Matt Berry has this voice. It’s a booming, resonant, slightly ridiculous baritone that sounds like it was forged in a 1970s theater dressing room and then marinated in expensive brandy. If you’ve heard it, you know exactly what I’m talking about. It’s the sonic engine behind Toast of London, a show that is arguably one of the most surreal, frustrating, and belly-laugh-inducing comedies to come out of the UK in the last fifteen years.
Steven Toast is a failure.
Well, he’s a "working actor," which in the universe of this show is basically the same thing. He lives in a house share with an older man named Ed Howzer-Black. He hates his agent, Jane Plough (pronounced "Plow," much to her chagrin). He is constantly embroiled in a blood feud with Ray Purchase, a rival actor who looks like a villain from a cheap soap opera.
If you’re looking for a plot-heavy prestige drama, keep walking. This isn't that. This is a fever dream of failed auditions, terrible plays, and the most iconic voice-over booth scenes ever filmed.
The Absolute Absurdity of Steven Toast
The show, created by Arthur Mathews and Matt Berry himself, premiered on Channel 4 back in 2012. It didn't take long to find a cult following. Why? Because it captures the sheer, unadulterated vanity of the acting profession in a way that feels both cruel and deeply affectionate.
Toast thinks he’s a legend. The world thinks he’s a nuisance.
Most episodes follow a loose pattern: Toast needs money, Toast gets a job, Toast ruins the job because of his own massive ego or some bizarre physical quirk. It sounds simple, but the execution is anything but. The show leans heavily into "surrealist farce." Characters have names like Beefy Armitage, Strawberry Rathbone, and many, many more.
Honestly, the names alone are worth the price of admission.
One of the most famous recurring bits involves Toast going into a recording studio to do voice-over work. He meets the "hip" producers, Danny Bear and Clem Fandango.
"Yes, I can hear you, Clem Fandango!"
Toast screams this every time they speak to him through the intercom. It’s a tiny bit of repetition that gets funnier every single time it happens. It taps into that universal frustration of dealing with younger, "cooler" people who don't seem to understand how the world works, or at least how Toast thinks it should work. It’s relatable content for anyone who has ever felt obsolete.
Why the British Comedy Scene Needed This
Before Toast of London, British comedy was arguably leaning a bit too hard into the "cringe" aesthetic popularized by The Office. Everything was handheld cameras and awkward silences.
Toast blew that apart.
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It brought back the theatricality of old-school sitcoms but injected them with a weird, dark energy. It feels like a throwback to the 70s—a decade Toast seems trapped in, given his attire and his general worldview. The show doesn't care about being "realistic." In one episode, Toast might be trying to get a role in a high-profile film; in another, he’s being chased by a man with a disproportionately large hand.
It’s silly. It’s loud. It’s frequently quite rude.
But there’s a soul to it. Matt Berry plays Toast with such genuine conviction that you almost—almost—root for him. You want him to get the part, even though you know he’s going to insult the director within five minutes of stepping onto the set.
The Recurring Nightmare of Ray Purchase
You can't talk about this show without mentioning Ray Purchase. Played by Harry Peacock, Ray is the ultimate foil. He’s more successful than Toast, he’s smugger, and he’s sleeping with Toast’s ex-wife (or at least one of his love interests, it gets messy).
Their interactions are pure gold.
They don't just dislike each other; they exist in a state of permanent, vibrating hostility. They trade insults that are so specific and strange they shouldn't work, yet they do. This rivalry is the backbone of the show's conflict. It reminds us that no matter how low Toast sinks, there is always someone he can look down on, or someone who is actively looking down on him.
The Music and the Madness
Matt Berry is a legitimate musician. If you haven't listened to his albums like Witchazel or The Blue Elephant, you're missing out on some incredible psych-folk and prog-rock.
He brings that musicality to Toast of London.
Every episode features a musical number or a strange, rhythmic interlude. It adds to the dreamlike quality of the series. Sometimes Toast is singing a melancholic ballad about his failures; other times, the music is just there to heighten the absurdity of a chase scene. It’s a layer of craftsmanship you don't usually see in a half-hour sitcom. It makes the show feel like a complete piece of art, rather than just a collection of jokes.
Toast of Tinseltown: The American Shift
After three successful series on Channel 4, the show took a long break. Then, in 2022, it returned as Toast of Tinseltown on the BBC.
The premise? Toast moves to Hollywood.
Fans were nervous. Moving a very British character to the US is a trope that often fails. It can feel forced or like the show is "selling out" for a wider audience. But the move actually worked. It allowed the creators to lampoon the American film industry with the same ferocity they used on the London theater scene.
