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Free comedy and character commercial scripts

30 scripts written by us, free to practice with, record and put in your reel. Every one lists voice age, accent and length, so you can pick a read that fits the audition you are chasing.

The Last Biscuit

Over-dramatic narrator, snacksAdult (40-55)Neutral AmericanOne narrator15 secondsabout 15s
There were twelve. Now there is one. It sits alone in the tin. Golden. Buttery. Unguarded. Three people in this house know it's there. Only one of them is you. Crumbhaven Biscuits. May the fastest hand win.

Direction: Epic, hushed and deadly serious, as if narrating the fall of an empire
What it is for: Playing a tiny stake as if it were life and death, which is where most comedy narration lives.
Coach's note: Watch out for winking. The joke only works if you believe the tin is a battlefield. Drop your pitch on 'Only one of them is you' and let the tag be the only line with a hint of a grin.
What casting listens for: Casting listens for gravity with a pulse: huge stakes, zero self-awareness, still likeable.

It's Fine

Grumpy mascot, cerealMature (55+)Neutral AmericanOne narrator15 secondsabout 14s
Hi. I'm Barley. The Oat Barons bear. Forty years on the same box. Do I like the cereal? Yes. Fine. It's delicious. Crunchy honey clusters. Happy now? Oat Barons. Eat them. I'm going back to bed.

Direction: Flat, tired, deeply over it; the enthusiasm is forced through gritted teeth
What it is for: The reluctant mascot: selling the product while the character plainly does not want to.
Coach's note: Watch out for going so grumpy the brand sounds bad. The honey clusters line is the one moment he forgets to be annoyed, because he actually likes them. Then he catches himself on 'Happy now?'
What casting listens for: Casting wants a grump you'd still buy cereal from. Listen for warmth leaking through the sulk.

I Am a Sponge

Talking product, cleaningYoung adult (18-25)Neutral AmericanOne narrator15 secondsabout 14s
Hi. I'm a sponge. I live by your sink. I have seen lasagna pans you would not believe. But I'm a Scrubwhistle. I don't shred. I don't stink. I don't quit. Put me in, coach. Scrubwhistle.

Direction: Earnest, keen, a rookie athlete begging the coach to put them in
What it is for: Giving an object a personality in fifteen seconds, with a clear want.
Coach's note: Watch out for doing a cartoon voice. Play it as a real person who happens to be a sponge. The dark little beat is 'pans you wouldn't believe'; 'Put me in, coach' is pure hope.
What casting listens for: Casting listens for a character with a want, not a funny noise.

Volume Down

Big-to-small, earbudsAdult (30-45)Neutral AmericanOne narrator15 secondsabout 15s
HEY! YOU! THE BIGGEST, LOUDEST, MOST UNBELIEVABLE DEALS OF THE— [SFX: a soft click] ...there. Ahh. That's much better. Mufflebud noise-cancelling earbuds. For the bus, the open office, the neighbour's leaf blower, and commercials like that one.

Direction: Start as the loudest car-lot announcer alive, then drop to a soft, relieved near-whisper
What it is for: The hard switch: going fully big, then fully small, with no ramp between.
Coach's note: Watch out for holding back on the shout. The top line has to be genuinely obnoxious or the switch means nothing, so go big without distorting the mic. After the click, don't creep back up; stay small to the end.
What casting listens for: Casting listens for control: can you be ridiculous at the top and then instantly intimate?

Just the Tag

Two-voice, booth parody, paper towelsAdult (30-45)Neutral AmericanTwo narrators (duet)15 secondsabout 15s

Cast: ANNOUNCERCLIENT

ANNOUNCERPlinkett Paper Towels. Strong, soft—
CLIENTStop. Can you make it more absorbent?
ANNOUNCERMore... absorbent.
CLIENTLike you soak things up. Emotionally.
ANNOUNCERPlinkett Paper Towels. We soak it up.
CLIENTPerfect. Now try it drier.

Direction: ANNOUNCER is patient and professional; CLIENT is sincere and completely unhelpful
What it is for: Taking an absurd note and delivering it perfectly, which every working VO actor has had to do.
Coach's note: Watch out for the ANNOUNCER mocking the note. The laugh is that he really tries to sound absorbent. CLIENT believes every word, so no eye-rolling in her voice. The button is her pleased 'Now try it drier', said like the most reasonable note in the world.
What casting listens for: Casting listens for a straight man who commits to a silly direction without commenting on it.

