Entertainment
'Curb Your Enthusiasm' finale and its 'Seinfeld' moment: 'A joke 26 years in the making'
“Mr. David. It seems you have a history of doing the same things wrong over and over. And I truly hope this time you finally learned your lesson,” Dean Norris’ Judge Whittaker told Larry David — the fictionalized version of himself — during the series finale of HBO comedy “Curb Your Enthusiasm.”
He has not.
The line, which came with the judge sentencing the comedian and writer to a year in jail, was meant to be read as both literal and meta. Neither the fake Larry David, who has spent 12 seasons calling out “pig parkers” and insulting someone’s “beloved aunt”— and who now can’t even pay attention as his attorney Sibby Sanders (Sanaa Lathan) attempts to deify him to a jury — nor the real Larry David, who is a staunch defender of the similar ending for his and Jerry Seinfeld’s NBC sitcom “Seinfeld,” has ever been capable of learning a life lesson (Driving the point home, the last episode of “Curb” is titled “No Lessons Learned”).
“Curb” executive producer and showrunner Jeff Schaffer, who also directed Sunday’s finale, says the impetus for the finale came when they were writing a scene from earlier in the episode when a boy hits David’s character in the head with a ball. The child’s mother wants him to apologize and learn from his mistakes. The wisdom David’s character imparts to the tyke? That, despite being a septuagenarian, he’s never learned a life lesson.
“We realized we should own that and tell everyone Larry’s never learned a lesson and just do the finale again,” Schaffer says, adding that “Larry doesn’t care what you thought about the ‘Seinfeld’ finale. He cares so little about your thoughts that he’s going to redo it.”
And, although the “Curb” finale is full of call-backs and nods to the “Seinfeld” finale — including bringing back Seinfeld himself to be the episode’s Superman to save the day by getting the charges dropped — there is at least one major difference between the two. In “Seinfeld,” the four leads stand trial for their meanness and are sentenced to a year in jail together because they were caught mocking another person. In “Curb,” our hero’s on trial because of a decent act. He gives water to his friend Rae (Ellia English) when she’s in line to vote during a hot day in Georgia; a gesture that’s illegal under the state’s Election Integrity Act of 2021.
Still, Schaffer says “the parallel between the ‘Seinfeld’ and ‘Curb’ instigating incident doesn’t really exist” and that “it wasn’t something that motivated us in the writing.”
“It was Larry saying, ‘You know, this is crazy law in Georgia, I should get arrested for that,’” Schaffer explains. “It wasn’t ‘I’m gonna perform an act of kindness.’”
In an interview that has been edited, and condensed, for clarity, Schaffer and “Curb” co-star Susie Essman school The Times on “Lessons Learned” and other takeaways from the show’s last season.
Susie Essman, not Larry David, has the last line in the “Curb Your Enthusiasm” finale.
(John Johnson/HBO)
Susie, you have the last audible line of “Curb.” Your character, Susie Greene, and other key characters are fighting on the airplane on the way back to Los Angeles and you tell David’s character, in so many words, to shut up and go back to jail. How does that feel?
Susie Essman: It feels good. It made me very happy. I saw it last night for the first time. And I was like, “Oh, wow, I have the last line.” It’s fitting that Susie should have the last line in the world that we have created here. I don’t think that was on purpose. My voice just happened to be loud.
Jeff Schaffer: It was a final, strident grace note. When we were filming that scene, we tried a lot of different things, as we always do. There were these moves that as everyone was arguing, we would drift over to Larry. The idea, as we conceived it, was sort of ending on Larry’s face. When we were in the editing room, Larry goes, “This isn’t right. It shouldn’t end on me, it should end on our group.”
He was so great about that. Because when we ended on Larry, no matter what expression he gave, it still felt sentimental. And that’s not what we were going for. But when you end it on our guys doing what they do best, which is going at each other, you get this feeling of this is what they’re always going to be like. It’s the best retinal ghost of the show.
The finale also pays homage to Richard Lewis, who was sick while filming this season and died in February, by referencing a scene from the first episode of “Curb” and also seeing Larry continue to sabotage his friend’s love life. Were you intentionally trying to focus on him?
Essman: We didn’t know Richard was going to die, that’s for sure. He was not well, and clearly anybody who sees the season can see he’s not well. But his death was quite shocking. I don’t think anything was written toward that.
Schaffer: Once we knew we were going to do this recapitulation of the “Seinfeld” finale, the question was how far do we take it? How close do we get to the end? I really wanted us to get to that pull-out shot [of Larry in jail and repeating a conversation he’s already had; just as Jerry had done]. … It was all about [let’s] take it as far as we possibly can and make people think that we just were redoing it, shot for shot at the end.
There’s also a whole bit in the courtroom of David swatting at a fly as his attorney attempts to lionize him. And some of it is shot from the fly’s point of view. Why did you want to change up the look of the show by directing that?
