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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services are backed by advanced data analytics, personalization, and ecosystem control. The growth in ad-supported video-on-demand (AVOD) and free ad-supported streaming television (FAST) services has added further fragmentation and pricing pressure. The Wrap, “Amazon’s 2023 Content Spend,” available at https://www.thewrap.com/amazon-content-spend-2023. 4The Verge, “Netflix’s plan to spend around $18 billion on content this year,” https://www.theverge.com/news/626102/netflix-18-billion-content-spending. 5The Verge, “Netflix to Spend $18 Billion on Content in 2023,” available at https://www.theverge.com/news/626102/netflix-18-billion-content-spending. 6Reuters, “Amazon Prime Video Shifts Focus to Live Sports to Boost Profits,” available at https://www.reuters.com/business/media-telecom/amazon-prime-video-shifts-focus-live-sports-boost-profits-information-reports-2025-01-24/. Most competitors are larger, better funded, and vertically integrated, with access to top talent and global reach. Independent companies like ours compete by focusing on: ● Original storytelling and unique IP ● Niche audiences and partnerships ● Agile production and creative financing today’s landscape, success depends not just on content but on our ability to adapt, market smartly, and form strategic alliances across streaming and theatrical platforms.

The
Company’s strategic model includes attaching influencers as producers to select projects, enabling a direct-to-consumer promotional
approach and reducing reliance on traditional advertising. This model capitalizes on the influencers’ established audiences to
drive early awareness, engagement, and monetization of content. According to a 2024 Nielsen Influence Marketing Report, approximately
92% of consumers trust influencer recommendations over traditional advertising, and influencer-led campaigns generate up to 11 times
the return on investment compared to standard digital media buys. The Company believes this strategy provides a competitive advantage
by creating organic demand, lowering customer acquisition costs, and enhancing the visibility and commercial success of its premium content.

Our
Competitive Advantage

Story
to Screen IP Pipeline

Our
competitive advantage lies in knowing how to develop and package IP into scalable, high-demand content with viral market value.

Ambitious
secures who we believe to be top-tier creative talent, including popular online influencers, to develop fully market-ready pitch
packages—complete with scripts and director’s visions—positioned for rapid sale and production. Some projects arrive
with a showrunner attached, similar to how Dexter was developed. For others, Ambitious hand-selects the ideal showrunner and director
to bring the concept and characters to life. Our team then crafts compelling pitch decks that showcase the creative vision and commercial
potential.

These
packages are actively pitched in one-on-one meetings with streamers and studios, aiming for direct sales or co-production deals.
Upon sale, Ambitious recoups development costs and earns additional fees for production, distribution, and backend profits.

Most
capital raised will be directed toward acquiring and developing multiple new IPs into high-value, pitch-ready packages. For high-return
opportunities selected by the team and advisory board, Ambitious will fully produce and distribute these projects in-house to maximize
profit.

Team

Kirk
Shaw – Chief Executive Officer

With
over 30 years of experience, Kirk has produced more than 270 feature films and TV series. He has served as CEO and board member of multiple
public companies and remains a driving force in independent film and television. A key player behind The Hurt Locker and founder
of Insight Studios—Canada’s largest indie production house—Kirk brings global reach and hands-on leadership to every
project.

Chris
Philip – Chief Operating Officer

seasoned global entertainment executive, Chris has produced acclaimed series including Sherlock and Daughter and Departure.
A Golden Palm winner at the Beverly Hills Film Festival, he formerly served as VP of NBC Universal International, leading worldwide TV
and film distribution. His career includes senior roles at Televisa USA, Power TV (London), Electus-Engine, and co-founding Engine Entertainment.

George
Furla – Executive Producer

With
a 30-year career and over 100 films produced, George is known for major films like Rambo, Lone Survivor, and Escape Plan.

Recent
Developments

Bridge Financing

April 2026, the Company entered into four Securities Purchase Agreements with accredited investors pursuant to which the Company agreed
to sell an aggregate of thirteen (13) Units (the “Bridge Financing”). Each
Unit is priced at $32,000 and consists of (i) 10,000 shares of the Company’s Series A Convertible Preferred Stock, par value $0.0001
per share, and (ii) warrants to purchase 10,000 shares of the Company’s common stock at an exercise price set forth in the warrant
with a term of three years from the date of issuance.