Hear Ye

Character, town crier, pizzaAdult (40-55)Neutral BritishOne narrator15 secondsabout 15s
Hear ye! Hear ye! By order of the household, a pizza hath been summoned! Large. Extra cheese. Half pineapple, as the youngest prince demanded. It rides now, hot, upon a moped. Crustfall Pizza. Long live the crust.

Direction: A full-voiced royal herald with a scroll, projecting to the back of the village square
What it is for: Sustaining a big, projected character voice without losing clarity on the offer.
Coach's note: Watch out for shouting instead of projecting. Support it from the chest so it rings rather than rasps. 'As the youngest prince demanded' is the joke; give it a tiny, weary aside.
What casting listens for: Casting wants size and diction together: a big character who still lands the brand name cleanly.

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Now Showing in Backpacks

Mock movie trailer, lunchboxesAdult (40-55)Neutral AmericanOne narrator30 secondsabout 27s
This September. One sandwich. Packed at six forty-five in the morning. Left in a warm locker until noon. Everyone said the yogurt wouldn't make it. Everyone said the apple would go brown. They were wrong. Coolcarry. The insulated lunchbox that keeps the cold stuff cold, the warm stuff warm, and the crusts exactly where you left them. Rated L, for Lunch. Coolcarry Lunchboxes. Now showing in backpacks everywhere.

Direction: Deep, slow blockbuster trailer voice, every line a title card
What it is for: The movie-trailer parody: huge pauses, huge stakes, applied to a sandwich.
Coach's note: Watch out for rushing. Trailer reads live in the silence between lines. The only place to lift is 'They were wrong.' Play the whole thing straight; the product copy is sincere, not a joke.
What casting listens for: Casting listens for trailer weight that is still funny because you never admit it is funny.

Nothing to Read

Character, disclaimer guy, mobile planAdult (25-40)Neutral AmericanOne narrator30 secondsabout 27s
Hi. I'm the guy who reads the super-fast part at the end of phone commercials. I've trained for years. Forty words in four seconds. But Tinycan Mobile has one flat monthly price. No contract. No surprise fees. So there's... nothing for me to read. I did warm up, though. Tinycan Mobile. One price. That's it. That's the whole thing. ...See store for details? No? There's no store? Okay.

Direction: Proud professional, then quietly deflated, then hopeful one last time
What it is for: Playing disappointment for laughs while the listener hears the actual selling point.
Coach's note: Watch out for doing the fast read at the top. He only talks about it; the joke is he never gets to use it. Deflate on 'nothing for me to read', and make the final 'See store for details?' a tiny, desperate hope.
What casting listens for: Casting listens for the sad-clown turn: a small, real disappointment that still lands the offer.

To Match or Not to Match

Shakespearean parody, socksMature (55+)Neutral BritishOne narrator30 secondsabout 27s
To match, or not to match. That is the question. Whether 'tis nobler in the drawer to suffer the lonely, holey sock of outrageous laundry, or to take arms against a sea of singles, and, by Pairwell, end them. Pairwell socks clip together in the wash. They go in paired. They come out paired. Alas, poor left sock. I knew him well. Pairwell Socks. Exit, pursued by nobody.

Direction: A grand old stage actor, full Hamlet, one hand on heart, utterly serious about hosiery
What it is for: Classical verse rhythm used for comedy; trains breath control through long lines.
Coach's note: Watch out for sending up the verse. Play it like you are auditioning for the Royal Shakespeare Company. The product line is spoken plain, like an actor stepping out of character, then 'Alas, poor left sock' goes right back in.
What casting listens for: Casting listens for real classical chops; the joke only works if you could actually play Hamlet.

Recalculating

Talking product, passive-aggressive navigationAdult (30-45)Neutral AmericanOne narrator30 secondsabout 29s
In four hundred feet, turn right. You did not turn right. That's fine. I'm recalculating. I'm always recalculating. In two hundred feet, make a U-turn. Or, and I'm just putting it out there, you could have turned right. Take your time. I'll wait. I always wait. Nudgemap. Live traffic, lane guidance, speed alerts, and a voice that is honestly doing its very best. You have arrived. Eventually. Nudgemap. We'll get there. Together.