Schaffer: Honestly, because it’s funny seeing Larry really go into that straight-to-camera of him trying to kill that fly during this spirited defense. The fact that he didn’t hear a word she said was funny. So we were just mixing up the shots. We wanted that shot. We wanted to see it from the jury’s POV. We wanted him in the background. There was also just one shot of his hand slamming on the table.
It was just building that sequence out of Larry trying to hunt the fly like he’s a tiger in the jungle during that speech.
Larry David and Jerry Seinfeld in the series finale of “Curb Your Enthusiasm.”
(John Johnson/HBO)
The finale has a “Seinfeld”-like scene with Larry and Jerry riffing on a hypothetical about dating a bearded lady from the circus. I’m assuming there’s a lot of unaired footage from that exchange.
Schaffer: Larry had had this hypothetical that he wanted to talk about during the season. … We didn’t know what show to put it in. And it was like, ‘Oh, this is perfect.” I’m so glad we saved it. It was the perfect hypothetical for Jerry and Larry to talk about so you could just see these two be funny together and get a sense of “OK, maybe this is how ‘Seinfeld’ got written. It was just watching these two pals making each other laugh.”
And I’m assuming that Seinfeld was OK with poking fun at his show’s finale?
Schaffer: He loved it. After we shot the jail scene, he said, “This is so great. This is a joke that’s 26 years in the making.”
This season has also gotten some intense fan reactions. An actual billboard of Essman’s character modeling her line of caftans was defaced in a similar manner to what happened to the one on the show. And a fan at a Bruce Springsteen concert came with a sign that referenced the musician’s guest appearance on the show. How are you feeling about this fandom?
Essman: Oh, my God. People called and said, “Are you upset by this?” when the billboard was defaced. I thought it was the funniest thing in the whole world. I mean, it was no small feat to get up there and do the graffiti. … They needed ropes and scaffolding.
Schaffer: It was our genital “Field of Dreams.” If we build it, they will deface it.
And poor Bruce. He does us a huge favor. He does one day of shooting, and now, for all of his concerts .…
Essman: And let me say something very important: Bruce improvised that line. He was really not given his stuff. Sometimes, somebody comes on and they’re not an actor and are spoon-fed. That’s not true. He was brilliant.
Do either of you find the “Seinfeld” finale to be as divisive as the rest of the internet seems to?
Essman: I haven’t watched it since it aired. And honestly, when it aired, I thought it was fine. And I haven’t really thought about it since then.
Schaffer: Larry and I watched it again when we realized we were doing this. … And [we both thought] that it was funny. That made this even more perfect. Because it was like, if you didn’t like that, f— you. We’re gonna do it again.
That’s one of the things I love about this finale. It’s bigger than “Curb” and it speaks to Larry as a contrarian. It not only wraps up the show, but it helps wrap up all this amazing work that Larry has done in a very Larry way. [That] is, “I thought it was funny. And you know what, I still think it’s funny.” And you know what? He’s right.
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
Several private equity firms and Hollywood power players, including United Talent Agency and longtime agent Patrick Whitesell, have expressed interest in buying parts of Casey Wasserman’s music and sports management firm after it abruptly went up for sale.
Wasserman became ensnared in controversy earlier this year after his salacious decades-old emails to Ghislaine Maxwell, an accomplice of child sex offender Jeffrey Epstein, were released as part of the U.S. Justice Department’s trove of Epstein files.
The agency auction is in the early stages, according to three people close to the process but not authorized to comment.
Earlier this week, several interested parties submitted proposals to meet a preliminary deadline in the auction, two of the sources said.
The company, which changed its name to the Team last month, is expected to be valued at around $3 billion.
Providence Equity Partners holds the majority stake. The private equity firm has discussed selling the entire company or carving off Wasserman’s minority interest. Providence also has considered selling the bulk of the firm and staying on as a minority investor, one of the sources said. Another scenario could involve separating, then selling the individual business units that make up the Team.
Wasserman and Providence’s company boasts an enviable roster of music artists, including Kendrick Lamar, Coldplay and Ed Sheeran. Its sports marketing practice is viewed as particularly lucrative and has potential to grow in value as big dollars flow into sports that draw large crowds.
Wasserman, who declined to comment, has a veto right over any sale of the company that he has spent a quarter of a century building.
UTA, which also declined to comment, is among the most aggressive suitors, the sources said. The Team’s sports marketing and music representation divisions would dramatically boost the Beverly Hills agency’s profile and client roster.
Whitesell, former executive chairman of Endeavor, separately has been motivated to make investments in sports, media and entertainment since last year when he left the talent agency that he and Ari Emanuel built. Whitesell launched a new firm with seed money from private equity firm Silver Lake, and last spring he started WIN Sports Group to represent professional football players.
Whitesell wasn’t immediately available for comment.
European investment firm Permira also has expressed interest, according to a knowledgeable source. Permira declined to comment.
The New York Times first reported that Permira, UTA and Whitesell had expressed interest.
The sales process is expected to stretch into summer, the knowledgeable people said. The auction could become complicated particularly if Providence decides to unwind the business.
