It’s nothing new to compare strategy to the the way some stand-ups write comedy. For both professions, everyday insights fuel our output.
As Mark Pollard puts it:
Insights are unspoken human truths, truths the subconscious recognizes when it sees them. Often, insights are the arsenal of comedians and poets.
Some of the most successful comedians find comedy in contrary, relatable observations. They’re funny, because people see themselves in what’s being played out. They create those ‘oh yea’ kind of moments that strategists dig for every day.
Now… I LOVE Seinfeld!
I can’t remember exactly when or how I got into the show, but it was definitely after it was originally broadcast in the late 90's. The most successful sitcom of all time in the US is somewhat a cult sleeper hit in the UK. You could be forgiven for never having heard of it. But it’s one of those shows that if you find someone who enjoys it, they’ll talk your ear off about its genius — and that’d be me, I’m afraid.
The ‘show about nothing’ was one of the best at turning near inconsequential happenings into 30mins of cleverly crafted joy. The magic lay in the gift of its creators to take those ‘did you ever notice’ observations and exploit them to the point of ridiculous.
Curb Your Enthusiasm follows a predictably similar pattern, but I’ll save that for another time.
And now I’m well into my career working as a strategist, and probably something like my 6th time rewatching the series, I’ve really started noticing parallels with the show and how to approach good strategy.
I’ve drawn out a few examples here, but I’m sure there’s plenty more and would love to hear others thoughts. For now though, here’s some lynchpins of how I approach strategy, drawn from messrs Jerry and Larry.
Setting the scene…
In earlier seasons, the show opened with a short routine of Jerry on stage in a small New York club. 99% of the time, these 2 minute segments are made up of shrewd observations — it’s how he made his pre-sitcom name as a stand-up in New York.
Some memorable ones included the spare button you get when you buy a new jacket (‘’who keeps these… really??’’) and naming conventions for cars (‘’Ltd edition… yea, limited to the number they can sell’’).
These monologues act as a framing for the episode. They set the scene in some way for the meandering story to come. In much the same way strategists should approach a good brief.
We should avoid regurgitating the challenge and the even supporting facts — the brief should begin with setting the context (or scene) around the problem before we release that killer insight to overcome it. Think of it as your opening routine setting out the problem.
Extreme foibles…
One of the characteristics Seinfeld is best known for was exploiting bizarre foibles and making them either the central or sub-plot. A great example is from ‘The Pledge Drive’ (S6EP3). Elaine’s high-society boss is observed eating a snickers with a knife and fork — before the episode is out (*spoiler alert*) this trend has caught on throughout the city.
It’s a great example of a ‘what if…’ tension exploited with hilarious consequences. So often, this can be a step in finding rich creative territory. While an insight observes a relatable human truth, the tension exploits the counterpoint or a space in between where a brand could occupy.
I’d like to think that this episode is a genius piece of product placement. More likely, it’s the result of a writers meeting to agree what would make for the funniest snack to see someone eating in a more refined way — but I’ll wager it certainly did no harm to Snickers sales.
Talking to people…
Another aspect of Seinfeld’s success was the platform it gave to bit-part or recurring characters. Watching it now, it was the launchpad for a few household names who popped up throughout the show —like a pre-Breaking Bad Bryan Cranston as a smarmy dentist.
This was made possible through the inclination for the four main characters to openly talk, or often confront, complete strangers. I guess it was a bit of a necessity, as a show comprising only four people might have worn thin on material fairly quickly. These interactions tended to be catalysts for the plots of many episodes.
I’ve included a clip above from ‘The Pie’ (S5E15). The pre-text is Jerry and Elaine have been discussing a date Jerry had where his date belligerently refused to try his pie, without giving a reason. It’s actually a great example of the benefits of getting ‘real’ people’s opinion to reaffirm or gather insight. And no, not in a forced ‘focus group’ environment. This is a reactive, natural setting where a question is polite and observant; he even pays for their lunch as a courtesy.
Most seasoned strategists will preach the gospel of observing or questioning people in natural settings to gain unforced insight. And Seinfeld shows that this can yield rich pickings for new perspectives on situations.
George’s neurosis…
All hail George Costanza. A giant among men.
To round off, I’ll focus on a character based heavily on co-creator Larry David. George is neurotic, tetchy and cheap. It’s through Jason Alexander’s crotchety portrayal of his persistent failure you grow to love him.
I wrote previously of my belief that every agency can benefit from a Holy Fool. Someone with the ability to avoid our default to truth and view the world from a unique perspective with a natural cynicism. George is Seinfeld’s holy fool.
Putting aside this tendency often leads George down paths of misfortune (he is the show’s fall guy). Many of George’s takes on situations fall into the category of ‘that’s true… I wish I was brave enough to say it’. While I’m not comparing George’s sometimes sociopathic tendencies to bravery, there’s an argument to make that we should all be a little braver in sharing our opinions or observations.
The strategists worst enemy can be our own inner filter. The reluctance to share an insight under the pretence that it may only apply to us. Is it relatable? Is it a shared feeling? Would it resonate with others?
Going back to the previous point, this is where talking really helps. It can be with a colleague, a creative partner… or a stranger. But you can only validate a thought if you share it, and George’s lack of filter shows he rarely has a problem with that (although in his case, maybe he should). Don’t simply dismiss your instinct. Validate it. Even if it proves slightly off, the resulting debate can open up interesting angles you might not arrive at alone.
So, in summary, we could all be a bit more George. Or Jerry. Or Elaine. Or even oddball hipster doofus Kramer (OK… maybe not so much). If you haven’t already, give the show a try. I guarantee you’ll learn new ways of looking at the world.
And if you don’t… you’ll laugh. A lot. And right now, we could all do with a bit more of that.
All 9 seasons of Seinfeld are currently available on demand in the UK on All4.
