Telemarketers is a new three-part HBO documentary directed by Adam Bhala Lough and Sam Lipman-Stern that falls somewhere on the nonfiction continuum between Michael Moore’s hard-nosed investigative journalism and the observational curiosity of Nathan Fielder and John Wilson. While it may not offer groundbreaking revelations like Last Week Tonight With John Oliver, the series manages to find a unique blend of humor, poignancy, and inspiration.
The documentary follows the story of two unlikely friends, Sam Lipman-Stern and Pat, who worked at Civic Development Group (CDG), a telemarketing company that pioneered many of the practices associated with the industry. Sam, who dropped out of high school at 14, found himself working at CDG, a place filled with burnouts, addicts, and reformed criminals. Intrigued by this world, Sam began documenting the workplace hijinks with a home movie camera. However, as he delves deeper, he starts uncovering workplace improprieties and questionable practices at CDG.
As CDG faces regulatory crackdowns and eventually implodes, Sam and Pat decide to become whistleblowers on the entire telemarketing industry. Over the course of two decades, with breaks in between filming, they embark on a journey to expose the industry’s connections to shady unions and uncover the truth. With little to no training or experience, they navigate their investigative process with the help of professionals and their unwavering commitment to their cause.
Telemarketers shares similarities with the series For Heaven’s Sake, where two Canadian comedians attempt to solve an 80-year-old disappearance. Both shows intertwine discovery and investigation with personal stories and friendships. Sam and Pat’s lack of filmmaking expertise is evident in their shots and interviews, but their determination propels them forward. They engage with various figures, from powerful and sketchy individuals to old co-workers who find humor in their involvement in the telemarketing scam.
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The documentary explores the darker side of telemarketing, with disturbing instances of criminality being treated with levity. It raises questions about whether such behavior should be humorous or condemned. While the filmmakers judge the higher-level perpetrators, they show compassion for the poorly paid employees caught up in the system. However, Sam’s lack of transparency throughout the series can be frustrating, but Pat’s character shines through as a flawed yet heroic figure.
Expectations for the genre and the protagonists may need to be adjusted while watching Telemarketers. Although some of the discoveries may feel repetitive or obvious, it is impressive to see the progress Sam and Pat make, particularly in the third episode. Sam’s technical skills also improve, showcasing growth from the chaotic early filming days to a more polished approach.
Telemarketers evokes anger and outrage, but not to the extent one might hope for from a documentary on the subject. Nevertheless, it offers plenty of laughter and a heartfelt appreciation for the friendship between Sam and Pat, as well as their unwavering commitment to their cause. This level of compassion and humanization sets Telemarketers apart from Michael Moore’s recent works. If the documentary inspires John Oliver and others to distill its thesis into a more concise and coherent argument, that would be a valuable next step.
In conclusion, Telemarketers may not break new ground in terms of revelations, but its unique blend of humor, poignancy, and inspiration makes it an engaging documentary. Sam and Pat’s journey to expose the telemarketing industry offers insights into their friendship and unyielding dedication. With room for improvement, the documentary opens doors for further exploration and discussion of the issue.
