SEC Filing Document

Company: Ambitious Entertainment, Inc.
Ticker: 
CIK: 1900851
Filing Type: DRS/A
Document Type: DRS/A
Date Filed: 2025-10-08
Accession Number: 0001493152-25-017387
Exchange: 
SIC Code: 7812
SIC Description: Services-Motion Picture & Video Tape Production
URL: https://www.sec.gov/Archives/edgar/data/1900851/000149315225017387/filename1.htm

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on franchising content globally, starting with key markets like China and India, emphasizing scalable IP with broad cross-border appeal. Docu-series Division actively develop and sell premium documentary series that tap into cultural conversations, untold stories, and compelling characters. Partnering with experienced filmmakers and streaming platforms, we create story-driven nonfiction content with global appeal and multi-platform potential to inform, entertain, and impact. We have developed five documentary series, including Snowblind, the Murder Behind the Cotton Club Movie. Industry Overview Global Growth Trends The global media and entertainment industry is undergoing rapid transformation and expansion. According to market analysts, the sector is projected to grow at a compound annual growth rate (CAGR) of 20.4% between 2024 and 2027. This growth is driven by: ● The proliferation of streaming platforms and mobile-first entertainment. ● Global demand for localized and original content. ● Expansion of internet access and connected devices, especially in emerging markets.

This
dynamic growth underscores the long-term value of IP creation and content ownership, as streaming services have overtaken traditional
Pay TV.

highlighted below, recent media reports support continued market growth:

Global
Streaming Market & Media Industry Projections

●	The
global video streaming market is projected to reach $184.3 billion by 2027, growing at a
CAGR of 20.4% from 2020 to 2027. (Businesswire, https://www.businesswire.com/news/home/20200515005420/en/Global-Video-Streaming-Market-Forecast-to-Reach-USD-184.3-Billion-by-2027-Registering-a-CAGR-of-20.4—ResearchAndMarkets.com )

●	The
broader global entertainment & media (E&M) industry is expected to grow at a CAGR
of 3.7%, reaching approximately $3.5 trillion by 2029. (TV Tech, https://www.tvtechnology.com/news/study-global-m-and-e-industry-revenue-to-hit-usd3-5-trillion-by-2029 )

Streaming & Pay TV Adoption

2021, for the first time, a higher share of U.S. households subscribed to streaming (69%)
than to traditional pay-TV (65%). (Tinuiti, https://tinuiti.com/blog/ott-ads/streaming-video-statistics/ )

of 2025, approximately 83% of U.S. households have at least one streaming service, which
aligns with the broader data showing high subscription video-on-demand (SVOD) penetration.
(Exploding Topics, https://explodingtopics.com/blog/video-streaming-stats )

Content
Spending Estimates:

Netflix
(We have had three of our movies distributed on Netflix)

●	Netflix
plans to spend approximately USD 18 billion on content in 2025, up from $16.2 billion the
prior year. (The Verge, https://www.theverge.com/news/626102/netflix-18-billion-content-spending )

Amazon
(We have had three of our movies distributed on Amazon)

2023, Amazon’s content spending, which includes video and music, increased 14% to $18.9
billion. (Cord Cutters News, https://cordcuttersnews.com/amazon-spent-almost-19-billion-on-content-in-2023 )

●	For
2024, The Information reported that Amazon’s total budget, which includes originals,
licensed content, and live sports, was approximately $7 billion. (Reuters, https://www.reuters.com/business/media-telecom/amazon-prime-video-shifts-focus-live-sports-boost-profits-information-reports-2025-01-24/ )

Platform
Estimated Spend in 2024

●	Netflix:
$16 billion (Variety, 2024)

●	Amazon:
$7 billion (excludes MGM/live sports) (The
Information via Reuters, 2024)

●	Hulu:
$3 billion (eMarketer,
Insider Intelligence, 2024)

●	HBO
Max: $1 billion (Warner Bros.
Discovery earnings call, Q1 2024)

2023, Amazon’s total content spend, including Prime Video, MGM, Freevee, and live sports, was approximately $18.9 billion
(The Wrap, https://www.thewrap.com/amazon-content-spend-2023). As of 2025, Netflix’s content spending increased to approximately
$18 billion (The Verge, https://www.theverge.com/news/626102/netflix-18-billion-content-spending). The shift toward
ad-supported content (AVOD) means platforms are more open to lower-cost, high-return content formats: short-form, docuseries, and lower-budget
scripted fare.

Management’s
expectations are based in part on industry reports and the Company’s analysis of market trends.

Competition

The
film and television industry is intensely competitive and rapidly evolving, driven by technology, shifting viewer habits, and global
demand.

Major
studios like Disney, Universal, and Warner Bros. dominate with vast IP libraries, global marketing power, and established distribution.
Streaming platforms have become central to content distribution, with Netflix leading and reporting over 260 million subscribers
and an estimated content budget of approximately $18 billion in 2025 (The Verge, https://www.theverge.com/news/626102/netflix-18-billion-content-spending),
Amazon Prime Video’s content budget was estimated at over $7 billion for 2024 (Reuters, https://www.reuters.com/business/media-telecom/amazon-prime-video-shifts-focus-live-sports-boost-profits-information-reports-2025-01-24/).
Other major platforms include Disney+, Hulu, Max, Apple TV+, among others. These 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.

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 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 top 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
– Co-President and Interim 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 – Co-President

seasoned global entertainment executive, Chris has produced acclaimed series including Sherlock, 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. He serves on
the advisory board of MetaWorks Platforms and is a strategic advisor to Vuele, a pioneering Web3 film distribution platform.

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.