SEC Filing Document

Company: Ambitious Entertainment, Inc.
Ticker: 
CIK: 1900851
Filing Type: S-1
Document Type: S-1
Date Filed: 2026-05-15
Accession Number: 0001493152-26-023581
Exchange: 
SIC Code: 7812
SIC Description: Services-Motion Picture & Video Tape Production
URL: https://www.sec.gov/Archives/edgar/data/1900851/000149315226023581/forms-1.htm

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to be established A-list talent, award-winning writers and directors, and top digital creators. We believe this approach allows our team to move decisively, often outpacing traditional studios in bringing compelling content to audiences worldwide. We believe we have identified significant opportunities emerging from the convergence of AI technology and new creator-driven platforms to capitalize on prevailing trends while bringing compelling content to audiences worldwide. 2024, as the legacy production services sector continued to contract, we identified major industry shifts driven by the rise of artificial intelligence and the increasing influence of digital creators as mainstream celebrities. Following this shift, we pivoted away from production services to focus on building proprietary content aligned with these trends. To strengthen market leadership and identity, we appointed veteran television executive Chris Philip (Executive Producer of Sherlock & Daughter, currently airing on The CW and HBO Max) as Chief Operating Officer, overseeing the Television Division.

We are actively developing and packaging projects with built-in social
reach through collaborations with influencers. For example, we are currently developing a fully owned production, Cancel Me, a
feature film that we intend to produce using AI technology through the whole production workflow and for marketing directly to the social
media fanbase. To drive awareness and potential early monetization opportunities, the project is being developed with Adam Rose and is
designed to leverage his online presence, which includes 2 million followers on Facebook, 6.8 million followers on TikTok, 6 million followers
on YouTube, 8.1 million followers on Instagram, and 1.1 million followers on other platforms such as Twitter, Threads and LinkedIn as
of December 31, 2025. Our strategy is to integrate development, packaging, marketing, and production into a more integrated AI driven
ecosystem intended to maximize the value of our intellectual property beyond traditional film distribution, including social media marketing
campaigns and ancillary online and physical products targeted to digital audiences.

2025, we further refined this transition by significantly slowing conventional film production activities and reallocating resources
toward the development of our influencer-integrated content model, including the creation of distinct, themed film and television slates.
This strategic shift contributed to reduced production volume during the year but was intended to reposition the Company around a cohesive,
owner-driven slate strategy. We currently expect to begin launching our next film slate in the second quarter of 2026, alongside a new
television slate, incorporating influencer-driven audience engagement, digital reach, and expanded monetization initiatives. There can
be no assurance that this strategy will achieve its intended results.

of December 31, 2025, our independent registered public accounting firm’s report on our financial statements includes an explanatory
paragraph regarding our ability to continue as a going concern. The auditor noted that we have incurred recurring net losses, have an
accumulated deficit, and will need to raise additional capital to support our operations. These conditions and events raise substantial
doubt about our ability to continue as a going concern. We plan to fund our operations through equity financings, debt arrangements,
and strategic partnerships; however, there can be no assurance that such funding will be available on acceptable terms, or at all.

Business
Strategy

AI is projected to become a significant driver of the company’s revenue
model such as international sales, versioning, and ancillary sales to fans. The company’s AI strategy aims to generate initial revenue
through the release of films and television series across various U.S. outlets (including theatrical, broadcasting, cable and streaming),
followed by the distribution of completed titles to foreign markets. Additional revenue sources include AI driven electronic sell-through
(“EST”), which is expected to become a significant driver of our revenue model, as well as international sales, versioning,
and ancillary sales to fans.

addition to our owned and controlled content slate, we, from time to time, retain participation rights in third-party
film projects that we have supported through either production services or financial contributions. These participations provide
us with potential future upside beyond fixed service fees.

Under
the terms of these arrangements, we are entitled to receive a contractually defined percentage of revenues once the projects generate
overages, meaning revenues in excess of agreed recoupment thresholds such as production costs, distribution expenses, or investor returns.

