This clip begins with host Eric Andre starting his talk-show monologue, making offhand and questionable jokes about Michael Jackson and Beyoncé. When his sidekick of-sorts, Hannibal Burress, questions the integrity of his Beyoncé joke, this apparently triggers an existential breakdown in Andre. The scene finishes with Burress commenting on the finite nature of all human life before the intertitle cuts in with its jolly music, effectively rendering that sentiment meaningless.
In The Absurd ,Thomas Nagel defines a situation as absurd “when it includes a conspicuous discrepancy between pretension or aspiration and reality.” In the clip, this seems to happen on multiple levels. First of all, the structure and expectations of a talk show, something that we are all familiar with, is completely subverted and dismantled. This is partly caused by their lack of purpose, which is another concept discussed by Nagel – the chain of justification. Almost all of the actions undertaken by Andre and Burress in the show are seemingly without an identifiable purpose or justification; they do things just for the sake of it. As Nagel states, it is when we are confronted by actions without reason that we start questioning our purpose in life.
Which leads to the second level of absurdity. Whatever semblance of a talk-show structure there is left is completely undermined by the existential breakdown of the last 20 seconds. From Nagel’s argument, it seems that all absurdity is either borne from, or inevitably leads to, a sense of existentialism, and that is evident here. The absurdity of the train-wreck monologue is interrupted by existentialism, but this is then interrupted by the abrupt intertitle, giving the breakdown its own sense of meaningless. The Eric Andre Show employs different elements of Nagel’s understanding of absurdity, taking an absurdist concept (existentialism), and using it as part of an absurdist technique (discrepancy between aspiration and reality). It then takes Nagel’s ideas even further: existentialism is used to subvert expectations and render actions meaningless, but that existentialism is, in the end, left meaningless itself.
 Thomas Nagel, “The Absurd,” The Journal of Philosophy 68:20 (1971), 716-727.