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Weirding Way Media

The Projection Booth has been recognized as a premier film podcast by The Washington Post, The A.V. Club, IndieWire, Entertainment Weekly, and Filmmaker Magazine. With over 700 episodes to date and an ever-growing fan base, The Projection Booth features discussions of films from a wide variety of genres with in-depth critical analysis while regularly attracting special guest talent eager to discuss their past gems.

Visit http://www.projectionboothpodcast.com

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

The Projection Booth Podcast

Evy (Nina Kiri) hosts a paranormal podcast from her childhood home, where she has returned to care for her dying mother. A skeptic to her co-host Justin's (Adam DiMarco) true believer, she keeps the supernatural at arm's length — until anonymous recordings begin arriving: a married couple, their home filled with strange noises, their lives unraveling. As Evy listens, the distance between their story and her own begins to collapse.

Mike talks with editor Sonny Atkins about shaping a horror film built around sound, the discipline required to cut a story told almost entirely in audio, and what it means to edit your first feature.

Learn more about Sonny at https://www.slatkins.com/

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Special Report: Sonny Atkins on undertone (2025)

Alice Maio Mackay made her first feature film at 16. By 20, she had six. The latest, The Serpent's Skin, follows Anna, a young trans woman who flees her transphobic hometown and falls for Gen, a goth tattoo artist with a gift for the supernatural. 

Mike talks with Mackay about the making of the film, her approach to genre filmmaking, and what drives one of the most prolific young voices in independent cinema.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Special Report: The Serpent's Skin (2025)

Adapted by Preston Sturges from Ferenc Molnár's play and directed by William Wyler, The Good Fairy (1935) is a screwball fairy tale built on mistaken identities, comic misfortune, and the peculiar moral logic of someone who genuinely wants to do good but hasn't quite figured out how the world works. 

Luisa (Margaret Sullavan) has grown up knowing nothing of the world outside the orphanage walls. When she's finally released into Budapest society, she proves as well-meaning as she is naïve — and as prone to catastrophe as she is to kindness. A chance encounter with the wealthy and lecherous Konrad (Frank Morgan) sets off a chain of complications, chief among them the lie that she's already married. The problem is that she isn't, but she soon will be — to a bookish, bearded lawyer named Dr. Sporum (Herbert Marshall) who has no idea any of this is happening.

The film showcases the range of Margaret Sullavan's screen presence — radiant and funny and heartbreaking in equal measure — alongside Frank Morgan's gloriously stammering comic turn.

The episode also looks at the 1947 remake I'll Be Yours, starring Deanna Durbin, and the 1951 Broadway musical adaptation Make a Wish, with music by Hugh Martin and a book co-written by Sturges and Abe Burrows.

Mike talks with co-hosts Rahne Alexander and Federico Bertolini about Molnár, Wyler, Sturges, and the many lives of a very good fairy.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Episode 793: The Good Fairy (1935)

Mike and Ben Buckingham take a look at Exposure 36, the 2022 film written and directed by Mackenzie G. Mauro. Charles Oudo stars as Cam, a photographer spending the last three days on Earth selling drugs and wandering the streets of New York City, encountering a colorful cast of characters along the way.

The apocalypse here is background noise rather than spectacle — a quiet, meditative film that doubles as something of a Rorschach test, with different viewers latching onto entirely different aspects of the story. Mike and Ben dig into the episodic, wandering narrative, the film's mysterious blue figures, its use of photography as a distancing mechanism, and the way the story shifts from meditative sci-fi into neo-noir thriller territory before it's all over. Mauro joins the show to discuss the film.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Episode 792: Exposure 36 (2022)

Mike is joined by Payton McCarty-Simas and Rob St. Mary to dig into Fucktoys, the 2025 SXSW Special Jury Award winner written, directed by, and starring Annapurna Sriram. Sriram plays AP, a sex worker adrift in Trashtown — a candy-colored dystopia of industrial decay and pastel skies — after a swamp-dwelling tarot reader tells her a curse can be lifted for a thousand dollars and the sacrifice of a baby lamb. What follows is a picaresque night of surreal encounters, escalating absurdity, and a collision of intimacy, exploitation, and class in a pre-millennium alternate universe.

The gang explores the film's John Waters–adjacent sensibility and its candy-coated production design, debating whether the aggressive tonal shifts and theatrical performances sharpen the film's satirical edge or tip into pure indulgence. They also dig into what the curse might actually represent, how Sriram's central performance holds the chaos together, and where Fucktoys fits within a lineage of underground feminist and transgressive cinema.

Also featured is an interview with writer/director/star Annapurna Sriram. 

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Episode 794: Fucktoys (2025)

Mike sits down with filmmaker and archivist Mike Davis to discuss Dead, White & Blue — a gleefully subversive political satire assembled entirely from recycled public domain footage.

