Audience evidenceThe verdict — who this is for, by the receipts
Made first for older men 1
Storytelling's audience scores lean most toward older men at 82 of 100 1. Its overall reach is rated targeted — targeted reach aimed at a specific demographic segment 2. On content balance it reads entertainment-first at 0 of 100, weighting storytelling over explicit messaging 3.
The receipts — every claim above is sourced
- 1Audience scoreolder men 82 of 100 is the top quadrant.WhatSphere audience model, score_version 1
- 2ReachAudience breadth rated targeted.WhatSphere audience model, score_version 1
- 3Content balanceContent balance entertainment-first at 0 of 100.WhatSphere content-balance model, score_version 1
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.
Verified June 19, 2026Scores accuracy-checked against current data.Think a score is wrong? Submit a correction.
Synopsis
College and high school serve as the backdrop for two stories about dysfunction and personal turmoil.
Demographic Position
Gender: 42 — leans maleAge: 74 — strongly mature-audience
0 = Male / Youth100 = Female / Mature
Quadrant Scores
Young Men
34
How strongly this title appeals to males 18–34. Based on genre, cast, action/violence levels, pacing, and marketing signals. Higher = stronger appeal.
Young Women
18
How strongly this title appeals to females 18–34. Based on genre, romance centrality, cast composition, lead demographics, and tone. Higher = stronger appeal.
Older Men
82
How strongly this title appeals to males 35+. Based on theme maturity, pacing, complexity, genre, and production style. Higher = stronger appeal.
Older Women
67
How strongly this title appeals to females 35+. Based on drama elements, character complexity, genre, cast, and emotional themes. Higher = stronger appeal.
Advocacy0
Entertainment
Audience Representation
White
49
Measures deviation from the expected White representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
Black
57
Measures deviation from the expected Black representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
Hispanic
33
Measures deviation from the expected Hispanic representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
Asian
38
Measures deviation from the expected Asian representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
South Asian
46
Measures deviation from the expected South Asian representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
Middle Eastern
48
Measures deviation from the expected Middle Eastern representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
Indigenous
48
Measures deviation from the expected Indigenous representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
Mixed
42
Measures deviation from the expected Mixed representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
Other
48
Measures deviation from the expected Other representation based on this title's production origin. 50 = baseline for its country. Higher = more representation than typical.
LGBTQ+
0
LGBTQ+ representation score based on character centrality, cast percentage, lead representation, and source fidelity. 0 = no representation, 100 = central to the story.
Where to Watch (US)
Rent
Amazon Video
Apple TV Store
Google Play Movies
YouTube
Fandango At HomeBuy
Amazon VideoApple TV StoreGoogle Play MoviesYouTubeFandango At HomeWhat did the audience think? Rate Storytelling — every voice counts equally, no account needed. Clean reviews appear instantly.
Compare Storytelling
Put its audience profile side by side with any other title.
Advocacy Over Time in Comedy
The average advocacy score of Comedy titles by release year, with this title marked. Higher is more advocacy-driven.
| Year | Average advocacy | Titles |
|---|---|---|
| 1914 | 0 | 2 |
| 1925 | 0 | 3 |
| 1931 | 2 | 2 |
| 1933 | 0 | 2 |
| 1935 | 0 | 4 |
| 1937 | 0 | 2 |
| 1940 | 0 | 4 |
| 1941 | 0 | 2 |
| 1943 | 0 | 2 |
| 1944 | 1 | 6 |
| 1945 | 0 | 4 |
| 1947 | 0 | 2 |
| 1948 | 2 | 2 |
| 1950 | 1 | 4 |
| 1951 | 0 | 2 |
| 1952 | 0 | 4 |
| 1953 | 0 | 10 |
| 1955 | 4 | 2 |
| 1956 | 2 | 3 |
| 1957 | 3 | 4 |
| 1958 | 0 | 6 |
| 1959 | 2 | 3 |
| 1960 | 0 | 5 |
| 1961 | 2 | 10 |
| 1962 | 1 | 6 |
| 1963 | 0 | 6 |
| 1964 | 0 | 8 |
| 1965 | 0 | 9 |
| 1966 | 0 | 6 |
| 1968 | 0 | 7 |
| 1969 | 2 | 5 |
| 1970 | 1 | 7 |
| 1971 | 0 | 5 |
| 1972 | 0 | 6 |
| 1973 | 0 | 9 |
| 1974 | 1 | 8 |
| 1975 | 0 | 9 |
| 1976 | 0 | 12 |
| 1977 | 2 | 7 |
| 1978 | 1 | 4 |
| 1979 | 1 | 8 |
| 1980 | 0 | 7 |
| 1981 | 0 | 9 |
| 1982 | 4 | 10 |
| 1983 | 1 | 12 |
| 1984 | 0 | 10 |
| 1985 | 1 | 14 |
| 1986 | 0 | 20 |
| 1987 | 0 | 17 |
| 1988 | 0 | 13 |
| 1989 | 1 | 24 |
| 1990 | 0 | 21 |
| 1991 | 1 | 14 |
| 1992 | 0 | 17 |
| 1993 | 0 | 20 |
| 1994 | 3 | 25 |
| 1995 | 1 | 19 |
| 1996 | 2 | 15 |
| 1997 | 1 | 22 |
| 1998 | 1 | 24 |
| 1999 | 2 | 36 |
| 2000 | 1 | 33 |
| 2001 | 1 | 31 |
| 2002 | 1 | 32 |
| 2003 | 0 | 29 |
| 2004 | 1 | 40 |
| 2005 | 2 | 41 |
| 2006 | 1 | 44 |
| 2007 | 1 | 53 |
| 2008 | 0 | 20 |
| 2009 | 2 | 18 |
| 2010 | 1 | 10 |
| 2011 | 1 | 21 |
| 2012 | 0 | 10 |
| 2013 | 4 | 13 |
| 2014 | 3 | 11 |
| 2015 | 2 | 7 |
| 2016 | 7 | 10 |
| 2017 | 3 | 7 |
| 2018 | 6 | 12 |
| 2019 | 4 | 16 |
| 2020 | 4 | 19 |
| 2021 | 5 | 19 |
| 2022 | 8 | 22 |
| 2023 | 15 | 11 |
| 2024 | 7 | 16 |
| 2025 | 1 | 12 |
| 2026 | 0 | 11 |
| This title (2001) | 0 | 1 |
● This title (2001): advocacy 0 · explore Comedy →
Cast & Crew
Alan Oxman (director) · Frederick Elmes (director)
Made for the Same Audience
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