If Dad hadn’t shot Walt Disney in the leg, it would have been our best vacation ever! We were going to Disneyland. It was a dream come true. The rides! The thrills! The Mouseketeers! I was so excited that I spent the whole month of May feeling like I had to go to the bathroom. When school finally let out on a Tuesday, I sprinted home as fast as I could, even though we weren’t leaving until Friday.
More so than the average American sitcom, Seinfeld has had difficulty reaching global audiences. While it’s popular in Latin America, it hasn’t been widely accepted in Germany, France, Italy, and the Netherlands. Two decades after it went off the air, Seinfeld remains relevant to American audiences — thanks in part to omnipresent syndicated reruns — but in much of Europe it is considered a cult hit, and commonly relegated to deep-late-night time slots. Its humor, it seems, is just too complicated, too cultural and word-based, to make for easy translation. ... Jokes are the hardest things to translate into another language, another culture, another world. A good script for dubbing an American sitcom for foreign consumption does more than literally translate. It manages to convey the same meaning, the same feeling, the same story — the same direct hit to the lower frontal lobes of the brain that produces a laugh, even though those frontal lobes are steeped in a completely different cultural brew. ... Lip-synch dubbing, despite its ultimate benefits, can get very complicated. It’s not just that the lines may not translate directly — they also have to take just as long to say in both languages and approximate, to the best of their abilities, the lip movements of the original actors. That can pose an added challenge when translating from laconic languages like English into verbose languages like German.