Seinfeld Social Media Case Study:A Review About Nothing (not really)

JD RogersIntroduction for the Digital Era

Derek Scheips

Case Study OverviewI chose the title slide graphic with a purpose in mind. The image is the DVD Menu screen for Seinfeld’s seasons collections. The different appliances and furniture in Jerry’s infamous apartment are the different menu options – Play All, Episodes / Chapters, Additional Footage, Scripts etc.

As I’ve labored on for the entire six week session, the show’s official (or “centralized”) channels have one main purpose – to keep the focus on Seinfeld’s tremendous writing and “quotability” that keeps DVD sales moving and syndication viewership elevated and worthy of the continued dinner time slots and on the multiple cable channels it’s found on.

Currently, Seinfeld’s brand can be found on every single social media platform. Even LinkedIn. How active and certainly how organized is a different story and the basis for this case study. Although the brand and its fans can be seen and heard on today’s most prominent and emerging digital areas, there is no targeted central theme, even if one is a byproduct of the current efforts – the material is heavily dependent on its fans knowing the scripts, quotes, titles et al of the series and its characters and being willing and able to continue communicating with it.

There is also a marked difference between the show itself, the characters, and the actors that portray them in how each participates, is followed and ultimately relate to the show. Yet all are forever linked to it with an almost inherent obligation (in the public’s eye) to live through their former characters. They’ve been able to thus far because that source material has been enough on its own. Sooner or later it will not be and fans will need a new hook to stay connected with the show through social channels.

The next few slides give a snapshot into official, influencer and fan websites, Twitter handles, Google+ accounts and of course Facebook pages that all focus on the show itself (with branding). Following a review of this ampling of the branded show’s digital presence, the individual efforts of the actors and how much these relate to the show will be summarized.

In conclusion, there will be suggestions of what the show can and should do – both in practice and in specific initiatives – to maximize and sustain its social footprint and expand its fan and consumer base even 16 years after its completion.

What’s Happening NowThe Show -

O Modern Seinfeld, @Seinfeld Today (pictured), a handle that expresses episode plotlines if the show were around today, is a very popular account created and maintained by fans turned influencers. There are numerous other handles that attempt to emulate this concept, some fairly successful with respect to following numbers. It is the most effective channel regarding the brand (even not being run by a direct member).

O Seinfeld, @SeinfeldTV, is arguably the most interactive social media platform the brand itself employs. The majority of its source material is still the writing itself while also posting what episodes are on that evening. However, it does retweet fans’ posts while also engaging fans with questions of everyday life, show preferences, character identifying and more

What’s Happening NowThe Show - Websites

O The Official Fan Site of Seinfeld, http://seinfeldscripts.com/ surpasses anything managed by the show itself. Video, scripts, member interactions, programming information, blogs, cast and character information, episode archives, merchandise and even Superman References.

O The “Official Site” of Seinfeld, http://www.sonypictures.com/tv/seinfeld/, is operated by the show’s rights owner – Sony TV. It is skeletal at best, offering no content or forums for fans. It is a site to distribute programming information and DVDs sales and highlights the brand’s lack of a central social media managing body.

What’s Happening NowThe Show -

O Although sparsely contributed to, the fans’ G+ page at least has interaction among fans. As the photo illustrates, many contributors post either their own or celebrity situations and tie a Seinfeld quote to it. It needs more members and certainly more members who post, but it is a viable social media channel in its current state. https://plus.google.com/+Seinfeld/posts.

O Although Seinfeld is certainly not the first brand to operate in “plagiarizing itself”, the fact that every piece of content on the official G+ is the same as the Twitter page is disappointing nonetheless. And it becomes a trend. Like the official website, it shows the formidable limitations the show has to create and direct its own social strategy. Mostly because it hasn’t had to.

What’s Happening NowThe Show -

O The lack of creativity and repetitiveness seeps into Facebook as well. Potentially, this is where the social content was conceived and then delivered to Twitter and Google Plus. The official Seinfeld page has the exact same photos, branding wallpaper / headers, posts, programming information et al as the other platforms. This being said, there is a very high volume of comments every day. If it is effective it’s a false sense of security as stewardship and consumer affinity constantly evolve.

