Seinfeld and the Stranger?

The television show Seinfeld is rarely considered a philosophical work, but like more traditionally philosophical works like The Stranger by Albert Camus, Seinfeld subtly explores the absurdity and pointlessness of life.
In both The Stranger and Seinfeld, the main characters act absurdly. In The Stranger, Meursault, the main character, goes to his mother's funeral but feels nothing.

“As I was waking up, it came to me why my boss had seemed annoyed when I asked him for two days off: today is Saturday. I’d sort of forgotten, but as I was getting up, it came to me. And, naturally, my boss thought about the fact that I’d be getting four days’ vacation that way, including Sunday, and he couldn’t have been happy about that. But, in the first place, it isn’t my fault if they buried Maman yesterday instead of today” (38)

Less than twenty four hours after he has finished burying his mother in sweltering heat, the only thing on his mind is how his boss will react to his absence from work. This mannerism of Meursault's comes off as absurd, robotic, and distant. From the outsider's perspective he comes off as insane. He can't give an ounce of importance to the death of the person that raised him, but he is legitimately concerned about how his boss will react to his prolonged absence! In the Seinfeld episode “The Alternate Side”,the characters Elaine, Kramer, and Jerry Seinfeld are waiting for an ambulance, but rather than take care of the ailing man, they are discussing the unconscious man's eyebrows. The man is over 60 years old and he suffered a stroke while on a date with Elaine. At first the three friends try to treat him, but they soon give up and have a normal conversation as if nothing were wrong. When Seinfeld asks Elaine whether she ever considered telling the man about his eyebrows, she responds by saying along the lines of "I meant to, but after all it is a touchy subject." It is not just her response that is absurd, but the situation as a whole. In their place, the average pair of friends would either be panicking or at the very least, be maintaining some kind of decorum and respect. 

The meaning of life (or the lack thereof) is explored by Monsieur Pérez and George Costanza who both perform purposeless, pointless tasks in The Stranger and Seinfeld respectively. Monsieur Pérez is a minor character who was Maman's boyfriend. He joins Meursault and a couple others to go and bury Maman. “It was then that I noticed that Pérez had a slight limp. Little by little, the hearse was picking up speed and the old man was losing ground.” (33) The weather is torrid, the man is old, weary, and slightly crippled but he perseveres and joins them to bury Maman. Except he never fully joins them. Pérez works much harder than the others and takes numerous shortcuts to keep pace with the hearse, but every time he catches up, he falls behind again. There is no respite, and no fruit for his labor. Through Pérez, Camus paints life to be a miserable existence.  Similarly in “The Alternate Side”, George Costanza, one of Jerry's best friends, gets a seemingly easy job that guarantees him easy money but he ends up miserable too. He'll earn thousands of dollars from just parking cars, but it proves to be too much for him. He becomes extremely irritated and ends up costing Seinfeld thousands of dollars, disappointing his idol Woody Allen, and delaying the arrival of an ambulance.

Although characters in Seinfeld have absurd moments, it would be inaccurate to state that those characters are all modern day "Meursaults" because they can distinguish between right and wrong and have some sense of a moral compass.