Business Plan
EVERYONE is a team assembling around one conviction: if we play together, we can still win. The first members are world-class creators, technologists, and philosophers building the things that recruit the rest of the team.
Each generates revenue. Each feeds the others. The system compounds.
Three markets are converging. The global immersive entertainment market is projected to exceed $400 billion by 2030 and approach $1 trillion in the early 2030s, with venues being built faster than content can fill them. Sphere is expanding globally, Cosm is planning 100+ dome venues, and China's immersive sector is growing at 29% annually. Online, idea-driven cinematic content is drawing billions of views with no celebrity, no host, no marketing. Kurzgesagt alone has 24.8 million subscribers and 3.5 billion views. And identity-driven belonging (what people wear to signal what they stand for) is a proven commercial engine across sports, fitness, and lifestyle brands.
What doesn't exist yet is a system that captures all three. EVERYONE fills that gap.
What exists today:
We start with one loop: cinematic content → audience → team wear → revenue.
Short-form campaigns go live across YouTube, Instagram, and TikTok. The content builds audience. The audience buys team wear. Both generate revenue from day one. Every piece of content also refines the visual language, emotional architecture, and production tools that feed the immersive experience at scale. So the content is simultaneously revenue, audience development, and R&D.
This is the same loop that built Kurzgesagt, Red Bull, CrossFit, TED, and Headspace. One entry point, strong identification, multiple surfaces that feed each other. The difference: EVERYONE enters with an Emmy-winning production team, a world-class composer, and production capabilities that represent a category jump over anything in the faceless content space.
Everything else (the book, the companion, the platform, the immersive experience) activates as the audience, economics, and production pipeline prove themselves. Each phase earns the next.
Raise: Up to $5,000,000
Minimum investment: $100,000
Instrument: Profit Participation Rights (not equity, not debt)
Regulation: Reg D, Rule 506(b) (accredited investors only)
Investor economics: Investors receive 50% of Net Distributable Profits from day one, pro rata, with participation capped at 2X the original investment. After the cap is reached, profits flow to the team, the mission, and reinvestment. The full distribution waterfall and all economic terms are defined in the Profit Participation Terms (Exhibit A to the Participation Agreement).
Return timeline (base case, venue revenue only):
Capital deploys to: content production, team, team wear inventory, marketing and audience growth, technology (platform, companion), venue development, book launch, and operations. Early months are lean and focused on proving the content-to-commerce loop. Scale follows validated economics.
The investor is not betting on one product. They are joining a team at the moment it is assembling, funding the production round for a compounding system where every component makes every other component more valuable. The content proves the audience. The audience proves the brand. The brand fills the venues. The venues generate the revenue that flows back to investors. And after the cap is reached, the same system continues generating value for the creators, the mission, and the next thing this team builds together.
It's not hard to see why so many of us feel like we're losing.
You don't have to be dramatic or pessimistic to arrive there. You just have to be paying attention.
Climate. Politics. Technology. Inequality. Loneliness. War. Mistrust. Exhaustion. A sense that whatever is breaking is breaking faster than anything meaningful can be repaired. That feeling didn't come from nowhere. It's what happens when you look at the score.
Hopelessness is not a failure of character right now. Helplessness is not giving up. For many of us, it simply feels like the only honest response to the evidence in front of us.
But beneath all of that, something more fundamental is eroding. Belief in possibility itself. The belief that the future can still turn out differently. And with it, the belief that we can still do something about it. Together.
What is missing is not awareness. What is missing is orientation.
This is the most critical crisis we face. Because without belief, none of the others can be addressed. There is no imagination, no sustained effort, no willingness to try.
EVERYONE begins here. Not by denying what we see. But by restoring what we've lost sight of: that the future is still open, that we are not separate from each other, and that together, there is nothing we can't do.
EVERYONE is a cultural property being built for what's next: an immersive film, a collaborative platform, and a growing global team. Built on a single recognition: we are already on the same team, and belief in that fact materially changes what becomes possible next.
We have a brand and a mark that works. We have a philosophical foundation that has been in development for fifteen years, with 35,000+ words of refined content already live and being read. We have a book in progress. We have a production team with an Emmy Award-winning visual effects supervisor, one of the world's top film composers committed to the score, and a leading immersive studio already pitching content to the Sphere. We have team wear ready to sell. We have a growing network of sports ambassadors. We have a way all of this works together.
Here is what we do first: we produce cinematic short-form content and publish it. The content builds audience. The audience buys team wear. Both generate revenue from day one. Every piece of content we produce also refines the visual language, emotional architecture, and production tools that feed the immersive experience at scale. So the content is simultaneously revenue, audience development, and R&D.
Here is why it compounds: every expression of EVERYONE feeds every other expression. The content drives team wear sales. The team wear makes belonging visible, which drives more audience. The book deepens the ideas, which strengthens the content. The immersive experience transforms people, who become the most committed believers, who share the content, buy the team wear, read the book, and join the platform. This is how Red Bull, CrossFit, TED, Zumba, and Headspace were built. One core creative expression that produces strong identification, extended across multiple surfaces where each one feeds the others.
The difference: none of them combined cinematic storytelling, identity infrastructure, intellectual depth, experiential transformation, and a participatory platform into a single system. And none of them addressed the thing people are hungriest for right now: the felt sense that we are on the same team and the future is still open.
The experience is the ignition. The system is the engine.
Three markets are converging. EVERYONE is built to capture all three inside a single system.
The global immersive entertainment market is valued at $130 to $145 billion in 2025, projected to exceed $400 billion by 2030 and approach $1 trillion in the early 2030s. Sphere Las Vegas generated $420 million gross and sold 1.3 million tickets in its first year. Cosm raised $250 million building dome venues in major US cities. Van Gogh Immersive drew over 5 million visitors across 60 cities. Fever Labs raised $227 million and is valued at over $1 billion. Kusama's Infinity Mirror Rooms sell out wherever they open, running for years at major museums worldwide.
The infrastructure is scaling. Over 4,000 planetariums worldwide represent a $430 million market growing toward $850 million by 2033. LED wall technology, spatial sound systems, and immersive dome venues are being built in major cities. The venues are being built. They need content worth filling them with.
Faceless cinematic content about big ideas is drawing billions of views online. No celebrity. No host. No traditional marketing. Kurzgesagt has 24.8 million subscribers and over 3.5 billion views. Melodysheep has over 250 million views. The appetite for depth and meaning is measurable, and it is growing.
The cultural moment is saturated with dystopian narratives. Many are compelling because they feel plausible. That repetition is not neutral. It shapes what people expect, what they attempt, and how they treat one another when fear becomes the baseline. Audiences are hungry for something that restores agency without being naive.
Culture is experienced and signaled through what people wear and what they belong to. Sports jerseys routinely outsell tickets. Creator-led brands generate hundreds of millions in identity-driven merchandise. Lululemon built 10,000 brand ambassadors and hosts 2.5 million participants in free in-store classes every year because belonging is a business model. Patagonia commands premium prices because the philosophy is the product. People will pay to signal what they stand for.
What does not yet exist is a system that captures all three: an original cinematic narrative engineered to shift orientation, a content and cultural engine that scales that shift across platforms, and an identity infrastructure that makes belonging visible and self-reinforcing. All of it integrated into one flywheel where each component makes the others more valuable.
EVERYONE fills that gap.
There is a game being played. Everywhere. All the time. By everyone.
This is not metaphorical. It is descriptive of how complex systems, including human futures, actually behave.
We are already in the same game, whether we like it or not. We are already on the same team, whether we acknowledge it or not. We can still choose to play like we are on the same team. And belief in that fact materially changes what becomes possible next.
Human beings have always organized meaning, belonging, and action through teams. We understand jerseys. We understand symbols that say "this is who I play for." We understand what it means to root, to commit, to show up, to represent something larger than ourselves. We understand halftime speeches. We understand scoreboards. We understand what it feels like when morale shifts and a losing team starts to believe again.
In a losing game, statistics alone do not reverse momentum. Morale does. This is how complex systems behave.