Direction: Calm, polite satnav voice with passive aggression bubbling just under the surface
What it is for: Subtext comedy: the words are polite, the tone is not, and it must stay small.
Coach's note: Watch out for getting openly angry. She never raises her voice; every jab lives in a tiny pause, like the one before 'I'm always recalculating.' Let the product line sound almost normal, then the crack returns on 'Eventually.'
What casting listens for: Casting listens for restraint. The smaller the passive aggression, the bigger the laugh.

Very Relaxing Crunch

ASMR parody, crackersYoung adult (18-25)Neutral AmericanOne narrator30 secondsabout 29s
Hi, friends. Welcome back. Today, we're just going to relax together. Close your eyes. Breathe in. I'm gently opening a box of Brittlebee sea salt crackers. Listen to that soft little rustle of the paper sleeve. And now, very, very gently, we're going to take one tiny bite. [SFX: an enormous, ear-splitting CRUNCH] ...Okay. So that was not relaxing. Brittlebee Crackers. The crunchiest cracker we know how to make. Sorry about your ears.

Direction: Soft, breathy, close to the mic ASMR creator, then flustered and normal after the crunch
What it is for: Close-mic whisper technique, and snapping out of it cleanly for the reveal.
Coach's note: Watch out for whispering so hard the words turn to air. Keep tone under the breath so it's audible. The laugh is her after the crunch: flat, embarrassed, real. Don't play the apology big.
What casting listens for: Casting listens for a believable whisper read and a genuine, unforced break in character.

Unbelievable Scenes

Two-voice, sports commentary parody, baby foodAdult (30-45)AustralianTwo narrators (duet)30 secondsabout 34s

Cast: GAZDEB

GAZAnd young Milo is into the high chair, and the crowd is on its feet!
DEBThe crowd is his mum and the dog, Gaz.
GAZShe's offering the spoon. It's green. Surely not.
DEBHe has never taken a green in his career.
GAZHe looks at the spoon. He looks at the dog. He's... he's taken it!
DEBUnbelievable scenes! That's a Sneakgreen pouch, apple and broccoli, and he has no idea.
GAZSneakgreen Veggie Pouches. The greens they never see coming.

Direction: Two breathless sports commentators calling a grand final, except it's a toddler and a spoon
What it is for: Building energy as a pair: overlapping excitement, then landing the brand clearly.
Coach's note: Watch out for both peaking at once. GAZ builds the tension, DEB undercuts it with facts until she can't help herself on 'Unbelievable scenes!' Pull right back for the product line so it doesn't get lost in the noise.
What casting listens for: Casting listens for two people who sound like they've shared a booth for twenty years.

The Handler

Two-voice, spy thriller parody, lint rollersAdult (30-45)Neutral AmericanTwo narrators (duet)30 secondsabout 34s

Cast: HANDLERAGENT

HANDLERAgent, do you copy?
AGENTI copy. I'm in the living room. It's quiet.
HANDLERThe cat has been on the navy sofa. All afternoon.
AGENTHow bad is it?
HANDLERThere's an outline. Cat-shaped.
AGENTAnd the dinner guests?
HANDLERSeven minutes out. And they're wearing white.
AGENTThen there's only one option left.

SFX: a long, satisfying tear

HANDLERIs that...
AGENTLinthound. Extra-sticky sheets. Extra-wide roller.
HANDLERSofa status, Agent?
AGENTClean. Cat status: unrepentant.
HANDLERLinthound Lint Rollers. Mission accomplished.

Direction: Clipped, urgent spy-movie radio chatter played completely straight
What it is for: Tight cue pickup in a two-hander; the comedy is in the pace, not the jokes.
Coach's note: Watch out for leaving air between lines. This is a thriller; the lines should almost step on each other. Nobody laughs, nobody winks. The one earned beat is the AGENT's 'Cat status: unrepentant.'
What casting listens for: Casting listens for two actors who can play it straight at speed and trust the script to be funny.