For example, UTA could not buy the entire company because of the Brillstein television unit. The agency is bound by an agreement with the Writers Guild of America that prevents it from owning television production.
Investment bank Moelis & Company is managing the sale. A representative of the firm declined comment.
Wasserman also is the chairman of LA28, the nonprofit group that will be staging the Summer Olympics in Los Angeles in two years.
Following revelations of Wasserman’s 2003 emails with Maxwell, several musicians and athletes — led by pop artist Chappell Roan and soccer star Abby Wambach — said that, to stay true to their values, they would leave the agency then known as Wasserman.
Wasserman apologized to his staff for “past personal mistakes” and said he would sell the agency.
He had limited dealings with Epstein, flying on the financier’s jet along with former President Clinton for a September 2002 humanitarian trip through Africa.
Wasserman, a prolific Clinton fundraiser whose legendary grandfather, Hollywood titan Lew Wasserman, helped the Democrat win the 1992 presidential election, was joined on Epstein’s jet by his then-wife, Laura, actor Kevin Spacey, Epstein, Maxwell — who was convicted of sexual abuse in 2021 — and others, including security agents.
The LA28 board’s executive committee unanimously voted to keep Wasserman as chairman, citing his “strong leadership” of the Games.
Pizza Movie (2026) Director: Nick Kocher and Brian McElhaney, Star: Gaten Matarazzo and Sean Giambrone
Somehow, I got through an hour of this movie. I was seconds away from turning off in the first fifteen minutes because of the juvenile humor. Pizza Movie is too silly, repetitive, and the characters are annoying. Stranger Things Gaten Matarazzo and Sean Giambrone star as college friends, Jack and Montgomery. College angles are rarely seen in films right now, and that’s the one saving grace of the film. Similar to high school, people are also trying to fit in. The story and visuals were too corny. You can only watch someone’s head exploding for so long without letting yours.
The Super Mario Galaxy Movie (2026) Director: Aaron Horvath and Michael Jelenic, Stars: Chris Pratt, Charlie Day, Anya Taylor-Joy
I never saw the first Super Mario Brothers Movie when it was out, but I heard it got positive reviews. My brother always loved playing Super Mario video games as a kid, and I’d watch him. I tagged along with my friends to see Super Mario Galaxy Movie, and it’s a cute and fun film. I like it when movies explore the video game world. The animation creates unique worlds and characters. The characters are split into their own storylines, and for me, I felt like it worked. It adds more action, especially for kids who are seeing the films.
Emily in Paris Season 5 (2025) Creator: Darren Star, Stars: Lily Collins and Ashley Park
After a bright spot in season 4, I thought season 5 of Emily in Paris would continue its growth in the story and its protagonist, but no, it’s all drained out in the usual Emily (Lily Collins) mishaps. Ashley Park (Mindy) has become too good for this show. Emily and Mindy waste several opportunities because of their love lives. The whole relationship angle is ruining it. I don’t understand why Alfie (Lucien Laviscount) is still in the show. I thought writers learned their lesson, but by the last episode, they’re continuing to bring the past into an apparent season 6.
Sarah’s Oil (2025) Director: Cyrus Nowrasteh, Stars: Naya Desir-Johnson and Zachary Levi
There’s always history lurking right beneath our noses. Sarah’s Oil (2025) tells the true story of Sarah Rector, an Oklahoma-born African American girl who became the first black female millionaire in the U.S. Naya Desir-Johnson is fierce and driven as Sarah. Zachary Levi is also along for the ride as Bert, a man who helps Sarah. Kate (Bridget Regan) was another favorite character as an intelligent woman. Cyrus Nowrasteh was drawn to the subject for its story and its themes. Nowrasteh’s direction is compelling as he unearths a hidden story from history. The film is streaming on Amazon Prime.
Jack Goes Boating (2014) Director and Star: Phillip Seymour Hoffman and Amy Ryan
Jack Goes Boating (2014) didn’t quite work for me, largely because of its slow pace and uneven storytelling. The film stars the late Seymour Hoffman as Jack, who also directed the film. This was Hoffman’s first and only time in the directing chair. Amy Ryan also stars in the film, giving a solid performance. This was also based on a play that Hoffman starred in. Jack wants to participate in a swim championship. That’s hardly what the film is about, tracking other characters’ stories. While the film aims for quiet intimacy, it ultimately drags, making it an underwhelming viewing experience.
You Kill Me (2016), Director: John Dahl, Stars: Ben Kingsley, Tea Leoni, Luke Wilson
Meet You Kill Me (2016), yet another film that I found in the museum of underrated gems. The concept revolves around Frank (Ben Kingsley), a hitman, who is sent to an A.A. meeting to get his mind focused again. A different story happens, where Frank falls in love with Laurel (Tea Leoni). Leoni is one of my favorite actresses. It also stars the funny Luke Wilson. I liked the trio’s dynamics. You Kill Me is a mental health movie. It’s okay to make changes if you’re not happy. I recommended that you keep an eye out for this movie.
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