TOMORROW! Saturday Mar 28, 7PM
at Alamo Drafthouse in Brooklyn, NY.

With co-writer Clay McLeod Chapman in attendance.

Boyd Grayson is an Irish playboy who delights in bringing men home to his sprawling family estate for sex, just to spite his legacy-obsessed mother, reminding her she’ll never get the grandchildren she craves. When an accident leaves him incapacitated, Boyd finds himself handless, helpless, and at the mercy of her care.

Luckily for Boyd, his mother’s familial wealth has given him the opportunity to be the first person in the history of the world to pilot an experimental technology: mechanical hands controlled entirely by his subconscious. Soon, however, the hands begin to move on their own… even when they’re not attached to Boyd’s body.

Chris Colfer playing Irish, Alice Krige playing a matriarch trying to rebuild her son at any cost. Add to the mix disembodied hands that come to life, a crumbling estate full of barbed arguments, and a gallery of characters as despicable as they are magnetic. Colfer and Krige are delicious as cinema’s most twisted mother-son duo you can’t help but adore, and Declan Reynolds as Lee will become the new horror heartthrob of your gay dreams.

Director Glenn McQuaid embraces the melodrama with a sharp eye and fearless sincerity, grounding the film’s outrageous premise in real emotion.

GET YOUR TIX HERE!
HURRY! They’re sellin’ fast!

James Siewert’s music video for Just Desserts’ TENDER
from the album CURTAINS now available on Youtube.

Just Desserts continues the rollout of the new album CURTAINS
with airplay on old-fashioned platforms like the radio,
charting on top 200 for 6 weeks running, including

WXAV, Chicago, IL. WHFR (Detroit market)
WTJU (Charlottesville, NC – Core)
FAI DJ at KOCF (Veneta, OR)
RMR Top 50 Albums Charts for Folk: #29 (#35 LW)
Alternative Folk: #8 (#12 LW) and New York: #20 (#22 LW)
etc… 

Have a listen to CURTAINS on youtube!

Looking forward to playing out this Spring.
Meanwhile, check us out at
JustDesserts.nyc

Laëtitia Hollard talks being on HBO’s THE PITT,
being cast in Fessenden’s TRAUMA and drops the World Premiere
news of TRAUMA at Overlook Film Festival!

Interview with Lois Drabkin
Published on March 14, 2026

Casting Director Lois Drabkin discusses her collaboration with Glass Eye Pix on films including BENEATH, THE RANGER, FOXHOLE, BLACKOUT and TRAUMA OR, MONSTERS ALL as well as her contributions to SIZE UP, CRUMB CATCHER and UNTIL DAWN among many diverse projects. Interview and Edit by Larry Fessenden.

Watch other MINIDOX featuring an array of Glass Eye Pix filmworkers

Now It Can be told:

Fuller’s latest album is the original soundtrack to Everything Must Go, directed by Ted Geoghegan. Marking his first non-adult-industry soundtrack, Fuller was encouraged by Geoghegan to lean into an ’80s synthwave sound. Naturally, Fuller interpreted that note as permission to go all-in on vintage textures, analog pulse, and synthetic choir sounds inspired by films such as Demons. In fact, Fuller even convinced his label-mates Witchboard to remix the final track on the album, which they’ve fittingly titled “The Demoni Mix.” The result is a neon-tinged choir of strung-out angels (or demons) wrapped in late-night electronics and a distinctly retro sense of dread.

credits
released March 4, 2026
ALL MUSIC BY LUKE FULLER except for Track 8 THE MALL Demoni remix by Witchboard

When I made We Are Still Here way back in 2014, I realized that the chances of me ever directing anything set in the present were slim-to-none. Two films and one audio drama later, it’s remained very, very true. To be fair, I just don’t care for the present.

Nostalgia? Now that’s where it’s at.

I was born in the 70s, grew up in the 80s, and came of age in the 90s. When folks complain of Stranger Things’ abuse of “nostalgia porn”, I roll my eyes. The past may not have been perfect (Spoiler Alert: IT WASN’T), but I can’t deny missing the carefree years of my youth. Any excuse I have to creep out of the present, I’m going to take it.

That said, I was a mallrat before Kevin Smith claimed the word. I grew up going to the massive, labyrinthine Holiday Village Mall in Great Falls, Montana at least once a week throughout all of the 1980s. My father would pick me up from school and take me there every Friday, where we’d get cheese dogs and Orange Juiliuses (Julili?). After lunch, we’d spend an hour in Aladdin’s Castle Arcade, pouring quarters into Galaga and Gauntlet until my fingers ached.

When tasked with writing a Tale, I knew I wanted it to occur at the mall that now exists solely in my mind. The story, which occurs in the same fictional Lovecraftian town that We Are Still Here was set, wasn’t intended as a spiritual sequel, but a spiritual sibling.

Audio-only storytelling is a blessing to someone like myself, who is used to working in film, but I quickly realized that if sound was all I had, my voice actors had to be top tier. Landing the performances I wanted while working with close pals was a gift, and reminded me of a motto by old friend David Lawson: “Make movies with friends.” The results are amazing.

I’d been close friends with Clay von Carlowitz and Asta Paredes for over a decade and alway wanted to work with them. Benjamin Frankenberg, who I’d become buddies with a few years back, was in the same boat. I’d seen Chloe Levine in The Ranger and knew Xero Gravity from her amazing, next-level horror journalism work. Of course I wanted to have them at the mall-party.

The role of Poppa Jim was one we’d tried to crack for weeks and when someone on the team brought up Joe Bob Briggs, I leapt at the idea. I was watching him on late night television at the very same time I was loitering at the mall, and the connection felt too honest to pass up.

Everything Must Go was the single finest experience of my directorial career. Without the weight of the screen, we got to just have fun. Every take, every note… it all just felt nice.

I hope everyone tuning in to Everything Must Go finds a way to slide back to a simpler time. The 80s were special to many of us, but were also a dumpster fire. Including Reagan in my episode wasn’t just about setting a time, but about acknowledging someone from the era who, well… sucked.

Nostalgia is a powerful beast, and allows us to see the best in everything. I’m grateful to have harnessed it for my Tale, and I hope it warms your black little hearts as much as it did mine.

Ted Geoghegan
March, 2026

 Listen to
EVERYTHING MUST GO

Visit TALES FROM BEYOND THE PALE for all things TALES

EVERYTHING MUST GO
Written and Directed by Ted Geoghegan
A group of teens get more than they bargained for when hired to break into
a shopping mall that’s swallowing a small town’s economy.

Cast: Chloë Levine, Clay Von Carlowitz, Benjamin Frankenberg,
Xero Gravity, Asta Paredes, and Joe Bob Briggs
Original score composed by Luke Fuller
Sound recording, design, and mix by Matt Rocker
Produced by Larry Fessenden and Glenn McQuaid
along with Rigo Garay and Jordan Gass-Pooré
Poster artwork by Jason Beam

Visit TALES FROM BEYOND THE PALE for all 54 TALES, VIDEOS, PHOTOS & More