Seinfeld was designed expressly to rehabillitate the blighted American city, not only as a place desirable for white people to live (the characters on the show, all white, bear the last names Costanza, Bennes, Kramer, and Seinfeld, representing a pan-caucasoid alliance), but as an amoral upper-class playground, where no one need act responsibly or nicely - an anti-community. On the show, the city is advertised as a place where sex is plentiful and always transmogrifying, owing to the self-replenishing flesh pool that every urban center offers up.
Seinfeld's characters indulge in a selfishness unimaginable in the suburban milieus of their televised predecessors. Due to the anonymity that the city provides, there is no culpability for their actions. The programs's conspiratorial tone of intimate confidentiality stems from its function as proxy mouthpiece for the ruling class through which to speak to its bourgeois counterparts.
The lack of an overt message in seinfeld reflects capitalism's code: individualism and self-interest reign supreme. In one episode, where Jerry ruminates over a "black and white" cookie, he spoofs a message of racial harmony. "Look to the cookie", he says; ironically, the black and white cookie depicts a segregated world, as opposed to fudge swirl ice cream, for example.
Of course, Seinfeld's characters are supposed to be read as the four principle psychological components of one person, with Jerry as the ego, Kramer as the id, George as the unconscious, and Elaine as teh rationalizing superego. The ciryscape of this psychological interpretation is their projection of reality, with foreign bodies as irritants, each one enforcing the conceit that humanity, except in the role of sex-toy or clown, is contemptible: an enemy agent.