EVERYONE takes the team metaphor seriously. As operational structure. The immersive experience is the halftime speech. The scoreboard tracks how Team Humanity is actually doing. The team wear is the jersey. The campaigns are the highlights. The book is the playbook. The mark is what you wear when you want to say: I'm on this team.
The holonic truth underneath: you can root for your country, your city, your club, your side. EVERYONE sits beneath those loyalties. On the field, I play hard. After the game, we shake hands. Because beneath every jersey, we are still on the same team. Both levels are real at the same time. You are one. You are also everyone. The mark compresses this into a single visual: at first glance, a "1." With attention, EVERYONE. Once seen, it cannot be unseen.
EVERYONE is a cultural property: a single creative vision expressed across multiple integrated surfaces. Each serves a different function. Each feeds the others. They do not all launch at once. They activate in sequence, each one earning the next.
The immersive cinematic anchor. Premium, ticketed events. High-margin, repeatable, tourable. The touring model proven by Van Gogh, Sphere, and Meow Wolf demonstrates that audiences will return to transformative experiences and that cities will compete to host them. This is the ignition point, the expression that produces the orientation shift everything else compounds from.
The experience runs approximately 45 minutes. Long enough to be complete and to meet flagship venue requirements including Sphere. Short enough to be repeatable and to support touring economics.
EVERYONE: A Case for Belief. Why the Human Team Can Still Win.
What if the most dangerous thing happening right now is the fact that we've stopped believing anything can be done about any of them?
The book starts exactly where you are. It doesn't flinch. The evidence is devastating. The despair is rational. Then, carefully, it starts showing you things you can't unsee. That we are literally not separate from each other or from any of this. That what we believe is possible shapes what becomes possible. That we are a species that can see what it's doing. That the game we think we're losing is still open, and the rules are different than we thought.
Each truth is walked through slowly enough that a skeptic has to nod. Each one changes what the next one means. And by the time the building is built, something has shifted. You saw it yourself.
EVERYONE doesn't promise that we'll win. It shows you that the game is still open, and that what we believe together is the one thing that matters most. You'll finish this book less afraid, less alone, and for the first time in a long time, actually excited about what might come next, and about your undeniably central role in it. And you'll want to hand it to someone. Not because it told you what to think, but because you want them to feel what you just felt.
35,000+ words of refined philosophical content already live at believe.everyone.team. The book is the intellectual foundation, the training data for the AI belief companion, the basis for speaking engagements, educational licensing, and brand partnerships. Intellectual property that compounds.
Standalone cinematic micro-experiences designed to trigger recognition at scale. Each piece isolates one perceptual shift from the larger work and delivers it in a format native to its platform: short-form video, image, audio, text. Engineered to travel, to be shared, and to surface repeatedly in feed environments where attention is fragmented.
The first campaign is already in production. "The Biggest Team" ties into the 2026 FIFA World Cup (June 11 kickoff), using the emotional power of the tournament to introduce EVERYONE to a global audience. Three versions from one production: a 60-second cinematic spot produced to Super Bowl standard, plus 30-second and 15-second cuts. The campaign integrates a product launch (jersey, patch, sticker), creator-driven distribution with tracked referral links, and a collaborator network that earns from what they help build. The World Cup reaches 5 billion viewers. The campaign enters that conversation.
The campaigns are not marketing for the immersive experience. They are the atomic units from which the experience is composed. Each campaign is a self-contained production unit that can be produced, tested, and iterated independently. The full 45-minute immersive experience is composed from these campaigns plus connective tissue that only exists in the immersive format. This modular architecture means production begins immediately, creative risk is reduced through continuous audience feedback, and every piece of content released is simultaneously revenue, audience development, and R&D for the flagship experience.
Campaigns function as both cultural signal and audience engine. Individually, they create moments of reorientation. Collectively, they build anticipation, test messaging, and form a visible community. They are revenue-generating media in their own right, and they are the top of the funnel for live events, immersive installations, future releases, and invitations to co-creators.
Target: millions of followers across YouTube, Instagram, TikTok. The channel builds the audience that fills the venues. The experience creates the believers who share the campaigns. Self-reinforcing.
Comparable trajectory: faceless content channels with big ideas are among the fastest-growing categories online. This space is early, growing, and underserved with original cinematic-quality content about possibility.
An original orchestral score by Harry Gregson-Williams (Gladiator, The Martian, The Chronicles of Narnia, Shrek). Standalone listening, within the experience, licensed across media. The score is conceived as emotional architecture. Sound design and music work together to overwhelm the senses, anchor the body, and carry the viewer through shifts that words alone cannot produce. The experience is designed to be felt in the chest before it is understood in the mind.
The EVERY1 mark is identity infrastructure. When you wear it, you are saying: I am on this team.
The vision scales through visible adoption. When athletes, musicians, and cultural figures wear EVERY1, they are making a public statement every fan in the world understands. Joining a team. On the field, they compete hard. After the game, they remember we are all on the same team. The signal travels through culture the same way a jersey does: recognition, curiosity, belonging. Symbols travel faster than arguments. Belonging spreads faster than explanation.
Product categories: core apparel (tees, hoodies, hats), premium basics and outerwear, accessories, limited editions, co-branded collaborations. High-margin direct-to-consumer. Scalable through wholesale and brand partnerships. Every item sold is a signal in the world that brings new people in.
The scoreboard for Team Humanity. You cannot win a game you are not watching. The scoreboard is how we watch the game. How we see where we are winning, where we are losing, and what it takes to turn it around.
Tracks how Team Humanity is doing across climate, health, poverty, education, peace, connection, biodiversity. Tracks how the movement is growing: team members, geographic spread, projects formed, actions taken. Real data, verifiable, honest, includes where we're losing. Interactive, real-time, felt not just seen.
You get what you measure. If we want to change how humanity is doing, we have to track how humanity is doing. The actual score.
An AI companion with full philosophical context. Socratic, short-session engagement. Personalized scaffolding for belief. Helps users articulate visions, work through objections, sustain orientation between experiences. Freemium/subscription model. Training data drawn from the book and 35,000+ words of refined content.
Coordination infrastructure for those who have reoriented. Connection and matching (belief partners, local clusters, brainstorming pairs). Project formation and resource matching. Where the shift from consumer to participant happens. Where the flywheel becomes self-sustaining. Subscription and transaction revenue. Network effects.
The platform also enables something no previous cultural property has attempted: participatory content creation at scale. Members who choose to can share their photo through the platform, and those faces become part of the immersive experience itself, appearing in the sequences where thousands of faces strobe and morph to illustrate that the "1" is EVERY1. The audience is literally in the work. Ideas, arguments, and visuals are refined through community participation. The content is authored, but the collaboration is real and growing. This transforms the relationship between the project and its audience from consumption to co-creation.
Museum, science center, festival, and public space installations built from the core master. Artist collaborations, commissioned cultural works. Revenue through commissioned fees, licensing of core master adaptations, sponsorship integration, and touring partnerships. Strategic value through institutional credibility and audience expansion beyond early adopters.
Brand partnerships, co-created expressions with purpose-driven companies. Co-branded activations that extend reach without diluting the work. Corporate experiences aligned with shared values.
The multiple surfaces are a production pipeline.
Every campaign produced is a live test of the visual language, the emotional architecture, and the creative tools that become the immersive experience at full scale. Every short-form piece refines what works: which imagery moves people, which sequences hold attention, which transitions produce the felt shift the experience is designed to deliver. The audience response is immediate and measurable. What resonates gets developed further. What falls flat gets reworked. The production improves because it is producing.
This is how the most successful content channels in the world were built. Kurzgesagt started in 2010 as one person making simple animations about science. Today: 24.8 million subscribers, 3.5 billion views, and a diversified media business where only 13% of revenue comes from YouTube ads. Melodysheep began remixing Carl Sagan clips into music videos. Today: 2.8 million subscribers and cinematic space visualizations that set the standard for the category. Epic Spaceman reached 350,000 subscribers after six videos. The pattern is consistent: compelling visual quality plus ideas people are hungry for equals rapid organic growth.