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In Hollywood, Toast is an even smaller fish in a much weirder pond. He meets characters played by the likes of Fred Armisen and Rashida Jones. The absurdity scales up. Instead of failing in a damp London basement, he’s failing in a sun-drenched desert or a high-tech studio lot.
It proved that the character of Steven Toast isn't tied to a specific geography. He is a universal archetype: the man who refuses to admit his time has passed.
Essential Episodes for the Uninitiated
If you’re just starting out, don't feel like you have to watch in strict order. While there is some loose continuity, most episodes stand alone as bizarre vignettes.
- "Submission" (Series 1, Episode 3): Toast falls for an actress who refuses to show her face. It’s a perfect example of the show's commitment to a weird bit.
- "The End of the Line" (Series 3, Episode 6): This one features a guest appearance by Jon Hamm. Yes, that Jon Hamm. He plays himself, and the chemistry between him and Berry is fascinating.
- "Desperate Measures" (Series 2, Episode 2): Toast gets a role in a play that requires him to be submerged in a tank of water. It goes exactly as well as you’d expect.
Watching these will give you a sense of the show's DNA. You'll either love the rhythm of the dialogue or you'll find it incredibly jarring. There is very little middle ground when it comes to Matt Berry's comedy.
The Cultural Impact of the "Toast" Persona
Steven Toast has become a bit of a cultural shorthand.
When people see an actor taking themselves too seriously, or when a voice-over sounds particularly "theatrical," the name Toast usually pops up in the comments. The show has successfully parodied a very specific type of British actor—the "Rada-trained" veteran who thinks they are above the material they are forced to perform for a paycheck.
It’s also spawned a million memes.
The "Clem Fandango" bit is a staple of internet culture. The images of Toast in his signature purple jacket, looking bewildered, are everywhere. For a show that never had "Friends" levels of viewership, its footprint is surprisingly deep. It’s a "cult classic" in the truest sense of the word.
Common Misconceptions About the Show
People often think Toast of London is a "theatre" show.
Like, they think you need to understand the nuances of the West End to get the jokes. You don't. While there are definitely "inside baseball" jokes about the industry, the core of the humor is much broader. It’s about ego. It’s about the gap between how we see ourselves and how the world sees us.
Another misconception is that it’s just Matt Berry shouting.
Okay, there is a lot of shouting. But the writing is surprisingly tight. Arthur Mathews, who co-wrote Father Ted, knows how to structure a farce. The jokes are layered. There are background gags, wordplay, and physical comedy that requires real precision. It’s not just chaos; it’s controlled, deliberate madness.
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What Actors Actually Think of It
Funnily enough, many professional actors love the show.
They recognize the absurdity. They’ve all had their "Clem Fandango" moment. They’ve all had to audition for parts they were completely wrong for, or worked with directors who had no idea what they were doing. Toast is a caricature, but he’s built on a foundation of truth that anyone in a creative field recognizes instantly.
The Future of Steven Toast
Is there more coming?
Matt Berry is a busy man. Between What We Do in the Shadows and his various musical projects, he doesn't have a lot of downtime. However, the door never seems truly closed on Steven Toast. The character is so flexible that he could pop up anywhere.
Whether we get a Series 4 or another spin-off, the existing episodes have already secured their place in the comedy pantheon. There just isn't anything else that looks or sounds like this.
How to Watch and What to Look For
If you’re in the UK, it’s usually available on Channel 4’s streaming service or the BBC iPlayer. Internationally, it hops around between platforms like Netflix or BritBox.
When you watch, pay attention to the costumes.
Toast’s wardrobe is a masterpiece of "outdated cool." The high collars, the velvet, the boots—it all tells the story of a man who decided his "look" in 1975 and refused to deviate from it. It’s a visual representation of his stubbornness.
Also, listen for the guest stars. The show attracts incredible talent, often in roles that are completely beneath them, which is part of the charm.
Next Steps for the Aspiring Toast Fan
- Start with the "Clem Fandango" compilations on YouTube. It’s the easiest way to see if the show’s sense of humor clicks with you. If you don't laugh at Toast's increasing rage during a simple voice test, the show might not be for you.
- Listen to Matt Berry’s music. Understanding his sonic aesthetic helps you appreciate the weird tonal shifts in the show.
- Watch "The It Crowd" and "Garth Marenghi's Darkplace." If you like Toast, these are the spiritual cousins. Berry is a standout in both, playing characters that are precursors to the magnificent disaster that is Steven Toast.
- Pay attention to the names. Seriously. Every time a new character is introduced, check the credits. The naming conventions in this show are a masterclass in absurdist writing.
Steven Toast is a buffoon, a failure, and a relic of a bygone era. But in the world of Toast of London, he’s the greatest star who never was. And honestly? We wouldn't want him any other way.