Pretzel Pete Won't Twist

Two-voice, grumpy mascot, snacksMature (55+)New YorkTwo narrators (duet)30 secondsabout 30s

Cast: DIRECTORPETE

DIRECTOROkay, Pete! Big smile, and do the twist!
PETEI'm not doing the twist.
DIRECTORYou're a pretzel. It's your whole thing.
PETEThirty-one years I've been twisted. My back is a knot. Literally.
DIRECTORJust say the line.
PETEFine. Crunchbarrel Pretzels. Baked, salted, and twisted by hand in small batches since before you were born.
DIRECTORBeautiful! One more?
PETETry the honey mustard. I'm going to lie down in the bag.

Direction: PETE is a cranky old New York pro; the DIRECTOR is upbeat and relentless
What it is for: Playing a grump against a cheerful scene partner, and letting the product line be sincere.
Coach's note: Watch out for PETE sounding bitter. He's weary, not mean, and when he finally says the copy he means it; he's proud of these pretzels. The DIRECTOR never notices his mood, which is the joke.
What casting listens for: Casting listens for a mascot with a whole life behind the voice.

The Canals Will Keep

Talking product, late-night DJ, mattressAdult (30-45)Neutral AmericanOne narrator30 secondsabout 27s
Hey. It's me. Your mattress. It's eleven forty-five. You're on the couch, watching a documentary about... canals? I'm not mad. I'm just here. Cool sheets. Pillows fluffed. The good blanket's out. You've got an early meeting. You said so yourself. Out loud. To the cat. Loftnest. Zoned support, a cover that stays cool, and a hundred-night trial. Come to bed. The canals will still be there tomorrow.

Direction: Smooth, low, late-night radio host; patient and a little wounded
What it is for: A velvet voice used for comedy: the tone is seductive radio, the content is bedtime nagging.
Coach's note: Watch out for pushing the smoothness into sleaze. He's a caring friend with a radio voice, not a lover. The laugh is 'To the cat', so give the beat before it. The final line is gentle, almost a lullaby.
What casting listens for: Casting listens for a warm low register that can be funny without breaking the mood.

A Space Near the Door

Over-dramatic narrator, parking appMature (55+)Neutral AmericanOne narrator30 secondsabout 29s
He had circled the lot four times. The mall was full. The sun was merciless. In the back seat, the ice cream had begun to weep. And then, like a legend whispered by his father's father, he saw it. A space. Near the door. Not a compact space. A real one. Lotwhisper shows open spots near you in real time, so every trip can end like a legend. Lotwhisper. Your space is waiting.

Direction: Legend-telling gravitas, a campfire storyteller recounting a heroic deed
What it is for: Mythic narration of a mundane event; trains long builds and a clean pivot to the sell.
Coach's note: Watch out for getting jokey on 'the ice cream had begun to weep.' It's tragic to him. The awe peaks on 'Not a compact space. A real one.', then step out of the legend and speak plainly for the app.
What casting listens for: Casting wants old-soul gravitas that can land a joke by refusing to acknowledge it.

Look at My New Leaf

Two-voice, talking houseplant, plant foodAdult (25-40)Neutral BritishTwo narrators (duet)30 secondsabout 31s

Cast: FERNOWNER

FERNWater. Water, please. I'm fading.
OWNERI watered you yesterday.
FERNDid you, though? Because I feel crispy.
OWNERYou're a fern. You're fine.
FERNI'm a hungry fern. Nobody feeds me. I'm just decor to you.
OWNERFine. Here. Rootlift.
FERNWhat is it?
OWNERPlant food. A few drops in the watering can, once a week.
FERNOh. Oh, that's lovely. Look at my new leaf.
OWNERRootlift Plant Food. For the dramatic ones.

Direction: FERN is a fading theatre diva; the OWNER is dry, fond and entirely unimpressed
What it is for: Diva versus deadpan: one partner goes big, the other stays tiny, and both must listen.
Coach's note: Watch out for both going big. The OWNER is the anchor; the less she reacts, the funnier FERN gets. FERN's turn is 'Oh. Oh, that's lovely', a sudden, genuine melt.
What casting listens for: Casting listens for contrast: a scene partner who can make the other actor funnier.

Saddle Up, Lie Down

Character, cowboy, yoga matsMature (55+)Southern USOne narrator30 secondsabout 28s
I've roped cattle. I've broke horses. I've slept on open ground in a hailstorm. Nothin' prepared me for downward dog. My granddaughter signed me up. Said it'd loosen me up. She was right. Don't tell her. Now I do it every mornin' on my Dustrider mat. Thick enough for old knees. Grippy enough I don't slide off it like a greased pig. Dustrider Yoga Mats. Saddle up. Then lie down.