O Each character has a Facebook page. This is a great idea in theory, however these are community run and all have run stagnant save Jerry’s - https://www.facebook.com/pages/Jerry-Seinfeld/143974578955300 . It is not a surprise that this character page is more dynamic and eclectic than the Seinfeld show page seeing as it is run by fans. It has humorous fake ad posters (Henigan’s Scotch) and funny commentary flyers such as this: https://www.facebook.com/photo.php?fbid=807382349281183&set=a.337082316311191.87345.143974578955300&type=1&theater

What’s Happening NowThe Actors

O Jerry Seinfeld: Like most celebrities nowadays, Jerry is very (and most) active on Twitter. He uses it mostly for personal use including tour dates and comical family situations, and also promoting many other stand up shows (including Jason Alexander’s often). He supports many causes through it. There is not a lot of Seinfeld the show connection, but he does throw “favorite scenes of all time” every once in awhile, including this reference to Wilford Brimley as the Post Master General: https://twitter.com/JerrySeinfeld/status/475692294931488768

O Julia Louis Dreyfus: Julia uses her Facebook page extremely well. It separates her from her Elaine character by highlighting her recent accomplishments and jobs like Veep, but also to promote friends’ initiatives (like Katie Couric) and her support of many causes. She does videos that are short clips of her work, but also things like outtakes from Veep: https://www.facebook.com/julialouisdreyfus .

O Jason Alexander: Jason had arguably the most difficult task once Seinfeld ended – disconnect himself from the stigma that was George Costanza. There has most likely never been a more self-centered and really just bad human being in a character in sitcom history. He appears to be an exclusive Twitter user. His account is very personal and certainly humanizing, everyday occurrences in his life. Maybe a nod to his “show about nothing”. There is almost nothing that refers to the show Seinfeld, other than when communicating with his good friend Jerry. A recent retweet about flight attendants: https://twitter.com/OMGFacts/status/480221286606848000

O Michael Richards: Michael Richards has no social presence, other than being on Jerry’s Comedians Getting Coffee in Cars and of course the public backlash for his racist comments some years ago. He seems to be repairing his image, and has gotten new work on the TV Land show, Kirstie, starring Kirstie Alley. From all accounts, he is as wild as Cosmo Kramer as he chauffers Kirstie around: http://entertainment.time.com/2013/11/27/michael-richards-on-his-return-to-comedy /

What Needs To HappenIn Theory

O Setting of a unified vision and objective What do the rights’ owners, actors, writers, stakeholders, influencers’ and even fans want to

get out of Seinfeld related social digital interaction? How can this be achieved and who is wiling to do that? In order to avoid a saturation of show content and a stagnating and staleness of

communication between brand and user, an attainable vision and objective is needed, both long term and short. Begin at where the social footprint wants to be in 5 years and work backward

O Organization of brand’s efforts into a clear social strategy Linking its different channels to one another – promotion and awareness Linking the different channels to one another through actionable purposes Filtering unsuccessful and dormant channels Ensuring a variety of content among formal outlets

O Partnering with / coordinating with top influencers and their forums The show has connected with its consumers almost exclusively one way. Reversing this is

vital and beginning with formally dedicating assets to fans efforts with established followers is a perfect avenue to do this.

These sites like Modern Seinfeld, Seinfeld Scripts and the Jerry Facebook page have the better sense of today’s Seinfeld fan. Spreading preferences, data collection and discovering the information and interactions the new Seinfeld fan is searching for can be driven through this.

Many of these influencers understand the new digital world and can operate and thrive in it, not necessarily just speaking of how it relates to the show

O Commitment to participate from actors (in place of reunion season) For any large scale and long term strategy (and corresponding programs within it), the actors

must be on board to dedicate a certain amount of time and energy to the show in the form of social contribution and other responsibilities in efforts to complete successful campaigns.

What Needs To HappenConceptually

O Investing in Data Research There is no evidence the writers or rights owners have done recent market testing by a

company such as Sysomos. Research gleaned will only help the theoretical steps and below concepts become viable. Seinfeld must strategize before acting.

O “The Contest” Contest (script) This idea bore from the partnership assignment. Parlaying off the Emmy-winning episode

“The Contest”, broker the presented partnership between Snapple (or any other brand featured in the show) and Seinfeld.

O YouTube Series The call for a reunion season series has been thunderous, with Jerry and even the other cast

members maintaining it is not going to happen. In it’s stead, a shorter webseries on YouTube with a minimal number of episodes, similar the latest season of Arrested Development.

O Character Twitter Accounts (official) There are numerous active character accounts. Connect with the publishers and partner with

them to ensure regular, fresh and interconnected programming. O Pinterest, Tumblr and Foursquare

Acting on the idea of filtering out inactive or ineffective accounts, consolidating and revamping these three channels forces the show to refine and direct its messaging to the most active and invested followers. In doing this the Seinfeld brand can leverage the established audience of thousands that may not be included in the former group.

O Revamping Character Facebook Pages Much like the character Twitter accounts these pages have been proven successful and

sustainable, but are in need of updated, interactive and unique content.