The book follows the same logic. 35,000+ words of refined content live at believe.everyone.team, open to the public. Readers engage with the ideas, raise objections, surface counter-arguments, and pressure-test the philosophical foundation in real time. This is crowdsourced refinement of the core vision, happening now, building audience and intellectual credibility simultaneously. The book is revenue-generating, audience-building, vision-refining, and foundation-laying. The content trains the AI companion, informs the immersive experience, and provides the intellectual depth that distinguishes EVERYONE from spectacle. It is the work.
EVERYONE enters this proven content market with production capabilities that represent a category jump over what currently exists. An Emmy-winning visual effects supervisor. Harry Gregson-Williams, whose credits include Gladiator, The Martian, and The Chronicles of Narnia. A production studio recognized by Fast Company as Top 10 Most Innovative in AR/VR. The team has been producing cinematic content at the highest level for decades.
This means the investor is not waiting years to see traction. The first campaign ("The Biggest Team," World Cup 2026) is already in production. The audience response will be measurable in weeks, not years. The data shows in real time whether the content resonates, how fast the audience grows, and how the creative is evolving. By the time the flagship experience launches at scale, it has been refined through hundreds of live audience interactions. The risk is not theoretical. It is being tested and reduced from day one.
The campaigns generate revenue and build audience while simultaneously refining every element of the immersive experience. By the time the flagship launches, it is the proven culmination of everything already made, tested, and validated with a live audience.
Six surfaces. Every piece feeds the others. Nothing stands alone. Revenue compounds as the system grows.
The film transforms people and generates ticket revenue. The book deepens orientation and generates retail, licensing, and speaking revenue. Campaigns build audience across every screen and format, generating ad and sponsorship revenue. The platform converts audience to community and sustains engagement through the AI companion and scoreboard. Team wear makes belonging visible and generates product revenue. The mark ties it all together: co-branded partnerships, licensing, and the connective identity that makes every other surface recognizable.
This is a self-reinforcing loop. Belief, once activated, wants expression. Each expression creates new believers. Each believer strengthens the system.
The immersive experience is where the system ignites. This is what produces the orientation shift that everything else compounds from.
The launch experience runs approximately 45 minutes. Long enough to be complete. Short enough to be repeatable. An original orchestral score by Harry Gregson-Williams (Gladiator, The Martian, The Chronicles of Narnia, Shrek). Live performance.
It uses large-scale imagery of life, systems, and cosmos paired with precise sound design to bring the audience to the perceived edges of reality, time, identity, separation. What changes is orientation. The experience is structured to move viewers from fragmentation to recognition, and from recognition to agency, without argument or ideology.
Each discovery shares a common structure: once you see it, you cannot unsee it.
The effect is measurable in behavior: conversation, return attendance, visible signaling, and participation.
EVERYONE is a 45-minute immersive cinema experience designed for full-dome environments, planetariums, LED domes, Sphere-scale venues, and touring installations. The format supports both 360-degree immersive presentation and standard 2K/4K theatrical presentation for distribution across different venue types. A full surround mix created in collaboration with Harry Gregson-Williams, specifically crafted to guide audience attention and emotion across the immersive space. The score is integral to the experience. It is not accompaniment. It is architecture.
No dialogue. Visual storytelling that transcends cultural boundaries, enabling global distribution without localization requirements. One production serves every market on Earth.
Generative AI and modern immersive production tools have changed what is possible. Work that would have required $100M and full studio infrastructure even five years ago can now be produced at a fraction of the cost by a small, world-class team.
All cosmic, nature, and scale imagery is produced using generative AI. Not as a shortcut, but because AI enables imagery that no physical camera can reach. Fourteen billion years of cosmic evolution. The interior of a star. The emergence of life at molecular scale. These sequences can be prototyped, tested, refined, and iterated at a speed and cost that traditional VFX pipelines cannot match. The creative vision is not constrained by budget. It is enabled by the tools.
The team has been pioneering at this exact intersection for decades. From co-founding one of the first immersive content studios in 1993 to building award-winning VR experiences and scoring some of the most iconic films ever made, this team was assembled for this moment. That convergence of talent, technology, and timing is what makes a property of this magnitude and potential possible at this budget.
The visual language of EVERYONE has one job: to show people what was already there but had never been seen.
The experience moves seamlessly between scales. Cosmic to molecular to quantum. Galaxies forming to a single breath to the physics beneath it. These transitions feel like zooming in and out of a single continuous reality, because that is what they are.
The cosmic sequences demand the most realistic and the most fantastic imagery ever generated for an immersive format. The human sequences demand countless faces blending into one so rapidly they become a single face, eyes locked on you. Some of these faces belong to the audience itself, submitted through the platform, making the experience participatory at the most visceral level: you may see yourself inside the work. The civilization sequences carry the brokenness honestly, without looking away and without letting it be the last thing you see.
The score must do what no score has been asked to do: move an audience from despair to belief through a felt encounter with what is true. Orchestral depth. Electronic texture. Ambient space. Strategic silence. Frequencies that work below cognition, shifting how the viewer feels before they understand why.
The viewer enters carrying what everyone carries. The weight. The fear. The quiet belief that it might already be too late. The viewer exits reoriented. Less afraid and more alive. Less alone and more ready. Seeing something they cannot unsee.
The experience is built once at full cinematic quality, then deployed across formats without rebuilding from scratch. This structure reduces creative redundancy, protects production cost, and expands monetization across immersive venues, streaming platforms, and portable formats.
The same core work drives premium ticketed immersive events, touring and venue partnerships, streaming and home viewing, short-form distribution, and brand and cultural extensions.
The master asset is the engine. Formats are distribution layers. This allows the property to scale economically without diluting creative integrity.
Immersive formats: domes, LED rooms, planetariums, IMAX, other large screens.
Other formats: home viewing, streaming, mobile, optional VR.
The flagship venue: the Sphere in Las Vegas. EVERYONE is being produced by a team with an Emmy Award-winning visual effects supervisor, Harry Gregson-Williams composing the original score, and WEVR, a leading immersive production studio already in active conversation with Sphere about producing immersive content. The experience is designed for approximately 45 minutes, meeting Sphere's format and ambition. This team has spent decades producing exactly the kind of content Sphere was built for.
Sphere is also expanding. A smaller-scale venue (approximately 6,000 capacity) was announced in January 2026 at National Harbor, Maryland, and a full-scale venue is planned for Abu Dhabi. Sphere Entertainment has signaled intent to build a global network of various-sized venues. Each new Sphere is a new venue for EVERYONE.
But Sphere is one venue type in a rapidly expanding ecosystem. The immersive venue infrastructure is exploding worldwide, and content is the bottleneck. The economics are proven at scale: Sphere generated $781M in venue revenue in 2025 (up 27% year over year), with Postcard from Earth selling over 4 million tickets. Van Gogh Immersive generated $280M+ in revenue from over 5 million tickets across multiple cities. Meow Wolf generates an estimated $100M+ annually across four permanent installations. COSM raised $250M to expand its network of 87-foot, 12K+ LED dome venues with ticket prices ranging from $39 to $99+. TeamLab operates multiple permanent installations globally. Kusama's Infinity Mirror Rooms run for years at major museums with massive waitlists.
Dome venues: Cosm has two locations operational (Los Angeles, Dallas), with Atlanta and Detroit opening in 2026, Cleveland in 2027, and plans for 100+ sites globally. They have a long-term NBA partnership extending into the 2030s.
LED immersive rooms: The format pioneered by Immersive Van Gogh (5+ million tickets sold, 60+ cities) is becoming permanent infrastructure. Fever now operates experiences across 80+ cities and recently merged with DICE to reach 300 million people across 40+ countries. Lighthouse Immersive continues expanding with Disney, Frida Kahlo, and Monet experiences.
China: The fastest-growing immersive market in the world. China's immersive entertainment sector generated $16.8 billion in 2025 and is projected to reach $125 billion by 2033 at a 29.4% CAGR. iQIYI opened China's first immersive indoor theme park in February 2026 (10,000 square meters, LED game zones) with three more parks in development. LED immersive venues and experience centers are scaling rapidly across major Chinese cities.
Planetariums: 4,000+ worldwide, increasingly hosting non-traditional content: laser concerts, immersive art, cinematic experiences. The planetarium market is valued at $430 million and growing toward $850 million by 2033.