The
Company received $96,000 in cash from the sale of three (3) Units. In addition, an existing note holder, Roots Properties Inc., used
$320,000 of outstanding principal under a note payable to purchase ten (10) Units, which was accounted for as a non-cash financing
transaction and resulted in a corresponding reduction of the Company’s indebtedness.

Three of the investors in the Bridge Financing
are adult children of Kirk Shaw, the Company’s Chief Executive Officer. In addition, Roots Properties Inc. is an entity for which
Mr. Shaw serves as President. Accordingly, these transactions constitute related party transactions.

The
securities issued in the Bridge Financing were offered and sold in reliance on the exemption from the registration requirements of
the Securities Act of 1933, as amended, provided by Section 4(a)(2) thereof and Rule 506(b) of Regulation D promulgated thereunder,
as transactions not involving a public offering. The investors have represented that they are accredited investors as defined in Rule 501 of Regulation D.

A&G Entertainment Limited

On January 5, 2026, we, together with Gamma
Interactive Inc. (“Gamma Interactive”), formed A&G Entertainment Limited (“A&G”), a Hong Kong
corporation. Gamma interactive is a production and technology company incorporated in Delaware in 2017 focused on
next-generation content and software development across gaming, extended reality (XR), mobile and web applications and Web 3.0
technologies. We acquired 55% of the issued and outstanding shares of A&G and Gamma Interactive acquired the remaining 45%,
each at a price of HK$1.00 per share. We believe that the formation of this company with Gamma Interactive will enhance
our capabilities in immersive entertainment, interactive media production, and global business development opportunities.

Intellectual
Property

a general practice, we will rely upon patent, copyright, trademark, and trade secret laws to protect and maintain our proprietary rights
for our products. There are no inherent factors or circumstances associated with this industry, or any of the products or services that
we expect to be providing that would give rise to any patent, trademark, or license infringements or violations. We have not entered
into any franchise agreements or other contracts that have created or could create obligations or concessions. Our web domain and IP
address, as well as company information, will be protected by our domain host. We do not own, either legally or beneficially, any patents
or trademarks.

Rights
to motion pictures are granted legal protection under the copyright laws of the United States and most foreign countries, including Canada.
These laws provide substantial civil and criminal penalties for unauthorized duplication and exhibition of motion pictures. Motion pictures,
musical works, sound recordings, artwork, and still photography are separately subject to copyright under most copyright laws. We plan
to take appropriate and reasonable measures to secure, protect, and maintain copyright protection for all our products under the laws
of the applicable jurisdictions. Motion picture piracy is an industry-wide problem.

Under
the copyright laws of Canada and the United States, copyright in a motion picture is automatically secured when the work is created and
“fixed” in a copy. We intend to register our films for copyright with both the Canadian Copyright Office and the United States
Copyright Office. Both offices will register claims to copyright and issue certificates of registration, but neither will “grant”
or “issue” copyrights. Only the expression (camera work, dialogue, sounds, etc.) fixed in a motion picture can be protected
under copyright. Copyright in both Canada and the United States does not cover the idea or concept behind the work, or any characters
portrayed in the work. Registration with the appropriate office establishes a public record of the copyright claim.

Ordinarily,
a number of individuals contribute authorship to a motion picture, including the writer, director, producer, camera operator, editor,
and others. Under the laws of both the United States and Canada, these individuals are not always considered the “authors,”
however, because a motion picture is frequently a “work made for hire.” In the case of a work made for hire, the employer,
not the individuals who actually created the work, is considered the author for copyright purposes. We intend for all our films to be
works made for hire in which we will be the authors and thereby own the copyright to our films.

Canada’s
copyright law is distinguished from that of the United States by recognizing the moral rights of authors. Moral rights refer to the rights
of authors to have their names associated with their work, and the right to not have their work distorted, mutilated, or otherwise modified,
or used in association with a product, service, cause, or institution in a way that is prejudicial to their honor or reputation. Moral
rights cannot be sold or transferred, but they can be waived. We intend that all individuals who contribute to the creation of any of
our motion pictures will be required to waive any such moral rights that they may have in the motion picture.