Davis, whose previous "green movies" include Sex Galaxy and President Wolfman, sifted through more than 300 films — predominantly training and educational films produced by the U.S. government, military, and law enforcement — to construct a comedy about the KKK's use of a shrink ray to retrieve an incriminating bullet from the body of a Black man shot by a racist white cop, while an Atlanta mayor goes missing and the U.S. military closes in. The result is a film that plays like found footage as social X-ray, with flat-affect dubbing, sly sight gags, and a retro visual texture that doubles as pointed commentary.

Mike and Davis dig into the art and obsession of the "green movie" — a tradition running from J-Men Forever to Kung Pow! Enter the Fist — and what it takes to build a coherent (or deliberately incoherent) narrative from hundreds of forgotten films. They discuss the particular satirical charge of repurposing government and law enforcement footage, why race relations make for such rich — and risky — comedic territory, and what drives a filmmaker to spend years hunting through public domain archives instead of just making a movie the normal way.

Find out more at https://stag-films.com/ 

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Special Report: Dead, White & Blue (2025)

Mike sits down with director Stephanie Laing to discuss Tow — a true-story drama about one woman's year-long legal war against a predatory towing company and the system behind it.

Amanda Ogle (Rose Byrne) is living in her 1991 Toyota Camry on the streets of Seattle when the car — her only lifeline — gets impounded, leaving her with a bill for $21,634 she has no hope of paying. What follows is battle for dignity against an indifferent bureaucracy, with support from a pro bono lawyer (Dominic Sessa) and a shelter manager (Octavia Spencer) who believes in her. Laing, a veteran of Palm Royale and Physical, brings an empathetic eye to the material without flinching from the grinding reality of homelessness and addiction.

Mike and Laing discuss adapting a real person's story, the challenge of making systemic failure feel intimate, and what drew her from television to the feature format.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Special Report: Stephanie Laing on Tow (2025)

Mike sits down with writer-director Addison Heimann to discuss Touch Me — a psychosexual sci-fi horror-comedy about codependency, addiction, and the seductive promise that something out there could touch you and make all the pain go away.

Codependent best friends Joey (Olivia Taylor Dudley) and Craig (Jordan Gavaris) find themselves homeless, Joey's mysterious ex resurfaces with an offer too good to refuse. 

Heimann talks with Mike about mining autobiography for genre material, the influence of hentai on the film's plot, and what it means to make a movie about addiction from a place of real pain.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Special Report: Addison Heimann on Touch Me (2025)

Owen (Justice Smith) is a quiet kid on the outskirts of everything — his school, his family, his own life. When he meets Maddy (Jack Haven), a fellow outcast devoted to late-night supernatural TV show The Pink Opaque, something stirs in him that he can't quite name. Together they lose themselves in the show's mythology, its heroes Isabel and Tara battling the dream-warping Mr. Melancholy from within the Midnight Realm. When Maddy disappears and the show gets canceled, Owen finds himself alone in a suburb designed to swallow people whole — watching years pass like seconds.

Jane Schoenbrun's I Saw the TV Glow asks what it costs to not know yourself, wrapping that terror in the hypnotic glow of '90s television and the specific dread of adolescence that never ends. Horror film, coming-of-age film, and something harder to name — it builds a portrait of a person burying themselves alive.

Lu Etienne and Maxi Breckwoldt join Mike to trace Owen's journey from the bleachers to the Fun Center and beyond, unpacking the film's psychic static, its suburban uncanny, and the question haunting every frame: what if you're already suffocating, and you just don't know it yet?

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Episode 791: I Saw the TV Glow (2024)

Mike talks with writer/director Maya Annik Bedward about her feature documentary Black Zombie (2026). The film looks at Haitian Vodou and how it's been been bastardized by Hollywood in films from early works like White Zombie to modern movies like World War Z and everywhere in-between.

The film had its premiere at SXSW 2026. Find out more at https://www.instagram.com/blackzombiemovie/

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Special Report: Black Zombie (2026)

She's been dug up, renamed, reanimated, and gaslit — and Hollywood expects her to be grateful. Maggie Gyllenhaal's The Bride! resurrects the Bride of Frankenstein for a 1930s Chicago that feels equal parts Weimar cabaret and fever dream, with Jessie Buckley delivering a ferocious, uncontainable performance at the center of a film that can't quite contain itself. Mike White and Chris Stachiw dig into the ideas the film gets right, the heavy hand that undercuts them, and why a $80 million feminist Frankenstein movie ending on The Monster Mash is both the most logical and least earned conclusion imaginable.

Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Become a supporter of The Projection Booth at http://www.patreon.com/projectionbooth

Special Report: The Bride! (2026)

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