Group and sponsored screenings: Beyond public ticketed shows, a significant portion of venue revenue comes from group screenings: school field trips, corporate bookings, organizational events, and sponsored screenings funded by donors, foundations, or corporate sponsors. Schools represent aggregated demand: one booking fills a room. The infrastructure for school field trips to planetariums and immersive venues already exists: booking systems, bus logistics, teacher coordination, curriculum alignment. This is not building a channel from scratch. It is plugging into infrastructure that has been operating for decades and is hungry for compelling content. Sponsored screenings can be funded at zero cost to schools or organizations, creating both revenue and impact. The financial model projects group and public screenings generating $40.9M in net venue revenue by Year 5 across 40 venues.
IMAX: Expanding to 20+ new titles in IMAX format for 2026 alone, with next-generation camera technology in production.
Pop-up and permanent immersive venues: Meow Wolf operates five permanent installations with Los Angeles and New York City in development. Modular LED rooms and projection-mapped spaces are becoming standard event infrastructure in major cities worldwide.
Fulldome distribution channels: Reef Distribution has executed 1,000+ global licenses across planetariums and dome venues. ePlanetarium (formerly FULLDOME OnDemand) operates the leading streaming platform for planetarium content, with payouts to 30+ producers. The Fulldome Database (fddb.org) lists 400+ shows and serves as the primary discovery platform for planetarium operators worldwide. These distribution networks are established and operational, waiting for premium content.
EVERYONE is designed for distribution across multiple venue types simultaneously. No single channel is primary. The strength is the combination: planetariums (4,000+ globally) operating on a revenue share model (venue retains 60%, EVERYONE receives 40%); premium LED domes (COSM, Obscura, similar) at premium pricing ($39-99 per ticket) on a touring partnership model; flagship venues (Sphere and comparable) for long-form residencies; touring installations as pop-up immersive theaters in major markets; immersive hotels and experiential venues as dedicated installations in key cities on a licensing model; and streaming for direct-to-consumer distribution through the platform and third-party platforms after initial venue windows.
Three funding models make group screenings scalable beyond standard ticket sales. Corporate sponsors deploy CSR and marketing budgets to fund screenings for schools and community organizations. Tax-deductible charitable donations (via fiscal sponsor or future EVERYONE Foundation) enable donor-funded screenings. And institutional budgets cover organizations that pay their own way: school districts, corporate retreats, faith communities, civic groups. The donor, the venue, the audience, and the mission all benefit. Public and group showings run at the same venues, maximizing utilization of each partnership.
The critical design decision: EVERYONE's content is built responsive to venue. One core creative master adapts across all of these formats without rebuilding. The same work plays in Sphere, in a Cosm dome, in a planetarium, in an LED room, in a pop-up warehouse space, in IMAX, on a home screen. The visual and sonic architecture scales up and down. This is how a single production investment addresses thousands of venues globally. The content is the scarce asset. The venues are being built. EVERYONE is designed to fill them all.
By Year 5, the goal is 40 venues globally, representing a diverse ecosystem of immersive spaces capable of hosting the EVERYONE experience. At 60-70% occupancy, the model projects a cumulative audience of 5.98 million across all locations.
The immersive experience is designed as a franchise architecture. Future experiences take on specific verticals (climate, AI, coordination, consciousness) in collaboration with subject matter experts, sponsoring organizations, and aligned partners. Each follows the same EVERYONE guardrails, the same arc structure, the same production quality. Each generates its own revenue while strengthening the brand and expanding the audience for every other expression in the system.
This transforms the IP economics. The core creative master, the production pipeline, the team, the venue relationships, the audience, the brand equity: all of it compounds across releases. Each new experience is easier to produce, easier to distribute, and more valuable than the last.
Once seen, it changes how you see.
The EVERYONE brand mark is a micro-experience of the project's core transformation.
At first glance, it appears as a "1." The individual. The isolated. The separate self. With attention, the negative space becomes legible. The word EVERYONE appears, revealed not by adding anything, but by seeing what was already there.
Once seen, it cannot be unseen. That irreversibility is the point.
This is a perceptual rehearsal of the work's central shift. It compresses the entire premise into a single visual moment: You are one. You are also everyone. Both are true. And seeing that changes what becomes possible.
The mark serves as the project's signature. It unifies every asset and creates instant recognition across contexts: digital, physical, and environmental. It is part of a series of core recognitions that once seen cannot be unseen.
| Revenue Surface | Model | Margin Profile |
|---|---|---|
| The Film | ||
| Immersive events | Ticket sales, touring | High margin, repeatable |
| Music & score | Streaming, licensing, live performance | Scalable, recurring |
| Installations & art | Commissions, licensing, sponsorship | Premium, institutional |
| The Book | ||
| Books & scaffolding | Retail, licensing, speaking | Established IP economics |
| The Campaigns | ||
| Campaign media | Sponsorship, licensing, ad revenue | Scalable, low marginal cost |
| The Platform | ||
| Platform & community | Subscription, transactions | Recurring, network effects |
| AI companion | Freemium, subscription | Recurring, low marginal cost |
| Scoreboard | Sponsorship, data partnerships | Mission-aligned revenue |
| Team Wear | ||
| Apparel & accessories | D2C, wholesale, collaborations | High margin, identity-driven |
| The Mark | ||
| Co-branded partnerships | Licensing, revenue share | Revenue share, strategic |
Every dollar earned comes from value delivered. Mission and money are structurally aligned. The work succeeds financially because of its purpose, not despite it.
Note: The following is a summary of the base case from the full financial model. The complete model includes detailed assumptions, unit economics, cost breakdowns, comparables, and sensitivity analysis. This summary covers venue screening revenue only. All other revenue surfaces (team wear, book, platform, licensing, campaigns) are excluded to provide a conservative floor.
| Year 1 (2026) | Year 2 (2027) | Year 3 (2028) | Year 4 (2029) | Year 5 (2030) | |
|---|---|---|---|---|---|
| Venues Active | 0 | 10 | 20 | 30 | 40 |
| Annual Audience | 0 | 78,000 | 832,000 | 1.95M | 3.12M |
| Cumulative Audience | 0 | 78,000 | 910,000 | 2.86M | 5.98M |
| Gross Venue Revenue | $0 | $2.6M | $27.3M | $63.9M | $102.2M |
| Net Revenue (EVERYONE's 40%) | $0 | $1.0M | $10.9M | $25.6M | $40.9M |
Average ticket price of $36 (bottom of the comparable range: Sphere $65-325, COSM $39-99, Van Gogh $25-50). Venue revenue split: 60% to venue, 40% to EVERYONE. Occupancy: 60-70% (well below benchmarks: ABBA Voyage 97.8%, major immersive REITs 99%). Group and public screenings combined. These assumptions are deliberately conservative.
| Year 1 | Year 2 | Year 3 | Year 4 | Year 5 | |
|---|---|---|---|---|---|
| Total Costs | $2.8M | $1.9M | $1.9M | $3.0M | $4.1M |
| Operating Income | ($2.8M) | ($878K) | $9.0M | $22.6M | $36.8M |
| Net Distributable Profit | $0 | $0 | $9.0M | $22.6M | $36.8M |
| Cumulative NDP | $0 | $0 | $9.0M | $31.6M | $68.4M |
Year 1 costs are primarily production deployment (70% of budget). Year 2 covers remaining production (30%) plus initial operations. From Year 3 onward, costs shift to venue management, marketing, and company operations, scaling with revenue.
Under the base case, all investors participate pro rata in distributions. Total investor payout at cap: $10M (2X on $5M invested). After all investors are capped, 100% of NDP flows to the Company's five-way allocation (team, mission, reinvestment, reserves, and creator compensation). The 2X cap is designed to return capital quickly. Every investor also holds a permanent reinvestment right: the right to invest up to 2X their original commitment in any future EVERYONE offering at a 50% discount, with priority allocation. The cap gets investors paid. The right keeps them inside the ecosystem.