Direction: Slow, dry old rancher, fireside pace; a little embarrassed to be admitting this
What it is for: Unhurried character comedy where the jokes come from rhythm and understatement.
Coach's note: Watch out for playing the cowboy as a cartoon. He's a real man with a real granddaughter. 'Don't tell her' is thrown away under the breath. Don't speed up for the product line; he talks at one speed.
What casting listens for: Casting listens for authenticity in the accent and a deadpan that never begs for the laugh.

Coach Says Relax

Character, screaming coach, reclinersAdult (30-45)Neutral AmericanOne narrator30 secondsabout 26s
Alright, listen up! You went hard this week! Meetings! Emails! That spreadsheet! Now I want you in that recliner, and I want you to do nothing! Lean back! Further! Feet up! Is that the best you can relax? I've seen coat hangers more relaxed! Slouchwell power recliners. One button. Full recline. A cupholder on each side. Now hit the showers! Actually, no! Stay there! Great work!

Direction: Full-throttle locker-room coach, whistle in teeth, screaming encouragement at someone sitting down
What it is for: Going big with purpose: maximum energy aimed at the opposite of what the energy suggests.
Coach's note: Watch out for going big without variety. Even a screaming coach has gears: build through the list, peak on 'coat hangers more relaxed', then the delicious U-turn on 'Actually, no!'
What casting listens for: Casting listens for size with precision; loud is easy, funny loud needs shape.

Behind the Pickles

Horror host parody, food storageMature (55+)Neutral AmericanOne narrator30 secondsabout 28s
Good evening. Tonight's tale begins in an ordinary kitchen, with an ordinary family, and a bowl of leftover chili. Pushed to the back. Behind the pickles. Forgotten. Three weeks later, someone lifted the lid. [SFX: a distant scream] They say it's still in there. Growing. Learning. Snugtop containers seal airtight, stack neatly and come in clear glass, so nothing hides at the back. Snugtop. Sleep well. Label your leftovers.

Direction: Velvety old horror-anthology host, savouring every syllable, candlelight under the chin
What it is for: Relishing language: elongated vowels and delicious pauses without losing the pace.
Coach's note: Watch out for overdoing the spooky laugh. There isn't one; the menace is in how slowly he savours 'Growing. Learning.' The sign-off is a kindly bedtime warning.
What casting listens for: Casting listens for a character voice with texture and wit that stays clear on the product benefit.

The Creature Emerges

Nature documentary parody, frozen wafflesMature (55+)Neutral BritishOne narrator30 secondsabout 26s
Here, in the half-light of a Saturday, we find the teenager in its natural habitat. It has not emerged in fourteen hours. But hark. A scent drifts beneath the door. Golden. Crisp. Maple. The toaster has spoken. And slowly, blinking at the light, the creature appears. It does not speak. It merely points. Waffleby frozen waffles. Ready in minutes. Irresistible to every species. Even this one.

Direction: Hushed wildlife-documentary awe, crouched in the long grass, trying not to startle the animal
What it is for: The nature-doc parody: wonder, whispered tension and total respect for the subject.
Coach's note: Watch out for sounding amused. The narrator finds the teenager genuinely fascinating. 'The toaster has spoken' is reverent. 'Even this one' is the only line with a flicker of dryness.
What casting listens for: Casting listens for hushed intimacy and wonder, played dead straight.

We Conquer Only the Stairs

Character, Viking chieftain, moversAdult (40-55)ScottishOne narrator30 secondsabout 28s
I am Bjorn of Longship Movers! For too long, the movers of this land have treated your belongings like plunder! Not we! We carry your grandmother's china like the treasure of kings! We wrap your sofa in blankets thick as a winter pelt! We lift! We haul! We do not pillage! Local and long distance. Free quotes. Very strong men and women. Longship Movers! We conquer only the stairs!

Direction: A roaring Viking chieftain rallying his warriors, fist on the table, horn raised
What it is for: Big declamatory character work that still lands practical details like free quotes.
Coach's note: Watch out for losing the listing in the roar. 'Local and long distance. Free quotes.' needs to be crisp, so bark it like battle orders rather than dropping to announcer voice.
What casting listens for: Casting listens for commitment: a voice that can fill a longhouse and still sound like it's selling.