This
structure enables us to benefit from potential long-term revenue streams tied to the financial success of these films, even though
we do not own the underlying intellectual property. While the magnitude and timing of such revenue are inherently uncertain and
contingent upon commercial performance, our management views these participations as an additional source of potential future
earnings that complements our strategy of transitioning to a full owner-producer model.

are actively transitioning to an owner-producer
business model. Under this model, all current projects are fully owned by us, with intellectual property rights secured for production.
As of the date of this filing, we have packaged four television series, four feature films, and two documentary series, all owned
by us and scheduled for development and production beginning in 2026.

For example, our upcoming comedy feature, Cancel Me, illustrates
our intended AI supported release and monetization strategy. The Company intends to release the U.S. theatrical film upon completion of
the project subsequent to the initial public offering using AI to support marketing and distribution. The planned theatrical release will
initially include approximately 300 theaters, expanding to approximately 1,000 theaters over several weeks. We view the theatrical release
as a lucrative opportunity since it initially offers a strong upside and future marketing advantages. Following the theatrical run, Cancel
Me is expected to be distributed via AI supported EST, which we anticipate will represent a primary source of revenue as we receive
a majority of the proceeds. The film is then intended to be licensed to a major streaming platform.

Outside
North America, we plan to market completed films to international distributors and pursue a long-term strategy of adapting our
content for local markets as a franchise. In the case of Cancel Me, management intends to replicate the concept in the United
Kingdom, India, and other territories.

have also engaged WHTWRKS, a New York-based marketing
firm, to secure approximately $500,000 in product integration commitments for Cancel Me, which will be received directly by us.
In addition, we plan to leverage the fan base of the film’s cast through a dedicated marketing campaign, which management
anticipates implementing prior to the commencement of principal photography.

This
business strategy illustrates how our owner-producer model integrates multiple revenue streams, including theatrical exhibition,
EST, streaming licensing, international distribution, franchising, sponsorships, and ancillary fan-related sales.

addition to our internal capabilities, we benefit from the relationships and industry experience of our Chief
Operating Officer, Chief Executive Officer, and Board members, which collectively provide meaningful direct access to leading streaming
platforms, studios, and distributors worldwide. Management believes this access represents a key competitive advantage as we transition
to an owner-producer model.

are actively exploring potential future opportunities
to enhance fan engagement and the overall fan experience in connection with influencer-driven content. This includes preliminary discussions
with various companies and executives regarding the potential use of digital assets to deliver unique fan experiences by offering exclusive
content. These discussions are exploratory in nature and are limited to non-financial fan engagement concepts. They are intended solely
to test ideas and assess fan response to marketing communications and engagement strategies, and do not involve financial transactions,
investment opportunities, or participatory investment activities.

the long term, we envision a potential model in which content could be financed and distributed directly to fans, bypassing traditional
studios, EST, or streaming channels. This concept remains at a preliminary stage, and we have not yet determined whether or when
such a model may be implemented.

●	Leadership
Relationships:

Kirk Shaw (Chief Executive Officer, Film) has produced more than 250 feature films and brings long-standing relationships
with U.S. and international distributors across both theatrical and digital markets.

Chris Philip (Chief Operating Officer, Television) leverages extensive television industry experience and active relationships
with major streamers. Through his prior role, Mr. Philip was directly involved in the development and launch of Sherlock and Daughter,
currently airing on The CW and HBO Max.

●	Board-Level
Access Support:

have also strengthened our ability to access
global buyers through our Board nominees. The involvement of Mr. Philip, Mr. Shaw, and the Board provides Ambitious with direct
pathways to present content to all major streaming services. This network enhances our ability to secure distribution agreements
for both current projects (Cancel Me and Tehk City) as well as future productions.

The
Ambitious Model Reduces Risk

●	Content
marketing accelerator: Merges traditional and digital media.

●	Maximizes
efficiency: influencer promotion boosts reach without ad spend.

●	Keeps
costs low: Utilizes tax incentives and traditional pre-sales when advantageous.

●	Innovative
tech: Avoids outdated studio models with large upfront investments.

●	Global
content strategy: Unlocks multiple global revenue streams.

●	Lean,
high-margin model: Focused on profitability and scalability from day one.

Key
Growth Strategies

●	Strategic
growth through commercial genre and prestige films.

●	Expansion
into projects in collaboration with influencers.

●	Triple-path
distribution: theatrical, streaming, and social-first marketing.