Seinfeld (1990)

15 mistakes in season 5

(11 votes)

The Lip Reader - S5-E6

Continuity mistake: In the episode where Kramer becomes a ball-man, the episode ends with them at a tennis match. It shows a shot of the court, and no one is standing anywhere near the poles of the net. In the next shot, Kramer is crouched down next to the pole, ready to dive for the ball.

The Wife - S5-E17

Continuity mistake: In the episode with Courtney Cox, when she and Jerry are arguing over a can opener, a bottle of beer keeps changing positions whenever they cut back to Jerry.

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The Puffy Shirt - S5-E2

Continuity mistake: When the man from the hand modeling agency is talking to George about Ray, he lifts up his right arm to make a claw with his hand, and as he does so he has his left arm holding up his right. After a cut, the man's left arm is suddenly hanging down, no longer supporting the other arm. (00:16:05)


The Fire - S5-E20

Continuity mistake: When Kramer is talking with Elaine and her coworker in the publishing office, his cigar appears and disappears between shots, as well as switches from his hand to his mouth in others, and from lit to not lit in others. (00:01:05)


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The Fire - S5-E20

Continuity mistake: When George is with his girlfriend at the coffee shop, the ketchup bottle on the table switches between being knocked over and stood up in different shots, despite nobody ever touching it. (00:03:10)


The Voice - S9-E2

Kramer: They're redoing the Cloud Club.
Jerry: Oh, that restaurant on top of the Chrysler Building? Yeah, that's a good idea.
Kramer: Of course it is. It's my idea.
Jerry: Which part? The renovating the restaurant you don't own part, or the spending the two hundred million you don't have part?

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The Robbery - S1-E2

Trivia: Michael Richards invented his patented Kramer entrance in this episode on accident. He missed his cue and thought he would make up for lost time.

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Answer: Composer Jonathan Wolff used a synthesizer, although in seasons 7-9, a real bass is used in addition. Wolff also recorded himself making hundreds of mouth noises, pops, and slaps to add to the synthesized bass licks so that each episode has a different theme. The only real "back-story" is Jerry Seinfeld was having trouble coming up with a theme song and talked to a friend who happened to know Wolff. They wanted to avoid that cheesy late 80's sit-com theme song and Wolff came up with what we enjoy now. Jonathan Wolff has also talked about this further in interviews, recently Reed Dunela interviewed him, so for a fuller account of his story; check out "The Wolff of 116th street".


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