Seen on the Screen is an intimate interview show about how film shapes the people who make it and the people who love it — hosted by Jacqueline Coley, the awards editor at Rotten Tomatoes. Straw Hut Media is the production company behind it, and has been from day one: we build the show flows, prep the guests and talent, shoot the episodes, edit them, and create the marketing deliverables that carry them.

The brief

Launch a credible film-and-entertainment podcast from nothing, with a host respected inside the industry, and grow it into something the film world takes seriously — not just another interview show.

What we do

  • Show flows & development — we design the arc of every episode around Jacqueline Coley’s authority as an awards journalist, so each conversation carries weight.
  • Guest & talent prep — we prep the guests and the host so the tape is great before a single edit.
  • We shoot it — full video-and-audio capture at a broadcast standard.
  • We edit it — editing, sound design, and packaging on every episode.
  • Marketing deliverables — the clips, art, and assets that give each episode a life beyond the feed — plus distribution everywhere.

The result

The show didn’t just find an audience — it earned the attention of the industry it covers. Seen on the Screen grew from a launch with no audience into a franchise that drew a partnership with Universal Pictures and Fandango, and coverage from Rotten Tomatoes itself. That’s the clearest proof a production works: when the biggest names in the category want to attach themselves to something you built from zero.

  • More than 12 million YouTube views across the series — the most-watched episode (Monica Barbaro and Callum Turner) topping 2.8 million on its own, with several others past a million.
  • A Universal Pictures rebrand and a Fandango partnership — the film world attaching its biggest names to a show we built from a standing start.

Why it worked

The right host, positioned right, is worth more than any growth hack. Jacqueline Coley’s credibility plus a production that matched it meant the show read as a premium property from episode one — and premium properties attract premium partners. Straw Hut handled everything around her so the show sounded, looked, and traveled like it belonged next to the movies it was talking about.

That’s what full-service production buys you: not just a show, but one good enough to grow into something bigger than where it started.