Caleb McLaughlin has been part of Stranger Things since day one, growing up right in front of our eyes.
Now, he’s stepping into a new creative role as an executive producer with the Audible original Sacrilege: Curse of Mbirwi.
We caught up with Caleb to talk about how his Stranger Things years shaped his creative style, what it’s like doing a full-on audio drama, and what fans can expect from this exciting new project.
TV Fanatic: Hey Caleb, so I listened to the episodes—really good. I haven’t explored audio dramas much before.
I tried out Slayers: A Buffyverse Story and now Sacrilege: Curse of Mbirwi, and I’m impressed. There are so many possibilities with this medium.
Caleb: Thank you.
Audiences have watched you grow up on Stranger Things. How have those years shaped your creative voice, especially now that you’re executive producing projects like Sacrilege: Curse of Mbirwi?
Stranger Things set the bar high for how I approach creativity—film, TV, anything really. That show blends a multitude of elements: love story, horror, comedy, drama, period elements, and music. I was able to take that and run with it, and use it for my own personal ventures and creative input.
With Sacrilege: Curse of Mbirwi, I wanted to bring that same nuance. It’s about an African American family going to Zimbabwe to find themselves, reconnect, and rekindle their love for one another. It speaks to people like me. But then you throw in a monster, and it becomes fun and more digestible.
I haven’t been to Africa, and many people haven’t. But when you approach unknown territory and you have a character like Dashon, who is bratty and ignorant and thinks he knows everything, and then he awakens this evil spirit—it’s like, “Oh, this is when it starts.”
I feel like most of us in life—we’re born into this world thinking we can do it, and then you encounter a barrier, and it’s like, “wait, I thought I knew everything.” And you don’t. Then we have to face those moments when you mess up, but you have to keep going.
What aspects of Dashon’s character did you find most compelling, and how did you approach his internal struggles through voice acting?
I liked that there’s a narrated version of Dashon alongside the present-day version. The narrator is wiser and more reflective, whereas the present version is emotional and reactive. But you still get the sense it’s him.
The tone changes—my cadence and the way I say certain things. With Audible, it’s way different from film or TV. I had to really think about how I was saying the lines and make sure every word was represented.
I have to make sure people understand—this part has to stand out more than that. With TV, I have my voice and my facial expressions, so I can balance it out. But here I’m using all voice. It’s a real workout, honestly.
Yeah, totally. Without visuals, the sound design really has to carry everything, and in this, it does.
Yeah. Just the sound of the crickets, or opening a window, or hearing the jungle. The writing was terrific, but the sound design was like a character on its own.
The cricket in the background could’ve had its own number on the call sheet. That’s what I love about Audible—making sure every sound and detail is heard. It helps tell the story and makes people feel immersed in the world.
As an executive producer, what was your vision for the project, and how did you collaborate with Nyasha Hatendi and the production team?
This was my first time executive producing on Audible, and I couldn’t have asked for a better story. It tells multiple narratives and blends horror, which I’ve always loved.
Working with Nyasha, I feel like we saw eye to eye. We love our projects and our artistry to the tee. He cares about it. He spent time, even during voiceover sessions, where we’d change some things or sit and talk about it, and then sit in the booth for eight hours straight, and go for it. Like, “Do you want to do lunch?” “Nah, let’s just keep going, we’re already in it.” We really cared. There’s no Hollywood. We’re not Hollywood here. We’re artists.
I read the script before I met him, so I met his mind first. That already got my attention. Sometimes, when I read a script, I can read 10 pages and think, “Okay, that was cool.” But with this, I was already on the 40th. I delved in and felt like I was in the world.
What do you hope listeners take away from Sacrilege: Curse of Mbirwi, both as entertainment and in terms of its deeper cultural themes?
I want people to have fun listening to this. It’s a ride. It’s a lot of anecdotes. Perhaps it might encourage some people to travel to Africa, find themselves, discover their roots, and reconnect with their families. It talks about facing your fears and confronting your demons. We face ourselves every day. We face our traumas every day. I just want people to listen and absorb it. Anyone could get anything from this.
Has this experience inspired you to pursue more audio projects or explore other storytelling mediums?
Definitely, it’s been such a unique experience. The process was different, but hearing it all come together was amazing.
When you trust in something and believe in your artistry, and it comes out like you felt it would—it’s like, okay, cool. I want to do more in this world, too. So long story short, yes.
Thanks so much for your time today, Caleb. It’s been great chatting with you. I’m excited to read the reaction to Sacrilege: Curse of Mbirwi —and of course, I’m looking forward to Stranger Things Season 5.
Thank you. Me too!
Sacrilege: Curse of Mbirwi is a wild mix of family, culture, and some seriously spooky stuff — all brought to life through sound.
Caleb’s loving the chance to try new things and take on different creative roles, and we’re definitely here for it. Can’t wait to see (and hear) what he does next!
This interview has been edited for length and clarity.
Sacrilege: Curse of Mbirwi is now available to stream in its entirety on Audible. Caleb will also appear on Stranger Things Season 5.
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