in 2000, it was the first time most of us had seen Larry. The hype succinctly touted “Curb” as a new show from “the co-creator of ‘Seinfeld.'” That was all it took. The guy couldn’t act, but it didn’t matter. “Curb Your Enthusiasm” is “Seinfeld 2.0,” equipped with all the stylings of 21st century television. Continuous story line? Check. Disposal of canned laughter? Check. Single-cam filming? Check. Loose, realistic dialogue? Check. Still, “Curb Your Enthusiasm” is about nothing (the subject). Really, it’s only slightly more evolved than “Seinfeld.” Larry David plays himself and funny stuff happens. That’s it. If anybody embodies the “write what you know” philosophy, it’s this guy. In 2007, Larry and his wife officially divorced. Cue Season 6 of “Curb,” which tracks Larry and his on-screen wife Cheryl’s separation. Remarkably simple, but remarkably effective. Larry and “Curb” then took a breather in 2008, likely due to changes in Larry’s personal life. Now in it’s seventh season, “Curb Your Enthusiasm” is back, part of HBO’s terrific Sunday nights that also feature “Entourage” and “Bored to Death.” As Larry and Cheryl consistently bump into one another, it’s clear a spark is still there. Cheryl has since become a Laker fan and taken up acting. Seizing an opportunity to win her back, Larry decides to orchestrate the “Seinfeld” reunion, casting Cheryl as Geroge Costanza’s ex-wife in the process.
This is the basic premise of “The Reunion,” the first time Jerry, Julia, Jason, and Michael have been together on television since “Seinfeld’s” finale. Lured by fantasies of being with Cheryl, Larry and executives from NBC agree to a one-off special. Larry begins to make the rounds. Obviously, Jerry is first up, and he takes the most convincing. Jerry: “You hate to get together. You’re not a get-together-guy.” He can’t comprehend Larry’s sudden enthusiasm for this type of thing. As Larry pushes and pushes, Jerry eventually gives in. Excited about its potential, Jerry pitches the idea of casting Meg Ryan in the role of George’s ex-wife. Uh oh.
Larry’s lunch with Jason Alexander isn’t nearly as smooth. Jason gives his seal of approval, but not after expressing his dislike for the “Seinfeld” finale and his unflattering views on the character of George. Upon paying their respective checks, Larry wants to “coordinate the tip” by leaving the same amount. Jason doesn’t see the relevance, further aggravating Larry. Ever the detective, Larry returns to the restaurant and interrogates the same waiter, asking him how “healthy” Jason’s tip was.
Like Jerry, Julia is a bit skeptical, considering how tacky reunion shows have been in the past. Still, since everyone else is in favor, she accepts. When she leaves to answer the phone, Larry grills her daughter about where she was yesterday. Julia couldn’t meet up earlier because she was at her daughter’s birthday. However, Julia has two daughters and the one Larry is talking to hasn’t been around any cake recently. Again, Larry is irrationally stirring the pot.
Out to eat with Michael Richards, Larry continues his crusade. Larry uses the exact same pitch to sell Michael, but Kramer is zoning out. He’s distracted by all the nude art covering the walls of the restaurant. Before leaving, he obliviously agrees to reprise his role infamous role.
Naturally, Larry nearly ruins everything after telling the head of NBC to “go F himself” because of a disagreement over some Laker tickets. But this is Larry David and “Curb Your Enthusiasm” we’re talking about. During the shows final scenes, Larry resolves all the problems he’s created for himself and the “Seinfeld” cast. Nevertheless, nothing is ever seamless. After bumping into Meg Ryan on the street, Jerry offers her the part of George’s ex-wife and she’s game. Maybe it’s just not meant to be, Larry.
As “The Reunion” involved a heavy load of story development, there weren’t as many hilarious lines as one might expect. Now that the set-up is complete, the following episodes should be incredible. All the “Seinfeld” actors were great, playing a role far more surreal than either has ever undertaken in their respective careers.
Lastly, I’ll leave you with my favorite moment from last night’s episode. Larry is apologizing to Sandy Goodman, the head of NBC.
Larry: So, this is me apologizing. It’s about as sorry as I can get. I guess my question is..was it sorry enough?
Sandy: That’s it?
It’s only going to get better, folks.
We’re going to assume that by “lost,” they mean “originally rejected by Standards and Practices, retrofitted as a DVD-only, warehouse-clearing cash grab.” And as these things go, it’s pretty entertaining. Some of these skits have appeared on other “Jackass” sets – Johnny Knoxville subjects himself to pepper spray, a taser and a stun gun, while Dave Englund makes the appropriately named vomelet – but there are some bits that were too good to hit the cutting room floor, namely “Cowboy Skatepark” and “Wakeboarding.” They weren’t stingy either, compiling 93 scenes, though several of those scenes are five seconds or less. How much you enjoy “Jackass: The Lost Tapes” depends greatly on how much bathroom humor you can handle; seemingly every third skit involves poo of some kind, and just listening to Englund regurgitating a gallon of milk is graphic enough to elicit the same response in the viewer. None of it is necessarily essential – though Steve-O is surely glad to see that the scene where he was branded on the heart made the cut, after 