The projections above cover venue screening revenue only. The following revenue surfaces are real, measurable, and expected to generate meaningful income, but are excluded from the model to provide a conservative floor:
Team wear (identity-driven merchandise, 40-60% gross margins at scale). Book (traditional publishing and direct sales). Campaigns (12-15 standalone cinematic pieces, advertising and licensing revenue). Platform (community, subscriptions, exclusive content). Licensing and partnerships (IP licensing, co-branded collaborations, institutional programs). Music (streaming, licensing, live performance). Each of these surfaces generates revenue independently and drives audience to the venue experience. They represent upside above the conservative venue-only model.
The full financial model, including unit economics, detailed cost breakdowns, sensitivity analysis, comparables, and investor return scenarios, is available upon request.
None of the following set out to build a "compounding cultural system." They started with one thing that worked, then discovered that the same audience would show up for the next thing, and the next. The architecture emerged because the core idea was strong enough to carry it.
Red Bull started as a single energy drink. The culture it built around extreme sports turned into a media empire, a Formula 1 team, events worldwide, and a brand identity that defines a lifestyle. The beverage is still the entry point. The culture is the business.
CrossFit started as a workout. It turned into a $100M+ annual business through affiliate licensing ($4,500/year per gym), certification programs, the CrossFit Games, apparel, and community identity so deep that members tattoo the brand on their bodies.
Zumba started as a single dance fitness class. It grew into a global network of licensed instructors spanning dozens of countries, plus apparel, events, and experience packages. One class concept became a movement.
TED started as a single conference. It became 3,000+ annual TEDx events generating 20,000 talks per year, 180 million subscribers, books, and education programs. Ideas as infrastructure.
Brené Brown started with one research insight. It became a TED talk with 50+ million views, six #1 bestselling books, Netflix and HBO series, podcasts, and a corporate certification program. One idea, multiple surfaces, each feeding the others.
Headspace started as a meditation app. It became a $3 billion mental health platform through corporate wellness programs (4,000+ companies), a Netflix series deal (70% spike in signups), and therapy services.
Every one of these started with a single entry point, built an audience, and expanded because the audience wanted more ways in. That is the pattern EVERYONE is built on. We start with content and team wear. The audience tells us when they are ready for more.
What makes EVERYONE's architecture distinct is that the expressions are designed to work together from the beginning. Red Bull discovered the flywheel as it grew. EVERYONE is building with the flywheel in mind from day one, while still earning each layer through execution. And because the project itself is collaborative by design, inviting creators, athletes, and partners into the work rather than controlling it, it can grow faster and with more reach than a traditional brand or studio.
A new category of media has emerged over the past decade: idea-driven cinematic content with no celebrity, no host, and no traditional marketing. The results are measurable.
Kurzgesagt: 24.8 million subscribers, 3.5 billion views. Science and philosophy through animated cinematic storytelling. Revenue is diversified across five streams: 40% merchandise, 13% YouTube ads, 12% sponsorships, 10% institutional sponsors (Gates Foundation, United Nations, Red Cross), 9% Patreon. This is a media business built on ideas.
The Infographics Show: 15 million subscribers, 7 billion views. Estimated $4.4 million annual revenue from educational animation at scale.
Melodysheep: 2.8 million subscribers, 384 million views. Cinematic space and cosmos visualization set to original music. The closest visual comparison to EVERYONE's production style.
Pursuit of Wonder: 3.4 million subscribers. Philosophy, consciousness, and meaning. Video essays and guided experiences. The closest thematic comparison to EVERYONE's content territory.
Astrum: 2.69 million subscribers, 535 million views. Space visualization using real imagery. Additional revenue through Patreon and podcast.
Timeline: 5.1 million subscribers. Long-form civilization documentaries. Part of the HistoryHit media network.
Kings and Generals: 4 million subscribers. Animated military and civilization history. Each video requires approximately 80 hours of production.
The Entire History of the Universe: Faceless animation walking through the full timeline of reality, from the formation of the universe to its possible futures. Directly adjacent to EVERYONE's subject territory.
The pattern across all of these: cinematic quality plus big ideas equals organic growth and real revenue. None of them had celebrity backing. None had traditional marketing budgets. They built audiences through the quality and resonance of the work itself. Education and ideas content commands premium advertising rates ($9-14 per thousand views, compared to $2-4 for general entertainment).
What none of them have built yet is a system around the content: no immersive experience, no identity infrastructure, no flywheel. EVERYONE enters this proven market with a production team whose credits include Gladiator, Iron Man 3, Star Trek, and Harry Potter VR, and an architecture designed to turn content audience into something that compounds. We are not inventing a market. We are entering a proven one with better tools and a bigger vision for what it can become.
The fulldome market validates the distribution infrastructure that EVERYONE is built to fill. Kaluoka'hina: The Enchanted Reef, a narrative fulldome film (not science education), has generated $2.5M+ in net royalties and approximately $15M in gross revenue, reaching over 5 million viewers with a 10+ year revenue tail distributed through Reef Distribution. This is a children's animated film distributed through a fraction of today's venue ecosystem. EVERYONE enters a dramatically larger market: post-Sphere, post-COSM, with 60 new digital planetariums added per year and the dome projection market tripling by 2033.
The Fulldome Film Society reports approximately $4M in annual industry revenue across all fulldome titles. Less than 20% of titles produce significant revenue. Quality and ambition are the differentiators. Most existing fulldome content is science education. Almost no one is producing blockbuster-quality philosophical content for these venues. The gap between what the infrastructure can deliver and what the content library contains is where EVERYONE operates.
The immersive venue comparables prove the economics. The fulldome comparables validate the distribution infrastructure. The idea-driven content comparables validate the audience. No existing property combines all three.
The Cultural Reason: We are saturated with dystopian narratives. Many are compelling because they feel plausible. That repetition is not neutral. It shapes what people expect, what they attempt, and how they treat one another when fear becomes the baseline. The world is hungry for something that restores agency and aliveness, not by denying risk, but by cracking inevitability. EVERYONE is built for that function.
The Market Reason: Audiences are showing up for meaning at scale. Billions of views on faceless idea-driven content. Immersive experiences selling out worldwide. The appetite is measurable.
The Infrastructure Reason: The immersive venue infrastructure is in the middle of an unprecedented global buildout. Sphere is expanding to multiple locations worldwide. Cosm is planning 100+ dome venues. Fever operates immersive experiences in 80+ cities. LED rooms, pop-up experiences, and permanent immersive spaces are scaling rapidly, especially in China where the immersive entertainment market is projected to grow from $16.8 billion to $125 billion by 2033. Over 4,000 planetariums worldwide are increasingly hosting non-traditional content. The venues are being built. Content is the bottleneck. EVERYONE's responsive content architecture is designed to fill them all.
The Technological Reason: Cinematic tools that once required massive budgets are now accessible. Generative AI, cinematic CGI, spatial sound, and global distribution infrastructure have converged. The tools now match the ambition.
At rare moments, a cultural artifact does not just entertain. It updates the story a civilization tells itself. EVERYONE is built for that function.
EVERYONE is not a reaction to the moment. It is the moment catching up to a long arc of work.
Created by Zak and Zev Zaidman. Together, they have been developing the core ideas behind EVERYONE for over fifteen years, refining them across disciplines before bringing them into a unified creative work.
Strategist, founder, and advisor working at the intersection of emerging technologies, regenerative systems, and purpose-driven leadership. Studied philosophy, psychology, anthropology, and creative arts at UC San Diego, then became a National Science Foundation Fellow in cognitive science at UC Berkeley, focusing on consciousness and human perception.
In 1993, left graduate school to co-found Gravity, one of the world's first immersive content design studios, incubated at Silicon Graphics. Gravity partnered with Intel, IBM, and Disney to explore real-time 3D media and emotionally resonant interactive storytelling. The work was ahead of its time. Most VR and immersive technologies did not exist yet. When the studios closed after the dot-com crash, Zak had built something that would not be revisited by the mainstream for another two decades.
For the past two decades, has helped build ventures across technology, climate, agriculture, and cultural change. Advised companies at early and growth stages, advised foundations on program strategy in systems thinking and cultural regeneration, taught at universities and design schools, and mentored emerging leaders thinking about how to move the needle on the biggest challenges we face. Throughout, has been developing and refining the philosophical foundation that underlies EVERYONE.
