Podcasts are everywhere these days, but what happens when the people behind the microphone are considerably messier than the personalities they present to the world?
That’s the question behind The Sonny Disposition, a new Australian workplace satirical comedy from Simon Taylor and Josh Samuels that arrives on local streamer Stan today.
The six-part series follows Sonny Tyler (Taylor), an ambitious podcast host determined to climb the rankings, alongside a team juggling problematic guests, demanding sponsors, office politics and the endless pursuit of online relevance.
The first episode certainly wastes little time establishing the show’s sense of humour, opening with a podcast interview for a company called Anal Bliss. Classy start.
From there, The Sonny Disposition settles into the day-to-day chaos of running a podcast operation inside a Melbourne co-working space, where professional ambitions, personal dramas and questionable decisions frequently collide.
Across the first two episodes, there’s no shortage of material to work with. Between awkward interviews, sponsor obligations, office rivalries and the pressure to keep an audience interested, the series has found a setting capable of generating plenty of comedy.
The cast is generally likeable, and there’s a sharpness to the performances that helps carry the material. Taylor is suitably committed as Sonny, while the supporting ensemble gives the workplace enough personality to keep things moving.
The main issue is that, despite the potential of its setting, the story can feel a little thin. There’s plenty happening, but the individual situations don’t always develop into anything particularly memorable, leaving the comedy to do much of the heavy lifting.
That’s not to say The Sonny Disposition doesn’t have its moments. The premise offers plenty of opportunities to explore the absurdities of podcast culture, from the performance of authenticity to the increasingly blurred line between having an audience and having something worthwhile to say.
It’s a promising starting point, even if the first two episodes don’t always make the most of it.
From an empty office to a television series
The show’s origins are almost as unusual as its fictional workplace.
Taylor initially gained access to a vacant office building in Coburg while looking for somewhere to film social media content. Rather than simply using the space as a temporary workspace, he called collaborator Samuels with an idea for a sitcom set inside a co-working space, with a podcaster at its centre.
The pair spent several days developing scenes around the building before writing, casting, filming and editing an original pilot in just six weeks.
Samuels said the limited time they had access to the building helped focus the creative process, even providing an unexpected interruption during filming.
“There’s actually one shot when we were shooting the original unaired pilot where the take gets interrupted by the doorbell ringing and it’s a real estate agent who showing the building.”
The project didn’t immediately secure a traditional television commission. Instead, the pair continued developing the series independently, eventually securing a distribution deal with Stan and financing from multiple sources.
Taylor explained that the decision to make the series themselves meant taking on several jobs to keep production costs down.
“I wrote, produced, directed, acted in and edited the series to save on cash.”
Samuels also took on writing, producing, assistant directing and financial responsibilities, with the pair retaining ownership of the show.
Nine and Stan ultimately provided a pathway for the independently produced series to reach audiences, with the six episodes now set to roll out across streaming and free-to-air television.
Why podcasting?
For Taylor and Samuels, podcasting offered a ready-made setting for a workplace comedy, bringing together people with different ambitions, personalities and ideas about what makes someone successful.
Taylor believes the industry provides plenty of material for satire, particularly as podcasts increasingly compete with traditional media for attention and influence.
“The podcasting world just seems like the Wild West.”
The series focuses on the people behind the microphones, rather than simply the personalities audiences see and hear, exploring how the pursuit of success can change the way people present themselves.
Samuels said that contrast was central to the show’s premise.
“The show deep down is about who these people are on and off the microphone. They’re the best version of themselves when they’re on the microphone but they have to be the worst versions of themselves to get on the microphone.”
It’s an idea that gives The Sonny Disposition plenty of room to grow, particularly as the characters navigate the gap between their public personas and their private behaviour.
An Australian comedy with international influences
Despite its local setting, Taylor said the creative team wasn’t necessarily trying to make a comedy that could only work in Australia.
His experience writing for American television helped shape the show’s fast-paced approach to jokes, with Taylor citing the work of Tina Fey as an influence.
“I was hoping to make a local show for a global audience.”
Samuels also pointed to The Larry Sanders Show and 30 Rock as influences, particularly their focus on the chaotic workings of the entertainment industry.
The pair aren’t looking to make particularly dark comedy, with Samuels arguing that sitcoms should offer an escape from the world outside the screen.
“The world is dark enough as it is, sitcoms should be your sanctuary of play at the end of your day.”
That philosophy is reflected in the series’ lighter approach to its subject matter, even when the characters’ behaviour is questionable.
What’s next for The Sonny Disposition?
The creators already have ideas for where the series could go next, with Taylor suggesting the podcasting world offers plenty of material for further stories.
He also has a few dream guests in mind should the series return.
“I’d love to see Troye Sivan, Abbie Chatfield and Angourie Rice in the next season as cameos… I’ll start begging them as soon as we get the green light.”
For now, The Sonny Disposition has the chance to establish itself with Australian audiences across Stan and Nine’s platforms.
The first two episodes show enough promise to suggest there’s more to explore in Sonny’s world, even if the writing could do more to turn its strong premise into consistently memorable comedy.
It’s an enjoyable, if uneven, start for a locally made series that has taken an unconventional route to the screen. With a likeable cast, a setting full of possibilities and plenty of targets to satirise, there’s room for The Sonny Disposition to find its rhythm.
Rating: ★★★½
