In honor of the recent release of the complete Seinfeld collection on DVD, we put together a list of the show’s 10 most impressive episodes. Narrowing it down was a difficult task that led to some heated arguments and childish name calling. Rocky Rakovic’s pick left me angry, like an old man trying to send back soup in a deli. But we persevered and here is what nine Playboy staffers put together:

Corinne Cummings, researcher: “The Marine Biologist.” George at his greatest. One of the finest examples (too many to list) of Seinfeld threading separate, seemingly random events that eventually lead up to a hilarious conclusion. The finale is summed up in a hilarious epilogue in the diner with George dramatically revealing Kramer's Titleist golf ball the result of why he was requested to, "Save the whale, George."

Conor Hogan, fashion assistant: While most of Seinfeld’s best episodes came in seasons 4-6, my favorite is “The Revenge” from the second season. Jerry and George seek to settle the score with two separate but equally hysterical schemes. Jerry and Kramer decide to pour cement mixture into a washing machine to get back at a seemingly crooked laundromat owner while George and Elaine try to poison Costanza’s piggish former boss. The scene where George is brainstorming new career paths (talk-show host, projectionist, GM of a baseball team) is magical.

Matt DeMazza, assistant managing editor: Picking the best Seinfeld is like trying to pick the best pizza you’ve ever had: even the not-so-great ones are good. But if I had to, I guess I’ll go with “The Merv Griffin,” because any episode in which Kramer was the focal point is going to be better than most. One of the funniest parts had to be the slow-mo close-up of Newman (man, I wish he’d been on more often) looking thrilled and evil as the hawk swoops in to attack the squirrel that George was holding.

Ron Motta, senior researcher: Beyond a shadow of a doubt, "The Contest." It was, I believe, the first time the topic of masturbation was discussed on TV (albeit the word itself was not uttered) and it had so many classic moments: Kramer's "I'm Out" mere hours into the contest, the first appearance of Mrs. Costanza ("There's my son treating his body like an aMUSEment park!") and it also introduced the phrase "master of my domain" into the American lexicon.

Jennifer Thiele, editorial coordinator: “The Friars Club” is one that especially stands out. This aired in 1996 during the time when my TV staples were Seinfeld and Saturday Night Live, so seeing Rob Schneider guest star was a treat. The final scene showing Jerry and George running away from the angry group of magicians then triggering an alarm after busting through a fire exit, which then causes Elaine to writhe in pain because at that moment she was wearing a hearing-aid, was brilliant.

Scott Alexander, senior editor: From Season 4, “The Pilot,” where they select the cast of Jerry. And of course, “The Contest.”

Jamie Malanowski, managing editor: For my money, “The Bubble Boy” and “The Cheever Letters,” two distinct but connected episodes from Season 4, are not merely the best episodes in the series (beating out "The Virgin" and "The Contest," which came a bit later the same season), but are the funniest screenplays written for television EVER!

Rocky Rakovic, junior editor: “The Betrayal” (aka “The Backwards Episode”). While it may not have the most laughs or still oft-quoted lines “The Betrayal” is the thinking-man’s favorite Seinfeld episode (suck it, Conor) because of the structure. The reverse chronological order of the story provided the punch lines before the set-ups, which made the puzzle as interesting as it was funny. Also in the closing credits the writers went back even further to when Jerry met Kramer, providing a great kicker.

Bryan Abrams, researcher: My favorite Seinfeld "ep" is when Philip Baker Hall (of Floyd Gondolli from Boogie Nights fame, the guy who said "I like lollipops in my mouth and butter in my ass, but hey, that's just me") plays Lt. Bookman in "The Library" and comes after Jerry for an overdue book from 1971. Phil B. Hall is a classic character actor who imbues his Lt. Bookman with a Philip Marlowe-esque pursuit of finding his man, and then holding him accountable.

Noteworthy omissions include “The Junior Mint”, Keith Hernandez in “The Boyfriend” and “the Opera.”