The document provides an overview of Seinfeld's social media presence. It finds that while Seinfeld has accounts on most major platforms, they are disorganized and lack a central theme. Fan-run accounts are often more popular and effective at engaging fans. It suggests Seinfeld could better maximize its social footprint by setting a unified vision, organizing its strategy, partnering with influential fans, committing the actors to participate, investing in data research, and creating new Seinfeld-inspired content.

1. Seinfeld Social Media Case Study:
A Review About Nothing (not really)
JD Rogers
Introduction for the Digital Era
Derek Scheips

2. Case Study Overview
I 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.

3. What’s Happening Now
The 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

4. What’s Happening Now
The 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.

5. What’s Happening Now
The 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.

6. What’s Happening Now
The 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=8073
82349281183&set=a.337082316311191.87345.1
43974578955300&type=1&theater

7. What’s Happening Now
The 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/

8. What Needs To Happen
In 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.

9. What Needs To Happen
Conceptually
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.