Seinfeld Bloopers That Will Have You Rolling On The Floor

Even though it was a "show about nothing," Seinfeld is undoubtedly one of the greatest and most important TV comedies of all time. It's been off the air for nearly 20 years, but millions still watch its reruns every day, both in syndication and online. And for good reason: Seinfeld was original, extremely well-written, and, perhaps most of all, it starred one of the most comedically crackling casts ever, including Julia Louis-Dreyfus as Elaine, Michael Richards as Kramer, Jason Alexander as George, and Jerry Seinfeld as a standup comedian also named Jerry Seinfeld. 

The cast's chemistry was top notch, but they were so funny, and so funny together, that they seemingly cracked up laughing all the time. Here are some of the funniest bloopers from the set of Seinfeld.

Nothing ever seems to go right for unlucky loser George Costanza. It would seem that Jason Alexander, the actor who portrayed George on Seinfeld, acquired some of that bad luck. In this scene, George breaks away from Jerry and Elaine to go check on a phone call. The camera is supposed to follow George...but it doesn't, and Alexander is left delivering his lines off-screen, unseen. It sure feels like something out of the Costanza playbook.

Michael Richards is just naturally funny. The role of Kramer often required him to be funny with just a look, a gesture, or just plain existing, a challenge he executed with aplomb. Kramer is such a goofy character that when he adorns a fancy blazer and starts puffing away on a pipe to express fanciness and esteem, it's going to be hilarious—so hilarious that not even Louis-Dreyfus can handle it.

TV Jerry Seinfeld was a stand-up comedian, just like real-life Jerry Seinfeld. Like his real-life counterpart, TV Jerry sought out some supplemental acting work on occasion. Fictional Seinfeld was not as successful as real Seinfeld, who starred on and co-created Seinfeld, after all. Hence this scene in which Jerry gets frustrated about his acting sideline while poring over a script, lamenting that he can't act—and it's those lines that actor Jerry Seinfeld, acting on Seinfeld, messes up, ironically enough.

Jujyfruits, an extremely chewy boxed candy, is central to the routinely complex plot of the fifth season Seinfeld episode "The Opposite."  Elaine is at the movie theater when she hears her boyfriend has been in an accident, but first buys some Jujyfruits from the concession stand before heading to the hospital. Jake breaks up with her because she bought candy before rushing to his side. 

Later on, Elaine can't tell her boss he left his handkerchief in her office because her mouth is full of Jujyfruits, and so he sneezes in his hands and then won't shake hands with a Japanese executive. The deeply-offended executive and won't sign a big deal, thus putting Elaine out of a job. 

Elaine lost a guy and a job, all because Jujyfruits are so darn chewy. How chewy are they? So chewy that they stymy Louis-Dreyfus when she tries to deliver what lines she does have.

After six seasons, self-consciously bald George did something about his problem and got himself a toupee. A newfound sense of confidence, along with dressing better and walking with his head held high draws new attention from the opposite sex. George somehow manages to play it cool when a woman comes on to him hard in Monk's diner, pushing a chair out with her foot as an invite to join her. And then, Alexander suffers a George Costanza moment—the wig ridiculously falls out of place, and the diner set full of extras descends into laughter.

One of the more memorable episodes of Seinfeld is the 1995 entry "The Doorman," although it's probably better known as "The Bro episode." It's the one where Kramer, with the assistance of Frank Costanza (Jerry Stiller) invents an undergarment to provide support for men with "man breasts," which he brilliantly names the Bro. The two take a meeting with a major player in the bra industry, and it's here where the silliness of the entire endeavor finally gets to Richards and Stiller.

After countless dates, girlfriends dumped for petty reasons, and otherwise failed relationships, it looked like Jerry might have finally found his match in the seventh season episode "The Invitations." Perhaps it's because Jeannie Steinman (Janeane Garofalo) is exactly like Jerry—they've got the same initials, love to eat cereal, and even read the same comic books. 

Alas, in the end, it's too good to be true, but those early stages of love are giddy and infectious, even for the actors portraying the lovebirds—Seinfeld and Garofalo can't get through a makeout scene without giggling.

The main characters of Seinfeld have been called a lot of things—selfish, misanthropic, self-absorbed. They all tend to feed off of each other's nasty energy, and that's on display in this blooper. George is in the hospital, and he, Jerry, and Elaine irritate the next patient over. Their response to the outburst is routinely petty: George tosses a cup over the partition. Or at least he tries to, and he misses. His cohorts compensate by throwing over whatever objects they've got on hand.

Can one liquefy a cookie? Can one not liquefy a cookie? Whether or not a cookie contains enough fluids so as to be able to blend it into a paste and force it into the mouth of an unconscious man is debatable, but the idea alone of liquefying a cookie is apparently too much to handle for Seinfeld and Louis-Dreyfus, who stumble on their lines and laugh their way through what's supposed to be a frantically silly scene for other reasons.

The 1992 episode "The Bubble Boy" ranks among the best-ever and most memorable Seinfeld episodes. It's also a little high concept, and requires some explanation for both the audience and characters in the show to follow. (In short, the episode concerns Jerry meeting a young man with an immune disorder so severe that he lives inside of a thin, plastic bubble.) In trying to provide that information to the audience, Alexander, Seinfeld, and Heidi Swedberg (as George's fiancée, Susan) repeatedly have a hard time getting it all out in a way that's accurate and which maintains the scene's rapid comic rhythm.