The Case of the Sticky Counter

Noir detective parody, cleaning sprayAdult (40-55)Neutral AmericanOne narrator60 secondsabout 61s
[Music bed: a lonely saxophone] The kitchen was quiet. Too quiet. The kind of quiet that means somebody's had spaghetti. I'd seen a lot of counters in my time. Clean ones. Dirty ones. The ones that look clean until you put your elbow down. This one had a story. A ring of coffee. A smear of jam. And a sticky patch nobody would own up to. I asked the kid. He said it was the dog. The dog wasn't talking. Dogs never do. So I reached for the one partner I trust. Shamus Multi-Surface Spray. She cuts through grease like a bad alibi. She works on granite, laminate, stovetops, and that mystery patch by the toaster. And she leaves nothing behind but a faint smell of lemon and justice. Two sprays. One wipe. Case closed. The kid still says it was the dog. Shamus. Every mess has a story. We end it.

Direction: World-weary 1940s private eye, low and slow, rain on the window, cigarette voice without the cigarette
What it is for: A full noir monologue: sustained character, hard-boiled rhythm and a product that fits inside the story.
Coach's note: Watch out for playing the jokes instead of the man. He's tired and serious; 'a faint smell of lemon and justice' is said like any other fact. Keep the product features in the same gravel voice, and give 'The kid still says it was the dog' a slow, weary beat.
What casting listens for: Casting listens for noir cadence that never slides into a parody accent, and features that stay clear.

Slightly Haunted

Two-voice, pirate, insuranceAdult (40-55)Neutral BritishTwo narrators (duet)60 secondsabout 68s

Cast: CAPTAINAGENT

CAPTAINArr. I be needin' insurance.
AGENTWelcome to Plankwise. What are we covering today?
CAPTAINOne ship. Three masts. Slightly haunted.
AGENTSlightly haunted. Okay. Any previous claims?
CAPTAINKraken. Twice.
AGENTI'll put that down as weather. Is the ship your main residence?
CAPTAINAye. And the parrot's.
AGENTLovely. Any valuables on board?
CAPTAINOne chest. Buried.
AGENTBuried where?
CAPTAINNice try.
AGENTFair enough. And the crew?
CAPTAINSix. Seven, counting Gary.
AGENTIs Gary the reason it's slightly haunted?
CAPTAINGary is very sensitive about that.
AGENTNoted. With Plankwise, you can bundle the ship, the crew and the parrot on one policy, manage it all in our app, and talk to a real person whenever you need one.
CAPTAINA real person? Not a message in a bottle?
AGENTA real person. Like me.
CAPTAINAnd what if I walk the plank?
AGENTHonestly? I'd recommend not doing that.
CAPTAINFair.
AGENTPlankwise Insurance. Whatever you sail, sail it covered.
CAPTAINArr.

Direction: CAPTAIN is a gravelly West Country pirate going full size; the AGENT is a calm, kind call-centre pro
What it is for: Big character against a straight partner in a long two-hander; the agent carries the sell.
Coach's note: Watch out for the AGENT reacting to the pirate. She has heard stranger calls; she types, she moves on. The CAPTAIN goes big, but 'Nice try' is small and suspicious. Keep the policy line warm and clear; it's the only real sell.
What casting listens for: Casting listens for the straight partner as much as the pirate. The AGENT's calm is what makes the CAPTAIN funny.

The Great Suburban Migration

Nature documentary parody, charcoalMature (55+)Neutral BritishOne narrator60 secondsabout 60s
Summer. And across the suburbs, a great migration begins. From garages and sheds, the males emerge, drawn by ancient instinct, and by the smell of the neighbour's sausages. Here, a mature specimen approaches the grill. He wears the ceremonial apron. It reads 'Kiss the Cook'. No one ever has. He fans. He pokes. He consults no instructions. He is, he insists, a natural. But the coals will not light. The children grow restless. The potato salad is warming. And then, a change. He reaches for a bag of Glowpile Charcoal. Glowpile briquettes light with a single match and are ready to cook on in about fifteen minutes, with a steady, even heat that lasts the whole party. The burgers sizzle. The herd gathers. He accepts their praise with quiet dignity, as though it was always going to go this way. It was not. Glowpile Charcoal. Nature's way of saving dinner.

