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Support YoungTown
YoungTown is a mockumentary-style sitcom set at BYU, where a firmly agnostic, socially anxious Gen-Z art student becomes the reluctant window into the zeal, humanity, and quiet absurdity of college life inside one of the most religious campuses in the world.
We’re currently funding the first half of Season One. All donations are tax-deductible.
Why These Stories, Why Now?
These projects are not emerging in a vacuum.
Across journalism, streaming, and independent film, there is growing recognition that faith-based storytelling, particularly within historically underrepresented traditions, is entering a new phase. One marked by greater artistic ambition, increased theological seriousness, and a willingness to engage mainstream audiences without diluting belief or flattening complexity.
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The following essays and articles reflect the broader cultural and industry moment our series are stepping into.
Why These Stories, Why Now?
Why These Stories, Why Now?
Why These Stories, Why Now?
These projects are not emerging in a vacuum.
Across journalism, streaming, and independent film, there is growing recognition that faith-based storytelling, particularly within historically underrepresented traditions, is entering a new phase. One marked by greater artistic ambition, increased theological seriousness, and a willingness to engage mainstream audiences without diluting belief or flattening complexity.
​
The following essays and articles reflect the broader cultural and industry moment our series are stepping into.
These projects are not emerging in a vacuum.
Across journalism, streaming, and independent film, there is growing recognition that faith-based storytelling, particularly within historically underrepresented traditions, is entering a new phase. One marked by greater artistic ambition, increased theological seriousness, and a willingness to engage mainstream audiences without diluting belief or flattening complexity.
​
The following essays and articles reflect the broader cultural and industry moment our series are stepping into.
These projects are not emerging in a vacuum.
Across journalism, streaming, and independent film, there is growing recognition that faith-based storytelling, particularly within historically underrepresented traditions, is entering a new phase. One marked by greater artistic ambition, increased theological seriousness, and a willingness to engage mainstream audiences without diluting belief or flattening complexity.
​
The following essays and articles reflect the broader cultural and industry moment our series are stepping into.
Latter-day Saint Creative Thought
Culture & Industry
Latter-day Saint Creative Thought
Latter-day Saint Creative Thought
Latter-day Saint Creative Thought
Culture & Industry
Culture & Industry
Culture & Industry
Personally Engaging
Revelation and miracles are personal, so our storytelling is too. Complex, honest, and deeply human. We tell stories at eye level, grounded in unpolished, personal stakes that make the divine feel intimate. By rooting scripture and church history in human experience, we help the audience feel why these stories (and the restored gospel itself) matter.​​
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Artistically Excellent
Our approach to Latter-day Saint stories is disruptive by design. We retell familiar stories from unfamiliar angles, breaking assumptions and exposing the gaps in what we thought we knew. Our goal isn’t to repeat what’s been done, but to restore what’s been lost. We don’t compare ourselves to faith-based films or shows; our standard is excellence itself. Whatever defines greatness in cinema, audio drama, or product design is the measure we strive for.​​
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Theologically Profound
We don’t hand out answers; we invite questions. Our stories wrestle with God, not to explain Him but to encounter Him. We explore the doctrines and tensions of the Restoration with humility and awe, helping audiences see eternal truths with new eyes. Our goal isn’t persuasion; it’s invitation.
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Historically Accurate
We approach scripture and history through the lens of the Restoration while being informed by the sciences. We portray ancient religion and history on its own terms, not ours. No presentism. No polish. The world of the past is exotic and foreign, and in embracing its differences we rediscover the sacred.​​
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