What Zak brings to EVERYONE: A long arc of thinking about how belief and narrative shape what becomes possible. Deep relationships with the world's most compelling minds thinking about consciousness, systems, and cultural transformation. The ability to translate philosophical complexity into felt emotional experience. Twenty years of experience building ventures in emerging categories and bringing ideas to the world before the world knew it needed them.
A lifetime of professional experience across investment banking, commercial banking, money management, venture capital, startups, and sustainability-driven organizations. Early career at Goldman Sachs and other major institutions, where he learned how capital is deployed and how systems work. Transitioned to venture capital and built early-stage ventures, where he learned how to move fast, test assumptions, and build teams.
Most recently spent several years at a sustainability-driven organization thinking about how to structure mission-driven capital and how to build ventures where the business model and the mission are not in conflict but aligned. Developed a deep conviction that the world does not have to be the way it is, and that the single biggest lever for change is how we structure the money that flows through systems.
What Zev brings to EVERYONE: A practical relationship with systems, capital, and incentives. The ability to translate creative ambition into a fundable, executable venture: to build the business architecture that allows the project to scale without losing its soul. Financial rigor combined with clarity that this moment requires something more than business as usual. A network of capital sources, operators, and strategic partners. The ability to hold both the vision and the math, and never to let them drift apart.
One of the world's most celebrated film composers. Credits include Gladiator, The Martian, Kingdom of Heaven, The Chronicles of Narnia, Shrek, The Equalizer, Man on Fire, and the Metal Gear Solid franchise. Known for combining intimacy and awe, grounding human emotion inside vast cinematic landscapes. Numerous awards and nominations across film and television.
For EVERYONE, Gregson-Williams brings a rare capacity to translate existential scale into lived emotional experience, crafting a score designed to shape the audience's perception from the inside out. Full orchestral production designed specifically for immersive spatial audio environments. The score is integral to the experience. It is not accompaniment. It is architecture.
Emmy Award-winning digital visual effects artist whose career spans over three decades at the forefront of cinematic innovation. First gained recognition as Animation Director on Star Trek: Deep Space Nine, where he designed the groundbreaking CGI morphing effect for the character Odo in the pilot episode "Emissary," earning an Emmy Award for Outstanding Individual Achievement in Special Visual Effects.
Since the early 1990s, has worked at Digital Domain, one of the world's leading visual effects studios, contributing to major feature films including Apollo 13, The Fifth Element, Dante's Peak, Dinosaur, 2012, Tron: Legacy, Thor, and Iron Man 3. His work bridges technical precision and cinematic spectacle, consistently translating complex visual ideas into emotionally resonant imagery. Has worked with the world's most celebrated directors and has been a key architect of the look and feel of some of the biggest cinematic moments of the past three decades.
What Dennis brings to EVERYONE: Elite technical execution combined with aesthetic vision. The ability to make the impossible look not just plausible but inevitable. Three decades of experience understanding what works at massive scale, how to manage teams of hundreds of artists and engineers, and how to deliver on the most ambitious creative briefs. The confidence that comes from having shipped work that hundreds of millions of people have seen and felt. A deep commitment to EVERYONE's mission.
Producer and immersive media executive with a multi-disciplinary background spanning film, interactive media, and experiential storytelling. Co-founder and CEO of WEVR, recognized by Fast Company as one of the Top 10 Most Innovative Companies in AR/VR.
Producer on The Blu (multi-award-winning virtual ocean experience), Harry Potter VR (Warner Bros), and Gnomes & Goblins (Jon Favreau, Emmy finalist for Outstanding Innovation in Interactive Media). Before co-founding WEVR, served as Producer and Senior Development Director at Electronic Arts, leading production on Medal of Honor. Prior roles at Digital Domain and Square Enix. Career began as a graphics software engineer contributing to early foundational 3D tools including Autodesk Maya.
Graduated Summa Cum Laude in Computer Science and Cognitive Science from Brandeis University.
What Neville brings to EVERYONE: Deep expertise in immersive media across decades of evolution in the space. Producer's sensibility combined with technical depth. The ability to manage complex interdisciplinary teams and deliver on ambitious creative visions. Existing relationships with Sphere and other major venue partners. A proven track record of bringing immersive experiences to the world at the highest level of quality and innovation.
Co-founder of WEVR. Two decades as a digital media executive and entrepreneur. Previously founder and CEO of Buzznet (180M+ unique visitors worldwide), co-founder and CTO of EMC/Greenplum (now Pivotal Software), president of digital at Katalyst (Ashton Kutcher's media studio). Co-founded Thrash Lab with YouTube, exploring culture through award-winning digital content.
AFI keynote speaker on immersive technology. Expertise in scaling digital platforms, building high-performance teams, and navigating the intersection of culture and technology. A builder and operator who understands how to move fast while maintaining quality and vision.
What Anthony brings to EVERYONE: Operator's expertise in scaling ventures and platforms. Experience building teams, raising capital, and moving fast. Deep relationships across technology, media, and culture. The ability to see the connection between production, distribution, and audience. Proven track record of building something and making it matter at global scale.
Leading creative technology company since 2010, co-founded by Neville Spiteri, Anthony Batt, and Scott Yara. Expertise in real-time 3D, spatial/XR, immersive video, and generative AI. Credits include Harry Potter VR (Warner Bros), Gnomes & Goblins (Jon Favreau), collaborations with Deepak Chopra, Run The Jewels, Reggie Watts. First multi-user location-based VR on 5G (with AT&T and Ericsson).
Recognized by Fast Company as Top 10 Most Innovative in AR/VR. The studio has spent over a decade building the infrastructure, the tools, and the team expertise to produce immersive experiences at the highest level. Already in conversation with Sphere about producing content. The capabilities exist. The relationships are in place.
Over twenty years at the world's leading advertising agencies, overseeing campaigns for American Express, McDonald's, Honda, and Pepsi. Instrumental in launching multi-billion dollar brands including Acura, Oracle, and Chicken McNuggets. In 2010, pivoted to positive social change: co-founded Kopald/Stranger, a change agency whose clients included Nike, Patagonia, Walmart, the United Nations, and the US Department of Energy. Co-founded The Carbon Underground (climate solutions) and SIF Technology (climate and ag tech). Member of the World Economic Forum's Carbon and Technology Committee. Senior Fellow at USC's Marshall School of Business. Eight years on the White House Panel on Innovation under President Obama.
What Larry brings to EVERYONE: Decades of experience moving millions of people through messaging, now pointed at the campaign that matters most. He has launched brands that became part of everyday life. He has advised governments and the world's largest companies on how to communicate change. He knows what makes people act. He leads script development and creative strategy for the World Cup 2026 campaign and beyond.
The team has already done it at the highest level. The bios above are not aspirational. These are people who have shipped at the highest level of cinematic and immersive production for decades. When they produce content, it will look and sound different from anything else in the faceless content space. That quality gap is the wedge.
The content foundation already exists. 35,000+ words of refined philosophical content live at believe.everyone.team. The intellectual architecture has been developed over fifteen years. Most faceless channels start with a topic. EVERYONE starts with a complete worldview that has survived skepticism, counter-arguments, and real-world pressure-testing.
A growing network of sports and cultural ambassadors is forming. A first small but committed group of sports ambassadors, including former professional athletes, is already engaged with the vision and bringing their networks and influence to bear. Conversations with major cultural figures are underway. The nature of these relationships requires discretion at this stage, but the access, the interest, and the alignment are real.
The market gap is real and unfilled. Every successful faceless channel occupies one lane: science explainers, space visualization, philosophy essays, history timelines. None of them are producing cinematic content about possibility, agency, and collective belief. None have the production capabilities to create immersive experiences. The space closest to EVERYONE's thesis has zero serious producers in it.
The campaigns are a built-in proof mechanism. The first pieces go live immediately. The audience response is measurable in weeks, not years. If the content resonates, the data shows it in real time. If it needs adjustment, it adjusts. The investor can watch the audience build.
The production pipeline de-risks the flagship. Every campaign refines the visual language, tests emotional resonance, builds the production tools and team coordination that feed directly into the immersive experience. By the time the flagship launches at scale, the creative has been validated through hundreds of live audience interactions. Test in the content. Launch the experience with confidence.
