Though its number of screens continues to dwindle across the American landscape, the drive-in theatre has retained a place of particular celebration in the annals of popular Americana, often associated with the postwar ‘baby boom’ generation that came of age in the 1950s and 1960s. Indeed, it would probably be hard for white, middle-class Americans of a certain age to imagine a nostalgically prelapsarian 1950s without picturing the drive-in as a mythic site for teenage pleasures outside the home. Recently equipped with cars for their nocturnal excursions, hormonal adolescents were temporarily freed from parental oversight, and perhaps afforded the opportunity for couplings in their coupés. Yet, this selective nostalgia, linked to visions of a relatively innocent past, overlaps with another popular (if less prevalent) mythology of the drive-in: as a notorious site for the exhibition of exploitation films, especially as post-1950s censorship erosion allowed content to veer sharply towards the violent, sexual, and sleazy. Meanwhile, cheap admission and the populist appeal of these films drew in many working-class viewers of various ages, not just middle-class teenagers, commingling multiple class strata within the shared viewing experience of the cheap genre fare that eventually became dubbed ‘drive-in movies’.