He’ll probably kill his family over this.

Seinfeld

2.3: The Busboy

Premise

After George accidentally causes the firing of a restaurant busboy, he attempts to make amends. Elaine has an unwanted would-be boyfriend to stay.

Observational

An early example of mixing things up, as George and Kramer team together to visit the titular character. This also stands out as the first not to have a “Jerry” plot. And it’s an episode Larry David cites as inspiring his most successful structures; two (or more) disparate plotlines that converge in the final stages.

If Jerry is in incidental, somehow he still manages to get many of the best lines; perhaps because he’s even more reactive. This is particularly acute during the diner scene the day after the restaurant incident. Not only is he cheerfully flippant regarding the consequences of the busboy’s firing (“He’ll probably kill his family over this”) but he shows complete indifference towards George’s pangs of guilt (“Maybe I’ll try that pesto”).

There are the usual incidents of small talk (“Where was pesto 10 years ago?” spotting someone with a hair transplant) that probably didn’t make it into one of the improv bits (this time we begin with Jerry riffing on the bills placed in a book at restaurants). But the episode really picks up when Kramer sallies forth from his apartment for the first time to visit Antonio (David Labiosa). George’s nervousness and insecurity is perfectly mirrored by Kramer’s exuberance and unselfconsciousness.

The scene is all the more amusing because Labiosa makes Antonio such a dangerous presence; squat and pugilistic, glowering with anger. Michael Richards is on fire, launching into pigeon-Spanish (“Agua?”) and generally making matters worse for George and Antonio; he leaves the door open allowing the busboy’s cat to run off, then he breaks his lamp (and attempts to “re-fix” the broken ceramic). Then, when Antonio asks who left the door open, he makes eye gestures implicating the hapless George.

Elaine’s plotline is all prelude to a scene of magnificent physical comedy as she attempts to get not-boyfriend Eddie (Doug Ballard) packed and dressed so he meets his flight on time. She’s already detailed to Jerry how she can’t stand him, pretending to be on her period so she doesn’t have to sleep with him, with a misanthropic bent that epitomises the show (“He’s a wonderful guy, but I hate his guts”). Her berserk rampage in a huge nightie, attempting to get Eddie into his trousers and throwing his clothes randomly into his suitcase, is a tour de force (Louise-Dreyfus may tut that she could have done it better, but she’s just being picky).

The dovetailing conclusion occurs off-screen, as the now grateful Antonio (an exploding gas main at the restaurant means that George’s act of selfishness saved his life!) has an altercation with Eddie on the stairs to Jerry’s apartment. Jason Alexander plays George’s fear-then-relief that Antonio doesn’t intend to kill him perfectly, while Kramer’s giddy excitement captures his lack of awareness of the potential repercussions for George (“The busboy’s coming! The busboy’s coming!”) And, of course, George and Elaine must suffer the fall-out from the set-to (George has to look after Antonio’s cat, while Elaine is stuck nursing Eddie back to health).

Quotable

George: I didn’t know he’d get fired.

Elaine: I said I’d never eat here again.

Jerry: I didn’t say anything.

Jerry: Kramer, George wants to know when you want to go look for the cat again.

Kramer: Well, it’s been a week. It’s up to the cat now.

Verdict:

Comments

I just hope my death makes more cents than my life.

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Django Unchained (2012)
(MINOR SPOILERS) Since the painful misstep of Grindhouse/Death Proof, Quentin Tarantino has regained the higher ground like never before. Pulp Fiction, his previous commercial and critical peak, has been at very least equalled by the back-to-back hits of Inglourious Basterds and Django Unchained. Having been underwhelmed by his post Pulp Fiction efforts (albeit, I admired his technical advances as a director in Kill Bill), I was pleasantly surprised by Inglourious Basterds. It was no work of genius (so not Pulp Fiction) by any means, but there was a gleeful irreverence in its treatment of history and even to the nominal heroic status of its titular protagonists. Tonally, it was a good fit for the director’s “cool” aesthetic. As a purveyor of postmodern pastiche, where the surface level is the subtext, in some ways he was operating at his zenith. Django Unchained is a retreat from that position, the director caught in the tug between his all-important aesthetic pr…

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Marty (1955)
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She writes Twilight fan fiction.

Vampire Academy (2014)
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I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

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Paddington 2 (2017)
(SPOILERS) Paddington 2 is every bit as upbeat and well-meaning as its predecessor. It also has more money thrown at it, a much better villain (an infinitely better villain) and, in terms of plotting, is more developed, offering greater variety and a more satisfying structure. Additionally, crucially, it succeeds in offering continued emotional heft and heart to the Peruvian bear’s further adventures. It isn’t, however, quite as funny.

Even suggesting such a thing sounds curmudgeonly, given the universal applause greeting the movie, but I say that having revisited the original a couple of days prior and found myself enjoying it even more than on first viewing. Writer-director Paul King and co-writer Simon Farnaby introduce a highly impressive array of set-ups with huge potential to milk their absurdity to comic ends, but don’t so much squander as frequently leave them undertapped.

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Terminator: Dark Fate (2019)
(SPOILERS) When I wrote my 23 to see in 2019, I speculated that James Cameron might be purposefully giving his hand-me-downs to lesser talents because he hubristically didn’t want anyone making a movie that was within a spit of the proficiency we’ve come to expect from him. Certainly, Robert Rodriguez and Tim Miller are leagues beneath Kathryn Bigelow, Jimbo’s former spouse and director of his Strange Days screenplay. Miller’s no slouch when it comes to action – which is what these movies are all about, let’s face it – but neither is he a craftsman, so all those reviews attesting that Terminator: Dark Fate is the best in the franchise since Terminator 2: Judgment Day may be right, but there’s a considerable gulf between the first sequel (which I’m not that big a fan of) and this retcon sequel to that sequel.

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This is very cruel, Oskar. You're giving them hope. You shouldn't do that.

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You nicknamed my daughter after the Loch Ness Monster?

The Twilight Saga: Breaking Dawn Part 2 (2012)
The final finale of the Twilight saga, in which pig-boy Jacob tells Bella that, “No, it's not like that at all!” after she accuses him of being a paedo. But then she comes around to his viewpoint, doubtless displaying the kind of denial many parents did who let their kids spend time with Jimmy Savile or Gary Glitter during the ‘70s. It's lucky little Renesmee will be an adult by the age of seven, right? Right... Jacob even jokes that he should start calling Edward, “Dad”. And all the while they smile and smile.

Now In Full Color, with a Happier Ending

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