The project itself is the team, and the team is growing. EVERYONE is collaborative by design, and that design is a structural advantage. The platform enables participatory content creation. Hollywood content creators who are mission-aligned and working to shift the industry toward less divisive storytelling are already in conversation and relationship with the founders. Sports ambassadors, cultural figures, visual artists, musicians, and aligned organizations are joining because the project invites collaboration rather than demanding control. This makes EVERYONE more able to work with more kinds of talent, influence, and audience access than a traditional brand or studio could, because the thing itself is collaborative. The tools to enable this kind of distributed creative collaboration (platforms, AI, real-time production) are new. They did not exist five years ago. EVERYONE is built for them.
Harry Gregson-Williams committed to the score. The composer of Gladiator, The Martian, The Chronicles of Narnia, and Shrek is already committed to the project. The person bringing orchestral and sonic depth to the work has spent decades creating some of the most moving and ambitious scores in cinematic history. This is not speculative. This is locked.
The combination of these elements (the intellectual foundation, the production team, the venue relationships, the ambassador network, the collaborative architecture, and the creative commitment) represents a constellation of advantages that is rare. You do not often see this combination in one place.
The creative infrastructure and assets that make this venture fundable exist now.
| Asset | Status | Notes |
|---|---|---|
| Philosophical Foundation | Complete | 35,000+ words live at believe.everyone.team |
| Immersive Experience Script | In Development | Core sequences designed |
| Visual Language & Styles | Developed | Design systems for cosmic, human, civilization scales |
| Original Score Commitment | Locked | Harry Gregson-Williams (Gladiator, The Martian, Narnia, Shrek) |
| Production Team (VFX) | Locked | Emmy-winning supervisor already committed |
| Immersive Studio Partnership | Active | WEVR in conversation with Sphere |
| First Campaign | In Production | "The Biggest Team" (World Cup 2026), 60-second cinematic spot, June launch |
| Team Wear | Ready | DTC inventory in progress |
| Book Manuscript | In Development | Core content complete, editing in progress |
| AI Companion Prototype | Built | Functional prototype with philosophical grounding |
| Social Accounts & Domains | Secured | All primary accounts and domains registered and live |
| Sports Ambassador Network | Forming | First committed group in place |
| Investor Data Room | Live | Full documentation at everyone.team/invest |
This is not speculative. These are the assets that exist today, the relationships that are active, the commitments that are locked. Every dollar of investor capital is capital that funds production, distribution, and scaling, not R&D or proof of concept. The proof is already in place.
Most companies concentrate profits in two places: investors and founders. EVERYONE distributes them according to a principle: all who contribute to creating value deserve to participate in the value created.
Investors receive 50% of Net Distributable Profits from day one, pro rata, until the 2X cap on their original investment is reached. The full distribution waterfall is defined in the Profit Participation Terms (Exhibit A to the Participation Agreement).
The philosophy: early investors take the most risk. They should receive a clear, meaningful return that reflects that risk. A flat 50/50 split from day one keeps the structure simple, transparent, and aligned. Investors are paid alongside the company, not after it.
Once investors have received their full capped return, Net Distributable Profits flow to the people and purposes that built the project through a five-way allocation: company operations, the creators whose work generates the revenue, reinvestment in growth, mission-aligned impact, and reserves. The specific percentages are defined in the Profit Participation Terms. The structure is designed so that abundance flows to everyone who contributes, not just those at the top of the capital stack.
The capped return on EVERYONE LLC is the beginning of the investor relationship, not the end of it. EVERYONE is a collaboration engine. As the community grows, so do the strategic partnerships with mission-aligned ventures, brands, technologies, and institutions. The relationships being built through this work create opportunities that emerge from real collaboration, not from a pitch deck.
The value comes from two things working together. Scale: millions of people reoriented, engaged, and expressing belonging. That audience is distribution, proof of concept, and a community that any aligned venture would want to reach. Fidelity: the specific high-trust relationships forming through the work itself, with people and organizations who chose to be here because the mission resonates with something they already believe.
Every investor in this round holds a permanent reinvestment right: the right to invest up to 2X their original commitment in any future EVERYONE offering at a 50% discount, with priority allocation if oversubscribed. This right does not expire with the cap. The Profit Participation Terms define the commitment in detail.
The LLC is the foundation. It proves the audience, the model, and the brand. The cap gets investors paid. The right keeps them positioned at the center of everything that grows from it.
EVERYONE LLC, a Delaware limited liability company.
Members: Zak Zaidman (50%), Zev Zaidman (50%).
Profit Participation Rights. Contractual claims to receive a percentage of the Company's Net Distributable Profits.
Not equity. Not debt. No ownership stake in EVERYONE LLC. No voting rights or governance rights. No board representation. Does not carry equity rights. Not transferable except with written consent.
Gross Revenue (all sources)
Less: Venue/Platform Splits (30-40%)
Less: Cost of Goods Sold (16-22%)
Less: Marketing & Promotion (8-12%)
Less: Operating Expenses (8-12%)
Less: Production Budget (allocated as needed)
= Net Distributable Profits
Net Distributable Profits are then split between investors and the company according to the distribution waterfall defined in the Profit Participation Terms (Exhibit A to the Participation Agreement).
Annual distributions, within 45 days after fiscal year end. Wire transfer or check.
Up to $5,000,000 in aggregate.
Minimum investment: $100,000.
Accredited investors only (Regulation D, Rule 506(b)).
Annual financial reports. Annual audited financials (if $2M+ raised). Inspection rights on books and records. No material amendment without consent of 50%+ of participation holders.
The base case model uses conservative assumptions throughout. Here is how the key assumptions compare to market benchmarks:
| Assumption | Model (Base Case) | Market Comparable |
|---|---|---|
| Avg. Ticket Price | $36 | Sphere $65-325, COSM $39-99, Van Gogh $25-50 |
| Occupancy | 60-70% | ABBA Voyage 97.8%, major immersive REITs 99% |
| Revenue Surfaces Modeled | Venue only | Most comps have 3-5 revenue streams |
| Venue Revenue Split | 60/40 (venue/EVERYONE) | Industry standard for touring content |
Under the base case, all investors participate pro rata and reach their 2X cap as cumulative NDP grows. Under conservative assumptions (slower venue rollout, lower occupancy), timelines extend. Under downside scenarios (significant delays, lower attendance), the cap may take longer or potentially not be reached. Non-venue revenue surfaces are excluded and represent pure upside to these projections.
The $5,000,000 raise deploys across four broad categories:
| Category | Allocation |
|---|---|
| Production & Content Creation | ~55% |
| Marketing, Distribution & Launch | ~15% |
| Operations, Team & Infrastructure | ~18% |
| Contingency & Insurance | ~12% |
| TOTAL INVESTOR CAPITAL | $5,000,000 |
Production and content is the majority of the budget: the immersive film (WEVR), original score (Harry Gregson-Williams), campaign content, and creative development. The founders have already invested $750,000 in pre-production IP and development, bringing the total production budget to $5,750,000.
Detailed line-item budgets are available in the financial model.
The financial model is intentionally conservative. It includes venue ticket revenue only. Revenue from team wear sales, book publishing, platform subscriptions, licensing deals, campaign sponsorships, and other surfaces is real and measurable, but excluded from the model to provide a clear floor on investor returns.
Under the base case, the model projects $68.4M in cumulative Net Distributable Profits over 5 years from venue revenue alone. The investor share of those profits accumulates pro rata until the 2X cap is reached:
| Investor Pool | Investment | 2X Cap | Cap Reached (Base Case) |
|---|---|---|---|
| All Investors (pro rata) | $5M | $10M | Based on venue rollout |
These timelines improve materially when additional revenue surfaces activate (team wear, book, platform, sponsorships, licensing). The model excludes those surfaces intentionally, to show the conservative case.
The venue model is proven. Van Gogh sold 5+ million tickets. Sphere sold 1.3M in Year 1. Kusama runs for years at major museums. The touring immersive experience is a proven category with proven economics.
