Scored entertainment-first on WhatSphere's content-balance model 5
Its director stated on the record that "i wanted almost everything we see in the movie to be through Samira's lens as she tries to figure out this world, It was never just, 'Hey, look at all this coo…" 1. Its director stated on the record that "i really didn't want to do that, I was trying to avoid some of the cliches of movies like this, You know, sort of like finding romance at the end of the world…" 2. Its actor stated on the record that "in the end, it was actually very therapeutic because I had just experienced not too many years ago the death of Chadwick Boseman, which shook me to my core, Wh…" 3. Its narrative-universality assessment registers 8 of 10 4. Taken together, the content-balance model places it entertainment-first at 16 of 100 5.
- 1Creator statementdirector: "I wanted almost everything we see in the movie to be through Samira's lens as she tries to figure out this world. It was never just, 'Hey, look at all this cool stuff!' General chaos and spectacle ju…"Academy (Oscars.org) exclusive interview, June 27, 2024 source ↗
- 2Creator statementdirector: "I really didn't want to do that. I was trying to avoid some of the cliches of movies like this. You know, sort of like finding romance at the end of the world and sharing one last kiss. I didn't want…"The Credits (motionpictures.org), July 2, 2024 source ↗
- 3Creator statementactor: "In the end, it was actually very therapeutic because I had just experienced not too many years ago the death of Chadwick Boseman, which shook me to my core. What I came to realize is that it's really…"Variety, July 2024 source ↗
- 4Narrative universalityNarrative universality 8 of 10; identity centrality incidental.WhatSphere content assessment. Narrative universality 8/10 -> advocacy signal 22
- 5Content balanceAdvocacy 16 of 100, tier entertainment-first.WhatSphere content-balance model, score_version 1. Narrative universality 8/10 -> advocacy signal 22
WhatSphere presents the sourced record; it does not cast the judgement. Every statement above is drawn from a stored, sourced row — shown beside it — and nothing is asserted beyond what those receipts support.
Age: 37 — leans younger
Quadrant Scores
Audience Representation
Racial audience withheld
Only 71% of the cast has a researched race, so these scores stay blank.
Why this is blank
A partial classification would pull origin-race scores toward the researched slice and away from the cast as it is. The nine audience scores are withheld instead of shown as zero. Zero would mean no audience, which is not what a thin cast record says.
Faithfulness
Faithfulness not applicable
Faithfulness is scored only for adaptations.
Why this is blank
An original has no source text to compare. The score is left blank rather than shown as zero.
Advocacy
Where to Watch (US)
Amazon Prime Video
fuboTV
MGM+ Amazon Channel
Paramount Plus Premium
Paramount Plus Essential
Paramount+ Amazon Channel
MGM Plus
Philo
Paramount+ Roku Premium Channel
Amazon Prime Video with Ads
Amazon Video
Apple TV Store
Google Play Movies
YouTube
Fandango At Home
JustWatch TV
FlixFlingAmazon VideoApple TV StoreGoogle Play MoviesYouTubeFandango At HomeSynopsis
As New York City is invaded by alien creatures who hunt by sound, a woman named Sam fights to survive with her cat.
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Lineage and popularity
No lineage or popularity yet
This title has no Wikidata match, source work, or Steam player snapshot. A missing snapshot is not zero.
Put its audience profile side by side with any other title.
Advocacy Over Time in Horror
The average advocacy score of Horror titles by release year, with this title marked. Higher is more advocacy-driven.
| Year | Average advocacy | Titles |
|---|---|---|
| 1932 | 3 | 2 |
| 1963 | 0 | 2 |
| 1970 | 6 | 2 |
| 1972 | 1 | 4 |
| 1973 | 3 | 3 |
| 1975 | 4 | 2 |
| 1976 | 0 | 2 |
| 1977 | 3 | 2 |
| 1978 | 0 | 5 |
| 1979 | 10 | 4 |
| 1980 | 4 | 3 |
| 1981 | 1 | 4 |
| 1982 | 0 | 4 |
| 1984 | 0 | 2 |
| 1985 | 3 | 2 |
| 1987 | 0 | 3 |
| 1988 | 2 | 2 |
| 1990 | 0 | 2 |
| 1992 | 0 | 2 |
| 1995 | 2 | 3 |
| 1996 | 3 | 2 |
| 1997 | 2 | 6 |
| 1998 | 0 | 2 |
| 1999 | 1 | 5 |
| 2000 | 1 | 5 |
| 2001 | 0 | 9 |
| 2002 | 1 | 8 |
| 2003 | 4 | 5 |
| 2004 | 2 | 10 |
| 2005 | 2 | 9 |
| 2006 | 3 | 9 |
| 2007 | 1 | 7 |
| 2008 | 2 | 5 |
| 2010 | 5 | 3 |
| 2016 | 8 | 3 |
| 2017 | 14 | 2 |
| 2018 | 12 | 2 |
| 2019 | 6 | 3 |
| 2020 | 26 | 3 |
| 2022 | 12 | 10 |
| 2023 | 8 | 5 |
| 2024 | 12 | 9 |
| 2025 | 2 | 18 |
| 2026 | 4 | 26 |
| This title (2024) | 16 | 1 |
● This title (2024): advocacy 16 · explore Horror →
Cast & Crew
Stephen Woolfenden (director) · Alexandria Kerr (director)
Made for the Same Audience
Titles with the closest audience-sphere profile — not just the same genre.
Same Audience, Lower Advocacy
Made for a similar audience but scored lower on advocacy — the closest less-message-driven picks, ranked by audience-sphere proximity.
Related Titles
