In the absence of social scripts, which Plakias describes as unconscious prescriptions of behavior that guide us through social interactions, the resulting awkwardness can produce “insight through breakdown” (Plakias 11, 15). Further, Ngai notes how the zaniness of role acting arises from a self-awareness of the performativity of social script adherence– or, quoting Nietzsche: “Whenever a human being begins to discover how he is playing a role and how he can be an actor, he becomes an actor” (Ngai 205).
[specifically 3:55 – 6:25]
I think Eric Andre and Nardwuar both offer very interesting approaches to creating a comic reaction to the breakdown of social scripts, and this “interview” reveals these in an “insight through breakdown”. Both of these interviewing personas are zany, with its emphasis on the liminal and diffuse– “activity, without any clear distinction…” of what for (Ngai 202). Nardwuar is most known for his bombardment of incomprehensibly deep knowledge and odd delivery of these facts, and the horrified/shocked/excited reactions this causes. Unlike the typical social script of the celebrity interview– mundane, preselected stories regurgitated for safe interactions– Nardwuar forces these conversations into a more personal direction. Though abandoning the typical social script, Nardwuar is not seeking discomfort; his cheerful “we have to know” offers the “lifeline” that Plakias says the awkward situation calls for (Plakias 21). By contrast, Eric Andre’s interviews toss out the social script of talk show interviews yet revels in and doubles-down on the resulting dysfunction.
In the meeting between Andre and Nardwuar, both are up to their usual antics: Andre attempts to disarm, distract, and derail while Nardwuar persistence runs over all hurdles. The result is a tense scene, which is decidedly awkward in that neither is successful. This is most clear when Andre refuses to answer and asks his own questions, culminating in Andre making a joke about Nardwuar’s mother before learning that she is dead. This situation is ripe for awkwardness– not just in normal social situations but as it breaks both of their persona-scripts. Yet it isn’t awkward for long, as both Andre and Nardwuar drop their acts to follow acceptable apology-forgiveness scripts. This moment perfectly encapsulates Plakias idea that awkwardness is not about “normative failure alone”, rather a failure to coordinate out of this failure (Plakias 11).
Ultimately, these are both performers, whose ability to conduct interviews outside the boundaries of conventional scripts are what people enjoy them for. If, as Plakias writes, “your ability to perform depends in part on mine”, the intentional dysfunction of these two interviewers depends on the attempt of ‘normal performances’ from their interviewees (Plakias 29-30). Watching the two clash reveals the tactics they typically use to throw their interviewees off the script, and how they fare faced with another performer who knows how to navigate this absence.
The intersection between Eric Andre and Nardwuar is so interesting because, as you say, they’re both so used to having a “straight” character to play off of who gives them the reactions they’re looking for, so it’s almost like putting together two people who usually create such awkward situations somehow gets rid of the awkwardness. Or, arguably, it makes it more awkward, since they’re each stranded without the social script they typically use (and take away from their guests), so they’re each trying to regain it and one-up each other.