Direction: Reverent, whispered wildlife narration, full of affection for a hopeless creature
What it is for: A long nature-doc parody: sustaining hushed wonder for a full minute and landing product facts inside it.
Coach's note: Watch out for letting the whisper flatten into one tone. Track the drama: hope as he approaches, tension as the coals fail, relief on the Glowpile turn, and a bone-dry 'It was not.' That line is the biggest laugh; don't push it.
What casting listens for: Casting listens for affection. The narrator adores this animal; that warmth is the joke.

It Started as a Garage

Two-voice, mock movie trailer, garage storageAdult (40-55)Neutral AmericanTwo narrators (duet)60 secondsabout 62s

Cast: TRAILERMOM

Music bed: thunderous trailer drums

TRAILERIt started as a garage.
MOMWhere is the car supposed to go?
TRAILERIt became something else.
MOMWhy do we own four coolers?
TRAILERFor twelve years, it grew. Bikes. Boxes. A rowing machine, used exactly once.
MOMHoney, I think there's a raccoon in the holiday decorations.
TRAILEROne family. One weekend. One last chance to take it back.
MOMWe're doing this. Get the gloves.
TRAILERThis fall, from Hookline Garage Systems, comes a story of wall rails, overhead racks, and a hook for everything.
MOMThe bikes are on the wall. The bikes are on the wall!
TRAILERInstalled in a day, by people who have seen worse.
MOMHave they, though?
TRAILERThey have.
MOMI can see the floor. I forgot we had a floor.
TRAILERHookline Garage Systems. Rated P G, for Parking the Car.
MOMThe car goes in the garage!

Direction: TRAILER is the deep, doom-laden movie voice; MOM is a real, frazzled parent inside the film
What it is for: Trailer rhythm cut against scene dialogue: two completely different registers trading lines.
Coach's note: Watch out for MOM playing to the trailer. She doesn't know she's in one; every line is real frustration, then real joy on 'I forgot we had a floor.' TRAILER stays epic even on 'They have.' That tiny, solemn reply is the laugh.
What casting listens for: Casting listens for the contrast: an epic voice and a truthful one sharing the same minute.

The Lost Remote

Over-dramatic narrator, item trackersAdult (40-55)Neutral BritishOne narrator60 secondsabout 62s
In the beginning, there was the remote. It was with them always. On the arm of the sofa. Within reach. Faithful. Then, one Sunday, it was gone. They searched the cushions. They searched beneath the cushions. They searched the realm beyond the cushions, where the coins and the popcorn go. Brother turned against brother. 'You had it last.' 'I did not have it last.' The dog was questioned. The dog was released without charge. Night fell. The game was starting. Hope was fading. And then, from somewhere deep in the laundry basket, a sound. [SFX: a small, cheerful chirp] Pingpip. The tiny tracker that sticks to your remote, your keys, your wallet, or whatever your family loses most. Tap the app, and it chirps until you find it. They found the remote. They found the car keys. They found a sock, missing since spring. Peace returned to the land. Pingpip Trackers. End the search.

Direction: Epic fantasy-saga narrator, the voice of ancient kingdoms and doomed quests
What it is for: A full minute of mock-epic narration with quoted dialogue and a clean product turn.
Coach's note: Watch out for doing voices for the brothers. Quote them in the narrator's voice, a touch clipped. The biggest laugh is 'released without charge', so play it with total legal solemnity. After the chirp, the narrator is relieved, not salesy.
What casting listens for: Casting listens for fantasy-trailer scale that never cracks a smile, and features that stay clear.

