Human Telegraphs (2021) Web Series Review
In a very naive and yet slightly raunchy style of comedy, Human Telegraphs accomplishes authenticity in the viewer’s reactions. This is a web series whose storyline is only necessary for titling and the beginning of a few scenes. The rest is pure comedy gold by three performers that know exactly how to do what they are aiming for.
These are two things hard to find in today’s catalog of comedy: good scripts and talent that needs to be more basic than anything else. Fortunately, both of those are precisely used in a show whose format is irrelevant. In Human Telegraphs, situational comedy is above everything else and it works. This could be a movie, a TV series, or a sketch and it would still awaken the audience. Is there anything else comedy needs to do?
In New York, a group of three friends form a company. A very small one. What do they do? Well they simply deliver messages. They’re literally human telegraphs. It seems simple but it definitely isn’t. Margot, Trisha and Lily live in a frenzy.
What the web show does so well is taking place inside a haven of punchlines, quirky characters and stereotypes that bodes well for the show in its entirety. Nothing feels additional in any situation that’s portrayed. In fact, more than one time I giggled. And there were a few times where I just laughed out loud. The scene with the realtor is comedy gold.
The female-driven web series is a breath of fresh air in an era where comedy takes itself too seriously all the time. Comedians live in fear of getting criticized (if not cancelled) for addressing certain subjects all the time. Without reaching offensive behavior, good comedy should be able to go towards controversial planes of discussion.
But there’s nothing like this in Human Telegraphs. Unless someone thinks of cancelling women making fun of stereotypes, the show could be OK. The script goes from swift situations to innocent conversations and safe performances. It’s ironic but sometimes staying in those boundaries is more of a challenge script wise. If not, how can you build an interesting situation that doesn’t follow a final agenda? In a sort of “Seinfeldian” style of comedy, Rachel Kay Barclay (Lily in the show), creator of the show, does something out of nothing. She stays within the theme until the end and sparks a good series of laughs along the way.
It’s lovely how the performers aren’t afraid of making fun of themselves. It’s exactly what a sitcom needs, and there are few of those that work today. Creative freedom is necessary all the time. And Rachel Kay Barclay uses her “authority” to do a show about three women playing the fools, and yet winning at the end of the day.
It’s valid to deconstruct Human Telegraphs and say what’s good and what’s bad about it. Or I could be “natural” about it. This time it feels more authentic to say how it made me feel. It didn’t bore me at any point, and I just enjoyed how well directed it was by Kayla Conroy (Margot in the show). Reasons vary.
But at the end, I felt in the company of friends I wish I had. Those that aren’t afraid to have a few laughs. I really wish I could have taken part in those conversations in that coffee shop.