The content foundation is complete. 35,000+ words of refined philosophy. A production team with decades of Emmy-winning credentials and world-class composers. The script is in development. The visual language is designed. The assets exist.
The capital deployment is clear. Every dollar is allocated to specific production, marketing, or operational needs. There is no speculative technology development. No unproven business model. No pivot risk.
The team has executed at this scale before. The VFX supervisor has shipped content seen by hundreds of millions of people. The immersive studio has produced award-winning experiences. The composer has scored some of cinema's most iconic films. This team knows how to deliver. Full team details.
The return structure is aligned. A capped return on a capital-efficient, purpose-driven venture is disciplined and attractive. The structure is proven in film and real estate. The terms are clear and protective. And the cap is not the end of the relationship: every investor holds a permanent reinvestment right into future EVERYONE offerings at a 50% discount, with priority allocation. The cap gets investors paid. The right keeps them inside (see Profit Participation Terms).
Every investment carries risk. What follows is an honest summary. A comprehensive Risk Disclosure is available in the data room.
Market risk: The immersive entertainment market is still emerging. That said, Sphere's $781M venue revenue in 2025, COSM's 100+ planned domes, and 4,000+ existing planetariums suggest the infrastructure is arriving faster than the content to fill it.
Creative risk: Audience reception cannot be guaranteed in advance. The campaign-first model exists specifically to test and refine creative with live audiences before the flagship experience launches at scale.
Execution risk: Production, venue partnerships, and distribution require successful execution across multiple fronts. The team includes an Emmy-winning VFX lead and a top immersive studio. The modular production architecture allows progress on all fronts simultaneously.
Key person risk: The project depends significantly on Zak and Zev Zaidman and the core production team. Fifteen years of development and a growing team of world-class collaborators provide depth beyond any single individual.
Illiquidity: Participation rights cannot be readily sold or transferred. There is no secondary market.
No guaranteed return: There is no guarantee of profitability, distributions, or return of capital. The financial model is intentionally conservative, excluding all non-venue revenue streams.
Capped return: Investor upside is limited to the cap defined in the Profit Participation Terms. There is no participation beyond the cap. This structure prioritizes mission alignment and ensures profits beyond the cap fuel the project's long-term impact.
Prospective investors should read all risk factors in the Risk Disclosure before making any investment decision.
This is a purpose-driven venture designed to operate at scale. The ambition of this work demands world-class production, global distribution, and sustained operational infrastructure. That requires capital, and capital requires returns. The investment structure exists to make this possible: to reward the people who believe early enough to fund it, and then, once investors are made whole, to direct value toward the people who make it, the infrastructure that sustains it, and the mission it exists to serve.
This is not "do good while doing well." Doing good is the business model. More people transformed means more ticket revenue. More belonging means more team wear sold. More depth means more book sales. Every dollar of revenue comes from value delivered. Mission and money are structurally aligned.
The capped return structure reflects this design. It provides a meaningful, clear return on a timeline backed by conservative projections. And it ensures that as the project grows beyond recoupment, the value regenerates rather than extracts. The cap is not the end of the relationship. Every investor holds a permanent reinvestment right: the right to invest up to 2X their original commitment in any future EVERYONE offering at a 50% discount, with priority allocation. The structure rewards early belief, protects the mission, and gives investors a permanent path to stay inside the ecosystem. This is not just a film finance structure. It is a model for how purpose-driven ventures can reward capital, sustain creative teams, reinvest in growth, and fund mission-aligned impact simultaneously. The structure is the philosophy in action.
Each phase teaches us what the next phase needs. We don't skip ahead. We earn each layer.
Immersive experience enters full production. Short-form cinematic campaigns launch across YouTube, Instagram, TikTok. Each campaign is a self-contained experience that grows audience and proves the creative thesis before the venue launch. Team wear goes live as a direct-to-consumer channel. Book reaches final development. Companion refines its engagement model. Venue partnerships secured and distribution agreements negotiated. First data on what resonates. Revenue begins from campaigns and team wear.
The investor is not waiting years to see traction. The first campaigns go live immediately. The audience response is measurable in weeks, not years. The data shows in real time whether the content resonates, how fast the audience grows, and how the creative is evolving.
Immersive experience completes production. First 10 venues open across planetariums, premium domes, and immersive spaces. 78,000 attendees in the first partial year. Flagship venue pursuit active. Whether a flagship venue is the inaugural launch or a subsequent landmark, the relationships are active and the interest is real. Revenue distributions begin when NDP threshold is met. Book publishes. Platform activates. The flywheel begins.
Year 3: 20 venues active. 832,000 attendees. $9.0M NDP. Group and education channel scaling via sponsored screenings at planetariums. Year 4: 30 venues. 1.95M attendees. $22.6M NDP. Year 5: 40 venues globally. 3.12M attendees that year. 5.98M cumulative audience. $36.8M NDP ($68.4M cumulative). International expansion includes Asia, Europe, and the Middle East. Campaigns continue feeding audience. Team wear scales. The full flywheel is in motion. Revenue compounds.
Success looks like millions of people encountering the same orientation shift, across theaters, cities, screens, and living rooms.
A touring immersive experience that sells out and extends in every city it touches, becoming the cultural event people tell each other not to miss.
A film that people experience more than once, not for the plot, but because each time it shifts something deeper. The kind of experience that changes how someone sees the world before they've left the building.
A short-form content channel that attracts millions on its own and grows dynamically, with creators worldwide making their own EVERYONE content and expanding the universe far beyond what any single team could build.
Visible belonging. Symbols worn in public. The mark adopted across communities, teams, and companies as a signal of shared orientation.
A global reorientation. Not a campaign. Not a moment. A permanent shift in how millions of people feel about the future, about each other, and about what is still possible.
And beneath all of it, the deeper success: a generation of people who stopped believing it was too late, because something they experienced together showed them it wasn't. A cultural experience that helps restore belief in possibility, at the exact moment it matters most.
There is a game being played. Everywhere. All the time. By everyone.
It may look like we are losing. Like we are breaking apart. But if we play together, we can still win. These are the recognitions at the center of everything EVERYONE builds. The film, the campaigns, the book, the mark, the flywheel, the investment structure. All of it flows from one insight: we are already on the same team. Whether we acknowledge it or not. And what we believe about that fact materially changes what becomes possible next.
Belief is not downstream of outcomes. Belief is upstream. What we believe shapes what we attempt. What we attempt shapes what gets built. What gets built shapes what becomes possible. When belief collapses, everything downstream collapses with it.
The future is not written. It is being written right now by what we believe is possible. The problems are real. The trajectory is real. But trajectory is not destiny. We are possibly the first species that can recognize its own destructive patterns, imagine alternative futures, choose to act differently, and coordinate at planetary scale. That matters. That is unprecedented. That is what this project is about.
EVERYONE is the cultural infrastructure for that belief. The immersive experience is how people feel it. Not as argument, but as recognition. The venues, platforms, and screens are how it scales. And this investment is how it comes to life.
You are participating in one of the first major original blockbusters created for the immersive venue ecosystem. A 45-minute cinematic experience backed by an Emmy-winning VFX team, a pioneering immersive production studio, and Harry Gregson-Williams composing the score. Distributed across domes, planetariums, LED rooms, touring installations, streaming platforms, and every format the content can reach. The technology that makes this possible at this budget did not exist five years ago. The team that has been pioneering at this intersection for decades is assembled and ready.
The model shows the conservative case: venue revenue only, conservative occupancy assumptions. Everything else accelerates the timeline and strengthens the return.
This is a strong investment opportunity. It is also the right thing to invest in. A proven team entering a proven market at the exact moment the infrastructure is emerging to receive it. And it is an investment in something larger: in the goodness of the human spirit, in the future we are still capable of building, in the belief that what we create together matters.
The cost of belief is low. The cost of non-belief, if non-belief contributes even marginally to the outcome it predicts, is catastrophic. This is not faith. It is a wager. And the asymmetry is clear.
You do not have to be certain. You do not have to be optimistic. You just have to be unwilling to sit this one out.
We are EVERYONE.
Contact: zak@everyone.team | everyone.team
Full business case, investor addendum with detailed roadmap and KPIs, and current financial model available on request.
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