Thirty Years a Bee

Two-voice, grumpy mascot, cerealMature (55+)Neutral AmericanTwo narrators (duet)60 secondsabout 61s

Cast: TAYLORBUZZ

TAYLORBuzz! Hi! I'm Taylor, from brand. Huge fan.
BUZZUh-huh. Great.
TAYLORSo, we're refreshing your look for a younger audience. Sunglasses. A skateboard. Maybe a little rap?
BUZZKid. I've been on this box thirty years. I've been a pirate bee. A cowboy bee. One year they made me a surfer bee. I can't swim. I'm a bee.
TAYLORThat's what makes you iconic!
BUZZYou know what makes me iconic? The cereal. Crunchy little oat rounds, real honey, whole grain. Kids like it. Parents like it. That's the whole pitch.
TAYLOROkay, but what if you said it on a skateboard?
BUZZWhat if I said it sitting down?
TAYLORWhat if you said it sitting down on a skateboard?
BUZZ...Fine. Just this once.
TAYLORAmazing! And, action!
BUZZHummingdale Honey Crisps. Still crunchy. Still honey. Still me. Now get me off this thing.
TAYLORLegend. Absolute legend.

Direction: BUZZ is a weary veteran mascot, dry as toast; TAYLOR is a relentlessly upbeat young brand manager
What it is for: Generational comedy between scene partners, with the old pro delivering the real sell.
Coach's note: Watch out for BUZZ being cruel to TAYLOR. He's tired, not nasty, and he's proud of the cereal; his product speech is the most sincere line in the spot. TAYLOR never hears the sarcasm. The timing peak is the pause before 'Fine.'
What casting listens for: Casting listens for chemistry: the veteran's deadpan only works if the partner is truly delighted.

Day Four Hundred and Twelve

Talking product, diary, robot vacuumAdult (30-45)Neutral BritishOne narrator60 secondsabout 59s
Day four hundred and twelve. I have been deployed to the kitchen again. Cereal. Always cereal. The small human watched me work today. He dropped another piece directly in my path. He thinks this is a game. It is not a game. It is my life's work. Eleven hundred hours. The cat rode on my back for three laps of the lounge. I allowed it. We have an understanding. Fourteen hundred hours. I mapped the ground floor, avoided the stairs, and emptied myself into my dock. Hands-free. You're welcome. Seventeen hundred hours. Someone left a sock under the sofa. I have not reported it. It is mine now. The Scurrybot robot vacuum learns your home, cleans on a schedule and empties itself, so you can forget about the floor. Day four hundred and thirteen. I heard someone say the word pancakes. Pray for me. Scurrybot. It's got this.

Direction: Dry, clipped, quietly heroic log entry; a lone explorer's diary from the kitchen floor
What it is for: Bone-dry deadpan over a full minute: the laughs come from specifics, never from the voice.
Coach's note: Watch out for getting robotic. She's a character with feelings, not a speech synthesiser. Keep the times crisp, let 'It is mine now' be quietly possessive, and give 'Pray for me' the full weight of a doomed mission.
What casting listens for: Casting listens for dry wit that stays warm; you should want to adopt this vacuum.

The Sneaker Intervention

Two-voice, intervention parody, sneakersAdult (25-40)Neutral AmericanTwo narrators (duet)60 secondsabout 63s

Cast: PRIYAMARCUS

PRIYAMarcus, sit down. We need to talk about the shoes.
MARCUSWhat's wrong with my shoes?
PRIYAThe sole is held on with tape.
MARCUSDuct tape. It's very strong. It's rated for boats.
PRIYAThey squeak. Every step. The whole office knows when you're coming.
MARCUSIt's my signature.
PRIYAThe dog won't sleep in the same room as them.
MARCUSHe's sensitive. He's a sensitive dog.
PRIYAMarcus. You bought them for a school trip. In tenth grade. Twenty years ago.
MARCUS...They've been with me through a lot.
PRIYAI know. And now it's time to let them rest. Treadloft makes everyday sneakers with cushioned soles, breathable uppers, and free returns if they're not right.
MARCUSDo they squeak?
PRIYAThey do not squeak.
MARCUSThen how will anyone know I'm coming?
PRIYAThat's kind of the whole point.
MARCUS...Can I at least keep the tape?
PRIYATreadloft Shoes. Walk on. Quietly.

Direction: PRIYA is gentle and serious, a friend staging a real intervention; MARCUS is defensive, then heartbroken
What it is for: Playing a silly premise with the emotional truth of a real intervention.
Coach's note: Watch out for going big on the sadness. Play it like an actual intervention: PRIYA is kind, MARCUS is genuinely attached. The turn is his quiet 'They've been with me through a lot.' The button, 'Can I keep the tape?', is small and hopeful.
What casting listens for: Casting listens for two actors who commit to the stakes, so the silliness never has to be pushed.

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